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 BO WOT. Cnc ATE

THE

ENGLISH SCHOOL OF

LUTENIST SONG WRITERS

Transcribed, Scored and Edited

from the
Original Editions

by
EDMUND HORACE FELLOWES,

JOHN DOWLAND.
A Pilgrimes Solace
(Fourth Book of Airs)
1612
PART I
Nos, 1-11

STAINER & BELL, Ltd.

58, BERNERS STREET, LONDON, W.1.
 ee
a “ eth, ee Oe od

= me, Ore ; ;

Copyright 1924

STAINER G BELLE, Liz,

UPB
 THE GENERAL PREFACE

The English School of Lutenist song-writers stands by itself as something which had no parallel in the contemporary Schools
of music in Europe. Not the least remarkable feature of this School was the shortness of the period during which it shone so
brilliantly ; for it began with the publication of John Dowland’s first volume in 1597 and practically ended with the same composer’s
A Pilgvim’s Solace published in 1612; John Attey’s volume followed this as much as ten years later in 1622 as an isolated and
final example of the same class of composition.
During the period between 1597 and 1612 some thirty volumes, or sets, were issued, of which copies have survived to our
own time; but no more than a single exemplar of several of these sets is known to exist. The most prolific of this group of
song-writers were Thomas Campian and Robert Jones with five volumes each, and John Dowland with four. Campian’s song-books
are especially remarkable since they represent him in the dual capacity of poet and composer.
Among other important composers
in this School were Thomas Morley, Philip Rosseter, Thomas Ford, William Corkine, and Francis Pilkington.

We have in this collection of volumes a rich store of national song, the music of which is wedded to superb verse belonging to
the finest period of our national literature. And the words were set by these Lutenist composers with a true appreciation of their
poetic value; their sole purpose was to enhance the beauty of the recitation of such lines through the medium of simple musical
expression as opposed to any idea of elaborate device. It was their wonderful success in carrying out this special purpose that
placed this group of English song-writers in the highest rank.
The song-books of the Lutenists each contained, as a general rule, about twenty songs ; a majority of the volumes consist ot
exactly twenty-one numbers, but no reason can now be suggested to explain such a large measure of uniformity in this matter. An
accompaniment for the lute was printed below the solo voice-part, the notation employed for this purpose being that known as
lute tablature. The lute accompaniment was sometimes reinforced in the bass by a bowed instrument such as the viol da gamba.
In many instances the composers also arranged their songs for an alternative method of performance, namely, for four unaccom-
panied voice-parts, and these voice-parts were printed on a single page on a plan which enabled the four performers to stand in a
semi-circle and to sing their music from one book placed in the middle. The harmonies of these additional voice-parts do not quite
invariably conform with those of the lute, and occasional examples could be cited to show that the simultaneous performance of the
lute accompaniment with the full vocal arrangement would produce a definite conflict of harmony. Moreover, the lutenist, who
must necessarily have been seated while playing, would have been put to no little inconvenience in the scheme just mentioned, in
which the performers all looked over one book. On the other hand, the title pages of some of the song-books suggest that a good
deal of freedom in these matters was sanctioned by the composers themselves, but there can be little room for doubt that the main
purpose of these musicians was to write songs for solo-voice with lute accompaniment, while as a secondary interest they also
arranged many of them as unaccompanied part-songs. It seems certain that Dowland, the greatest of all the performers on the lute,
and also a notable singer, used to sing his songs to his own accompaniment.
{n the present Edition two versions of each song are given. In the first, the melody, or cantus-part, is reproduced together
with the lute-tablature exactly as it stands in the original editions, and showing the composer’s own barring of the music.
Immediately over the tablature the Editor has inserted a strictly literal transcription of the lute-part in terms of modern notation,
retaining the idiom of the lute even where it is not suited to the Pianoforte. The method of transcription here adopted differs from
the usual practice, the Editor having exercised his own discretion in interpreting the individual values of the notes as plucked on the
