On Friday, 16 September 2016, Ron Andrico <[1][email protected]>
wrote:
>>, mainly via signature riffs (such as
the Lachrimae motif) and cadential events<<
Although I certainly 'feel' Dowland's signature in many of the solos
ascribed to him, I think the falling tears motif is not a good example
as it was a stock phrase in the word painting language of the Italian
madrigal (and much older, I believe, but no quotes or sources, sorry),
whose most direct influence on Dowland can be found in the madrigals
by Marenzio, much admired by Dowland. And the cadential doodles are
typical of all English Renaissance music for lute.
Quite another approach to identify Dowland as the composer of the solos
ascribed to him would be to look at fingerings. As a player myself, I
find some lute composers return to favored chords, fitting their hands
comfortably, one presumes. As extension to that I find lute music by
some composer-players easy to play, my hands are similar to their, I
guess, and music by other composer-players quite difficult, sprinkled
with chords or stretches that are uncomfortable for my hands.
David
--
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David van Ooijen
[2][email protected]
[3]www.davidvanooijen.nl
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References
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2. mailto:[email protected]
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