John Dowland Can She Excuse My Wrongs Analysis
John Dowland’s ‘Can She Excuse My Wrongs’ was published in his ‘The First Booke of Songes or Ayres’ in 1597.
The late-Renaissance composer, in his piece, laments over his ladylove not succumbing to his desires in the pretense of being ‘virtuous.’
The buoyant and lively pace of the music is a complete contrast with the unmistakably cynical mood of the lyrics. The piece comprises of a mixed triple meter ranging from 3/4 to 6/8.
Although Downland did not imply a specific performance style, the madrigal is often performed as a lute song with a soloist and a lute.
The two selected pieces are that of Emma Kirby (1998) and the Ensemble Luxurians (2012).
Despite both versions having a Soprano lead, we find distinct elements of differentiation …show more content…
The recorder delivers a solo for the entire second section, with the backing of the harpsichord and lute. The flutist shares an equal platform with the soprano. It is almost as if there exists two soloists.
We find within the piece a repartee between the lute playing an ornate melody line and the harpsichord playing a repeated pattern of chords, providing the bass and harmony.
In comparison, we first notice how Kirby’s version was recorded as Dowland perhaps intended it to be performed; whereas Ensemble Luxurians’ version, performed live, accompanied by various instruments, contributed new details for the voice and the accompaniments, so that the composition is re-created as opposed to reinterpreted.
Kirby’s vocal style is simple, often peppered with rhythmic and ornamental clichés alongside Rooley’s rhythmic subtleties resulting in expressive harmonies and striking melodic lines. Ensemble Luxurians’ soprano was at times subdued by the recorder in volume (like in the AA section). However, her introduction of embellishments was right from the get-go. The lute and harpsichord had chords spinning out over several voices rather than being played as blocks, so that one harmony melts into the next. The ensemble spirit and overall balance were unerringly
The late-Renaissance composer, in his piece, laments over his ladylove not succumbing to his desires in the pretense of being ‘virtuous.’
The buoyant and lively pace of the music is a complete contrast with the unmistakably cynical mood of the lyrics. The piece comprises of a mixed triple meter ranging from 3/4 to 6/8.
Although Downland did not imply a specific performance style, the madrigal is often performed as a lute song with a soloist and a lute.
The two selected pieces are that of Emma Kirby (1998) and the Ensemble Luxurians (2012).
Despite both versions having a Soprano lead, we find distinct elements of differentiation …show more content…
The recorder delivers a solo for the entire second section, with the backing of the harpsichord and lute. The flutist shares an equal platform with the soprano. It is almost as if there exists two soloists.
We find within the piece a repartee between the lute playing an ornate melody line and the harpsichord playing a repeated pattern of chords, providing the bass and harmony.
In comparison, we first notice how Kirby’s version was recorded as Dowland perhaps intended it to be performed; whereas Ensemble Luxurians’ version, performed live, accompanied by various instruments, contributed new details for the voice and the accompaniments, so that the composition is re-created as opposed to reinterpreted.
Kirby’s vocal style is simple, often peppered with rhythmic and ornamental clichés alongside Rooley’s rhythmic subtleties resulting in expressive harmonies and striking melodic lines. Ensemble Luxurians’ soprano was at times subdued by the recorder in volume (like in the AA section). However, her introduction of embellishments was right from the get-go. The lute and harpsichord had chords spinning out over several voices rather than being played as blocks, so that one harmony melts into the next. The ensemble spirit and overall balance were unerringly