lute ; but the percussion of the notes on the Pianvforte precisely corresponds with that on the lute, and nothing further is added
except phrase-marks.
This literal version thus very closely represents the Composer’s original accompaniment. It will not be found wholly
ineffective for practical use on a Pianoforte, and when played upon a Harpsichord the effect quite nearly approaches that of the lute.
But an alternative version of the songs was also considered desirable. In this alternative version the original barring of the
voice-part had been somewhat modified with the object of simplifying the interpretation of the music. The principle of irregularity
in this matter has been retained, and it is very important that singers and accompanists who may use this Edition should understand
that the crotchet (or minim) unit remains constant in value right through each song, whatever may be the variations of rhythm,
and regardless of such inequalities of bar-length as will be found throughout these compositions. The rare exceptions to this rule
as, for example, in Dowland’s Second Book No. 5, are duly noted in each case. In many cases a crotchet unit has been substituted
for the original minim unit. In view of the irregularity of bar-lengths so generally occurring, it was considered undesirable to give
any time-signatures in this alternative version. The original signatures are reproduced in the literal version, and it must be
remembered that time-signatures at the beginning of a piece of Elizabethan music never indicated the number of beats in a bar
but merely the relative value of the longer notes to the shorter. Rhythms of {, 3, 3, and 8, not to mention more complex rhythms,
were introduced promiscuously by these composers, and they were indicated by the true accentuation of the words rather than by any
system of time-signatures or of barring. It is, in consequence, necessary that a singer should acquire perfect facility in dealing with
the sudden and frequent changes of rhythm in order to interpret Elizabethan music satisfactorily.
In a few instances the songs have been transposed with the object of bringing them all into line for voices of medium
compass. Those who desire to do so can of course transpose them to any key that suits their own individual requirements.
The accompaniment in this alternative version has been arranged by the Editor exclusively from t.te composer’s own material,
but the comparatively narrow compass of the lute has been suitably extended, especially in its upper ranges, and the idiom of the
lute has been adapted to that of the Pianoforte as far as possible without sacrificing the character of the music. A short introductory
phrase to each song has also been added by the Editor where none existed in the original Edition, and these phrases are designed
upon material to be found in the songs themselves. Modern key-signatures have been added, and also expression-marks, nov-
whatever being found in the original Editions.
In this last particular the Editor has no desire to hamper the individual discretion of those who may sing these songs ; and,
indeed, his suggestions mainly apply only to the first-verse of the songs, for it would give a confused app2arance to print different
expressions-marks for each verse. It should be remembered that the first verse alone was, as a general rule, printed with the music
in the original editions, the remaining verses appearing in metrical form at the foot of the page. Although, of course, the metre of
the subsequent verses is identical with that of the first, it is not infrequently necessary to re-arrange the position of the words of the
later verse in order to fit them to some of the smaller phrases of the music. A good example of this will be found in No. 20 of
Dowland’s first book.
The authorship of the words was seldom recorded in the original Editions. Whenever it has been possible to identify the
poet, his name has been given in the present Edition.
No complete Edition of the Lutenist songs has ever been issued since the original editions appeared, now more than three
hunered years ago. It is hoped that the present Edition may be instrumental in making these superb English songs known, as they
deserve to be, throughout the world. No library, either public or private, which devotes any space to the English poets, should
lack a copy of these song-books ; the songs themselves should find a place on a large proportion of Concert-programmes.
I‘desire to express my cordial thanks to my friend the Rev. A. Ramsbotham for valuable advice in connection with the
Pianoforte accompaniments, and for help in reading the proofs.
EDMUND H. FELLOWES

THE CLOISTERS, WINDSOR CASTLE,

September 1st, 1920.

 Preface to Dowland’s “A Pilgrimes Solace ”
Dowland’s Third Book of Airs, published in 1603, was also described by him as his “last’’. It
is possible that the term may have been used in the sense of “ latest,” for the composer could scarcely
have decided at the age of forty to publish nothing more in the future. In any case a fourth book followed
the third after an interval of nine years, under the full title of ‘‘ A Pilgrimes Solace. Wherein is contained
Musicall Harmonie of 3. 4. and 5. parts, to be sung and plaid with the lute and viols. By John Douland,
Batchelor of Musicke in both Vniuersities : and Lutenist to the Right Honourable the Lord Walden, 1612
London. Printed for M.L., J.B. and T.S. by the Assigment of William Barley.” It was dedicated to
Theophilus, Lord Walden, in whose household at Audley End Dowland held office as Lutenist. Unfor-
tunately there seems to be no reference to this great musician among the records at Audley End to-day.

The book contains a most remarkable address by the composer, “ To the Reader,” in which allusion
is made to the appointment which he held as Lutenist to Christian IV., King of Denmark, at Elsinore, and
to the great reputation which he had won throughout the continent of Europe, together with the statement
that he had published works in “ eight most famous Cities beyond the seas.’
ie. The writer goes on to complain that after a long absence from England he had been coldly received
on his return, and had found himself opposed by bands of jealous musicians, some of whom accused him of
being old-fashioned in his methods of composition—a strange accusation indeed, as it seems to us, when we
examine most of the songs in the Pilgrimes Solace, as well as such songs in his earlier books as J saw my
lady weep ; Sorrow, stay; or Weep you no more sad fountains, for example. Jealously was rampant also
among the “ young men professors of the Lute who vaunt themselves . . . . that there never was the like
of them.” speaking disparagingly of Dowland’s skill as a performer. It is perhaps as well, since these
petty personalities have been swallowed up by the lapse of three centuries, that Dowland refrained from
giving the names of these lutenists ; yet it is impossible that some feelings of curiosity on this point should
not be aroused in our minds to-day. The rival preferences for the Lute as compared with “ the statefull
instrument Gambo Violl”’ form another interesting subject for speculation, but there is no material sur-
viving, as far as is known, to throw further light on this controversy. Enough was said in this address,
and in other similar contemporary documents, to show that even in the golden age of English music, personal
rivalries and jealousies were by no means unknown. ;
, The “ Pilgrimes Solace ”’ will probably be regarded as the most remarkable of Dowland’s four books
of Songs, not because the songs themselves are greater than those of the earlier books, for on that point
opinions will vary, but it shows a wonderful break with conventionality on the part of the composer ; thus
the conventional method of matching each line of a poem with a simple and concise musical phrase is some-
times laid aside, and a far freer and more extended style adopted. Examples of this method are provided
by the three very original songs, Go, nightly cares; From silent mght; and Lasso vita mia. And in each of
these songs Dowland adopted a new type of accompaniment, namely, for Lute, treble viol and bass viol,
corresponding, to the modern “ pianoforte trio.”” This combination gave special scope for treating the
accompaniment with great independence, and attention may be especially directed to two passages in
Go, nightly tears, in which the voice virtually recites the words in monotone, while the melodic interest is
centred in the accompaniment. Examples will also be found in these songs of Dowland’s growing tendency
to write florid vocal phrases ; for instance, in Tell me, true Love ; Welcome, black mght; and Cease these
false sports. And his novel experiments in harmonic effect abound throughout the volume, notably in When
the poor cripple and Tell me, true Love, where some curious suspensions are held on by the voice after they
are resolved in the accompaniment.
.Nos. 1-7 and 12-18 in A Pilgrimes Solace were written by Dowland for alternate use as solo songs,
or as songs for four unaccompanied voices. No. 8 is for solo voice with four voices entering in chorus at
the words Thou canst not die. Nos. 9-11 are, as already stated, solo songs with accompaniment for Lute
and treble and bass viols; the treble viol part of these is called Cantus and the voice part AJtus in the
original edition. There is no alternative vocal version of these three numbers. In the present edition of
them it has been thought undesirable to attempt any adaptation of the lute-part for the pianoforte, but the
voice parts and the literal pianoforte transcription of the lute-part have been subdivided for sake of con-
venience into regular lengths of four crotchets each, regardless of the occasional contravention of the true
vocal rhythm which must invariably be followed without any reference to the bars; the original barring
is shown in the tablature ; expression marks have also been added in these three songs. No. 19 is a dialogue
for Tenor and Bass with chorus, and Nos. 20 and 21 are also songs with chorus. It has seemed unnecessary
to give alternative versions to these last three numbers in the present Edition. The final piece in the book
is ““ A Galliard to Lachrimae ”’ for lute ; and this, being an instrumental piece, is omitted in the present
Edition. The British Museum copy of this very scarce work is damaged and pet of the chorus parts of
Nos. 20 and 21 are missing. The editor is greatly indebted to Mr. Edward Huntingdon, of New York, who
owns the perfect copy formerly in the Bridgewater House Library, for his kindness in supplying him with
photographs of these pages.
Two small technical details in this volume call for brief comment. Until the beginning of the seven-
teenth century it seems to have been unusual to have more than one extra string, or diapason, as it was
called, below the sixth or “ bass ”’ string. This diapason could be tuned variably according to requirement,
but was usually a fourth below the bass. When additional diapasons came into use a further indication
necessarily had to be introduced in the tablature. Thus a, /a and //a indicated respectively the fundamental
note of three available strings of this kind. Dowland’s A Pilgrimes Solace provides an early example of
this usage.
The other technical point concerns the notation of certain bars of No. 6 of the Set. All four voice
parts in this number are printed in “ black ”’ notation ; in similar cases in this edition the Editor has printed
white notes of the same value instead of black, but in this instance a white dotted semibreve has been
used in the original edition at each close in all the voices, namely, in bars 3, 5, 9, 11 and 13; and each
of these bars is completed by a black minim. Bar 17 has a semibreve without dot and the bar is completed
by a black dotted minim and crotchet. There can be no doubt that the 6-2 rhythm was intended to be
maintained throughout the song, and it will be observed that in bars 11 and 13 the 6-2 rhythm is retained
unbroken in the lute-part. :
Three of John Dowland’s songs from his son, Robert Dowland’s A Musical Banquet are included
in this edition at the end of the second half of A Pilgrimes Solace, so that the whole of his songs, eighty-
seven in number, are thus brought together in complete form.
EDMUND H. FELLOWES.
THE CLOISTERS:
WINDSOR CASTLE,
November 30th, 1923.
| Wherein is contained Muficall |BxgS)
Harmonie of 3. 4. and 5. parts, to be
fung and plaid with the Lute
and Viols.

By fobn Douland, Batchelor of Muficke in

both the Vniuerfities : and Lurenift to the
Right Honourable the
Lord Walden.

LONDON:
Printed for M. L. 7. B. and T. S.
by the Affignment of
Wiliam Barley.
 TO THE RIGHT HO rable,

THEOPHILVS, LORD WALDEN, SONNE

AND HEIRE TO THE MOST NOBLE, THOMAS, BARON
OF WALDEN, EARLE OF SVFFOLKE, LORD CHAMBERLAINE
OF HIS MAIESTIES HOVSEHOLD, KNIGHT OF THE MOST
Noble Order of the Garter, and one of his Maiesties moft Honourable
Priuie Counfell.

Molt Honoured Lord,

Q S to excell in any qualitie is very rare, fo it is a hard thing to find out thofe that fauour Vertue
and Learning ; but fuch being found, men of Iudgment are drawne (I know not by what Sym-
pathie) to loue and Honor them, as the Saints and Soueraignes of their affections and deuices :
wherefore (mof{t Worthy Lord) your Honor being of all men noted (as natural borne heire of
your moft Renowned father and mother) to be the onely.and alone supporter of goodnes and excellencie,
knowne to none better (vnles I fhould be the moft vngratefull of all others) then my felfe, who am held vp
onely by your gratious hand; for which I can fhew no other meanes of thankfulnes then thefe fimple
fruits of my poore endeauors which I moft humbly prefent as a publike pledge from a true and deuoted
heart, hoping hereafter to performe something, wherein I fhall fhew my felfe more worthy of your Honor-
able feruice. In the meane time you fhall haue a poore mans praiers for your Lordfhips continuall health
and dayly increafe of Honor.

your Honours

humble jeruant

IOHN DOVLAND.
 TO THE READER.
Wis Gentiemen, and my louing Countrymen; mooued by your many and fore-ta{ted courte-
fies, I am con{trained to appeare againe vnto you. True it is, I haue lien long obfcured from
your fight, becaufe I recetued a Kingly entertainment in a forraine climate, which could not
attaine to any (though neuer fo meane) place at home, yet haue I held vp my head within this
Horizon, and not altogether beene vnaffected elfe where. Since fome part of my poore labours haue found
fauour in the greateft part of Europes, and beene printed in eight moft famous Cities beyond the seas,
viz.: Paris, Antwerpe, Collein, Nurenburge, Franckfort, Liepfig, Amfterdam, and Hamburge: (yea and
fome of them alfo authorized vnder the Emperours royall priuiledge,) yet I muft teil you, as I haue beene
a ftranger; fo haue I againe found f{trange entertainement fince my returne: efpecially by the oppo-
fition of two forts of people that fhroude themfelues vnder the title of Mufitians. The firft are fome fimple
Cantors, or vocall fingers, who though they seeme excellent in their blinde Diuifion-making, are meerely
ignorant, even in the firft elements of Muficke, and alfo in the true order of the mutation of the Hexachord
in the Sy{teme, (which hath ben approued by all the learned and skilfull men of Chriftendome, this 800
yeeres,) yet doe thefe fellowes giue their verdict of me behinde my backe, and fay, what I doe is after the old
manner: but I will {peake openly to them, and would haue them know that the proudeft Cantor of them,
dares not oppofe himfelfe face to face again{t me. The fecond are young-men, profeffers of the Lute,
who vaunt themfelues, to the difparagement of fuch as haue beene before their time (wherein I my felfe
am a party) that there neuer was the like of them. To thefe men I fay little, becaufe of my loue and hope
to fee fome deedes enfue their braue wordes, and alfo “being that here vnder their owne nofes hath beene
publifhed a Booke in defence of the Viol de Gamba, wherein not onely all other the beft and principall
Inftruments haue been abafed, but efpecially the Lute by name, the words, to fatisfie thee Reader I haue
here thought good to infert, and are as followeth: From henceforth, the ftatefull inftrumeni Gambo Voll,
Shall with eafe yeeld full various, and deuicefull Muficke as the Lute: for here I protest the Trinitie of Muficke,
Parts, Paffion, and Deutfion, to be as gracefully united in the Gambo Viol, as in the moft receiurd inftrument
that is &c. Which Imputation, methinkes, the learneder fort of Mufitians ought not to let pafie vnanfwered.
Moreouer that here are and daily doth come into our moft famous kingdome, diuers {trangers from beyond
the feas, which auerre before our owne faces, that we haue no true methode of application or fingering
of the Lute. Now if thefe gallant yong Lutenifts be fuch as they would haue the world beleeue, and of
which I make no doubt, let them remember that their skill lyeth not in their fingers endes: Cucullus non
facit Monachum. J wilh for the Honor therfore and generall benefit of our Countrie, that they vndertake
the defence of their Lute profeffion, feeing that fome of them aboue other, haue molt large meanes, con-
uenient time, and fuch encouragement as I neuer knew any haue, beleeve me if any of thefe objections
had beene made when thofe famous men liued which now are thought worthy of no fame, nor derogating
from thefe skillfull men prefent ; I dare affirme that thefe obiections had beene an{wered to the full, and
I make no doubt but that thofe few of the former time which liue yet, *being that fome of them are Batche-
lors of Mulicke, and others which affume vnto themlelues to be no leffe worthy, wilbe as forward to prelerue
their reputation. Perhaps you will aske me, why I that haue trauailed in many countries, and ought to
haue fome experience, doth not vnder goe this bufines my felfe? I anfwere that I want abilitie, “being I
am now entered into the fiftieth yeare of mine age: fecondly becaufe I want both meanes, lealure, and
encouragement. But (Gentle Reader to conclude, although abruptly) this worke of mine, which I here
haue publifhed, containeth fuch things as I my felfe haue thought well of, as being in mine opinion furnifhed
with varietie of matter both of Iudgement and delight, which willingly I referre. to the friendly cenlure,
and approbation of the skilfull: hoping it will be no leffe delightfull to all in generall, then it was pleafing
to me in the ccmpofition. Farewell.

Your friend

IOHN DOULAND.

* Sic,
 A PILGRIMES SOLACE.
PART L

CONTENTS.

Disdain me still
Sweet, stay awhile ....
To ask for all thy love

Love those beams that breed

Shall I strive with words to move?
Were every thought an eye
Stay, Time, awhile thy flying
Tell me, true Love ....
Go, nightly cares
From silent night
Lasso vita mia
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St.& B.2987-14
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ME STILL

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art most fair, most And still ri love, and still
ineaheneea Wnily
ilBins |

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love, Ill love, though still, though still I must de spair

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Disdain me still, that I may ever love;
For who his love enjoys can love no more.
The war once past, with ease men cowards prove;
And ships returned do rot upon the shore.
And though thou frown Ill say thou art most fair,
And still I'l] love, though still I must despair.
As heat to life, so is desire to love; (gone.
And these once quenched, both life and love are
Let not my sighs nor tears thy virtue move;
Like baser metals,do not melt too soon.
Laugh at my woes although I ever mourn.
Love surfeits with rewards,his nurse is scorn.

St. & B, 2987-12

 DISDAIN ME STILL
Words ascribed to
William, Earl of Pembroke

Very moderate speed.

Disdain me still, that I may ev - er love; For who his

As heat to life, so is And these once

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o
as
il
ll

ona)
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aD},

aa
LS
Wh
love en - joyS____ can love, can love no more. The war once

quenched, both life and love are gone, are gone. Let not my

past, with ease men co - wards prove; And ships re - turned do_
sighs nor tears thy vir - tue move; Like ba - ser

Copyright 1924 by Stainer & Bell Ltd. St.& B. 2987-10

 rot shore. though thou
do not melt too soon. Laugh at my

frown thou art most fair, most

woes though ev - er mourn, ev er

CTeSC.

3
love, I ll love, though still, though still
== With rewards, his nurse, is scorn, his nurse is scorn.
=i

LS
Hh
i
pa
ci
i

St. & B.2987-10

 SWEET STAY AWHILE
To my worthy friend MY William Iewel of Exceter Colledge in Oxford
Words ascribed to
John Donne

Sweet, stay a-while! why will you rise? The light yousee comes

HibsIW)
AKY
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IN}KS)
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LUTE ss)

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Apes your eyes; The day breaks not, it is my

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To think that you and I must part. 0 stay!

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©

Copyright 1924 by Stainer & Bell Ltd. St.& B. 2987-24

 I |
Lo? £0 ES SE a 2? PRE EE eee 2. ES ES a
O.0 Te ee Eee SD Bae Seay ew Dee Bee ee ee ae as
0 fon Ca EE GT aT £2) ES EES 6 AE ee Ee ee | GE ee eo Bo
(Se Paes Eee BSS ES ee, SST Se See Gee

joys, my joys, my joys 5

|
i=} n o

*E sharp,printed thus in the original edition,

may be a misprint for F sharp,or the sharp itself may bean error.

Sweet, stay awhile; why will you rise?

The light you see comes from your eyes,
The day breaks not,it is my heart,
To think that you and I must part.
O stayLor else my joys must die
And perish in their infancy.

Dear, let me die in this fair breast,

Far sweeter than the Phoenix’nest.
Love, raise desire by his sweet charms
Within this circle of thine arms.
And let thy blissful kisses cherish
Mine infant joys that else must perish.

St.& B. 2987-24
 SWEET, STAY AWHILE
Words ascribed to
John Donne

Sweet, stay a while! why will you rise? The

Dear, let me die in this fair breast, Far

larg
PIANO inl

aa
eee
2
eae] a J
e-
aay

light you see comes from your. eyes;

Nie

sweet er than the Phoe nix’ nest.

HT
et
td
beai

¢|110

he

breaks not, it is my heart,

raise sire by his sweet charms
sen

Copyright 1924 by Stainer & Bell Ltd. St.& B. 2987-2b

 rhs
aim.
URES
AOE Be Se Seam ee ae) eee ee eS SiS eT
oe = BSE BARE | A
cay fer (ke 2 eres] Ree ee cae MS (eeSas area
EDEL Rey a ee ee
retmeer ac Pegide aos aaa) tae Rai PGE NaN ae DERE PLTene a eG

To think that y°u and I must part

With in this cir cle of thine arms,
ity

Sega
igs Sa
we,
‘wa
8

=
fh
ee

my joys, my joys, my joys must die

stay! and let th y bliss - ful, bliss -ful, kiss - es che = rish

And |
Alaa rish in their in - fan - cy.
that else must pe - rish.

St. & B. 2987-2»

 10
TO ASK FOR ALL THY LOVE

To ask t love and thy

LA
fis

q
~~

a" Lie
aoe
ry

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eee

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Sareea STs
ih

ay OS [ae ee ee Eee2CE ES eae E

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| sb

ae ae |AS SIE ee. Sere a SO 7 Saw | SES aes aaa]

| EE ICE | Aree
saeeee RT | Se Se ek at [ea
?
whole heart, twere mad = ness. I do not sue nor can ad -

fill ||
Bhs
aS

lh |

LD 4
ES SES
ESE a) a
[See we oe Ree ey ae eT ES eee)
ab

Eee eS ee a
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NY

you to have all;

~~ Caeese
= LT ae Peeae see]
{a

ree == a
TH
Bee
Pa ea

Eee

Copyright 1924 by Stainer & Bell Ltd, St.& B, 2987-328

 = bm

5 216 wn
/

©
Oee
(| 1

To ask for all thy love and thy whole heart,

?Twere madness.
I do not sue
Nor can admit,
Fairest,from you
To have all; yet
Who giveth all hath nothing to impart
But sadness.

He that receiveth all can have no more

Than seeing.
My love by lengh
Of every hour
Gathers new strength,
New growth,new flower.
You must have daily new rewards in store
Still being.

You cannot every day give me your heart

For merit.
Yet if you will
When yours doth go
You shall have still
One to bestow,
For you shall mine when yours doth part
Inherit.

Yet if you please I’ll find a better way

Than change them.
For so alone,
Dearest,we shall
Be one and one
Anothers all.
Let us so join our hearts that nothing may
Estrange them.

St.3 B. 2987-32
 12

TO ASK FOR ALL THY LOVE

Rather slow
fr
oO
o
>

39
a Coe
D>
all thy love heart,

$8
for

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that re - ceiv - eth all Ss
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mad I do not sue
oo
fair - est, from

mend

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see ing My love by length a2
38 Sa - thers new

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-thing to
aa

no
oti
bo ele

=i
g
os

new re - wards
i
|

Copyright 1924 by Stainer & Bell Ltd. St.& B.2987-3b

 13

LOVE THOSE BEAMS

Love those beams that breed,

Love
££

fh
"V8
3\3)

bhi
\3

QVTae
|S)

All day long Breed and feed this burn ~ ing,

Floods of tears, Night- ly tears ing.

But a -las! tears cool this fire in vain; The more I quench,the

i
wait

a 4 4, 4

Copyright 1924 by Stainer § Bell Ltd. St.& B. 2987-44

 more I quench, the more there doth re - main.
i Wise aoe Seen SeIT PTET bE ES 8 (a
2 . 2 SS ee Se EIT RIES SSS OE ES Ea ee,
8 fo. Ce es De EE See BERT) OE RSS a ee ae SSS aa ae Se a ee
|\ bg ¢ UO 4 fo nn ig ey ee |

: ie
————————————EE—————E——————— a a
if (oe ee ee ae es (ee eS ea eee ee ee)
7 See ES” TES Ee _ ee eS LE ey
+2 ee, <A ey EES ieee EE eae PS

R a a a
b b é a a é By |
Q b b ’ SY TN Le ey 2 |
t c é Re |
Cees
a a eree |

Love those beams that breed,

All day long
Breed and feed
This burning,
Love I quench with floods,
Floods of tears,
Nightly tears
And mourning.
But alas! tears cool this fire in vain;
The more I quench the more there doth remain.

I'll go to the woods

And alone
Make my moan,
O cruel!
For I am deceived
And bereaved
Of my life,
My jewel.
O but in the woods, though Love be blind,
He hath his spies my secret haunts to find.

Love, then I must yield

To thy might,
Might and spite
Oppressed;
Since I see my wrongs,
Woe is me,
Cannot be
Redressed,
Come at last, be friendly, Love, to me,
And let me not endure this misery.

St.& B. 2987-48
 15

LOVE THOSE BEAMS

Ver y moderate speed

UD

those 2o 3 SI mn =3
~~ ~ o—)be o o 3
to the woods my
must yield To thy might, Might

PIANO

quench with Floods of tears, Night - ly

am de - ceived And be reaved of my
see my wrongs, Woe is me, Can not
Dad
a
OS

:
Sah

Copyright 1924 by Stainer & Bell Ltd. St. & B. 2987-4b

 tears and mourn ~ MS = ing. But a - tas! tears
life, y j w el. but in the
be re dress - at last, be

dim.

cool this fire in vain ©

> ine vain; T he more I quench, the
woods, though Love be blind, be__ blind , He hath his spies, he
friend ~ ly, Love, [0 me, to__ me, And let me not, and

more I quench, the more there doth re main.

hath his spies, my se cret__._ haunts to find.
let me not en - dure this__ mi se - ry.

St. 4 B. 2987-4)
 17

SHALL I STRIVE WITH WORDS TO MOVE?

VOICE

Shall I strive with words to move When deeds receivenot due re - gard?

| =) = iS

Shall I speak and nei ther please nor be free-ly heard?

Vf
ieee
oe
%

ANG Mt
ult
:
S > Ta
ty
bn se
cE
CBS
AER
ae
OD
OS
SCD
Bt
oS
(B00

Copyright 1924 by Stainer & Bell Ltd. St. & B. 2987-54

 All woes have end though pa - tience prov

|
[a
rat
Sees
Sa oes ae [ie oa ae SE) a)
=a ere ea|eee as Se ee)
GS A MS & a
ae = EET, LTS}
Bisa = aaa Fe

that Times strange ef - fects Could but

)
be L\
i)

make,butmake her lov ing! I wooed her, I loved her, andnone but her ad-

2
:
; e

a a

a €
e é

St. & B. 2987-54

 49

[iN
2 SES SUS Gis oF oe On TS |

@ as SS a)
i SS SSeS Ee

li i FQ)

Shall I strive with words to move

When deeds receive not due regard?
Shall I speak and neither please
Nor be freely heard?
All woes have end though awhile delayed,
Our patience proving.
O that Times’ strange effects
Could but make her loving!
I wooed her, I loved her,and none but her admire.
O come, dear joy, and answer my desire.

Grief, alas, though all in vain,

Her restless anguish must reveal.
She alone my wound shall know
Though she will not heal.
Storms calm at last, and why may not she
Leave off her frowning?
O sweet Love, help her hands
My affection crowning.
I wooed her, I loved her,and none but her admire.
O come, dear joy, and answer my desire.

St. & B.2987-54

 20

SHALL I STRIVE WITH WORDS TO MOVE?

oO
3 (>) wn ay
{ob} as
~S
ie)
S
2
>

no Sa s4deat>=e383
2 ei
wn receive not due re - gard?
3
ce8fea
mam eS. xf
8o Cs
oe
J
= Her rest - less an-guish must re - veal.
—)
A.
<
a
SO
basd

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e
iil
Wee errs
ASSETS iSe Beal
=a
Sa
ee A
Liga
oes] wi
53ees ATE
Fees

m= th a eo
Shall
ae
=e
xs nei - ther please Nor be free- ly__ heard?
AS)2
She ‘ 2
ee
= wound shall know Though she will not_ heal

ii\
tt

li
\

All woes have end though a ~ while de layed,

Storms calm at last, and why may not she
Hil

2
i}

A
A

Copyright 1924 by Stainer § Beli Ltd. St. & B, 2987-5b

 z1

Our pa - tience prov - ing that Times

[
Leave off her frown - ing?. sweet Love,

sun
a Ee EES aS TD Eo ee BS
Picea Coane fa" Cee ESE es
Sao Sa oT = os
Das ponmrca oO ees
0, 2,

ee) 5 Serene
aa i Siem rene
Dypoeaen
Let
one aes aca
ee TE
Gan rer
a fixera iE

tH
CADEap
of, oe STS
q
TRE Al ES a, apereae| oer =a asf ae ee en]
Lae ee ee ZS ES 7 ae fice aes] [ial(oY Deeeoeea Tose a
area TYeae ee ° Ht J Es ea

ut 7g >
strange Could but make, lov - - ing!
Ale}

ef - fects but make her

help her hands My af - fec - tion crown - ing.

il
if

oa ST mf
: eee Ae Stee See ee ee
ie
ee i aw ee

ie
Ete ir

Ee ae ees
OCEEN
ees ert)
FH OS
BE er
Sati
|

A2 ee ee eae AS
Crama Sew a se me
ey AT iy 2a Gs lea ere | a a SOBA TH
(EEETE ST PEs ae sero |

I wooed her, I loved her, and none but her ad - mire

Boa

Ooo
Se rs
Saget
eae

ay AEROS
A a Ae
eG
N+ 2
cc
G7. V ES
22

a
i

ATS ee
Pacers & BESETaS
=a er
ee |

aaa Sa
ene
Ame eae EM POR
TEES
(ae
SaasTR ae
AA BETA
Ce PTS Seer

come, dear joy, and an swer my

St. & B. 2987-5b

R22

WERE EVERY THOUGHT AN EYE

VOICE.

Were ev- e-rythought an eye, And all thoseeyescould see, Her

ee
ee
Isa
M1)

LUTE

sub tle wile* their sightswould be-guile And mock their jea lou - sy.

# 7 misprinted F in the original edition

*See Preface p. vi. * wiles inthe original edition
Copyright 1924 by Stainer § Bell Ltd. St. & B. 2987-62
 23
AR

poe ay ear eae eee

|
a [eee
ee Sl Cll¢ ee
Ei
=] eee py 2
TN EN
Eg a
a

[oy [psn eee re iS See eee eee ee se

De-sire lives in her heart, her eyes. ’T were

.h
all
eee

ab
O_O

Q) it

Go ES
ei

fae) 209 7 es De
Cr 0 eee Ge | 7 ee
GE a ees fae
sz
[NY
uh

ML

a R R a
slo\'s

Ef ST)
a ae,
G
SSS ae ee eee 0; ee; ROS

{]
a’ SE) Sa & 3 camow. CSS ee RE (REET f
am: LATERM BEDE 8 ae : ay 7-7 Ee ET RN TESST |
a CSS eee ae) DSS | re ena ee) i
eeeee
Sa yr = 8 areal
Vie Se Se eee ae Se 2
eee ae Ot
vain to wish wo-men true; ’tis well If they prove wise.

1]
man 4Z_ Ml MN
13 a ” F R a@_a
a bs Q J Q e i) ae hf S ee 8
Ci aan ay eee Ee Seen
QW

|v .S)

eens Sie are gee ee | ea ame teeerer aes eS ie

CL a

hl
a a ‘ y
ra e
Y

VJ MDS CS Aa eee ees atv =

[iS i eS aa eee) 2 IA Ley
SG a Say ES et nay Se eee AEE Ree
El eae
pe ek Cae DS eee ES STS
Such a love. de-serves more grace Thana tru - erheart that hath no conceit To make

®
Fis misprinted a the original edition St. & B. 2987-6a
 \) Cee EDT “eat aes (Os
CP £2 0h) SA SE GELS CE Ea O° OMe - Se ST Y Ree ee ey ed Oe)
| 4 by | 4 — 49 gg 4 ax0

use both of time and place When a wit hath need of all his sleight.
— |
\)
SP” iS) MERE OT MET UR eID eae RP a
SS) PE TESTE ET ET PE) GSTS! LA Cee ET PT Fa I eG
| xb —-+ + 3} 4a it ee 1 6 et 02 293 Ea SS 0 TA A
en a 6 6 ee fe Oe ee

Pa : B
eee a eS Se SS eee

cat es |
oS et 0 Ease SS & FRET © xe 2 momar a eee p--—___$) ______f_S4
i]
U

“a7WI <7 > eS

>

|
= > =)

Were every thought an eye

And all those eyes could see,
Her subtle wile their sights would beguile
And mock their jealousy.
Desire lives in her heart,
Diana in her eyes.
‘Twere vain to wish woman true; ‘tis well
If they prove wise.

Such a love deserves more grace

Than a truer heart that hath no conceit
To make use of both time and place
When awit hath need of all his sleight.

Her fires do inward burn,

They make no outward show;
And her delights amid the dark shades
That none discover, grow.
The flowers growthis unseen,
Yet every day it grows;
So where her fancy is set it thrives,
But how, none knows.

Such a love deserves more grace

Than a truer heart that hath no conceit
To make use of both time and place
When a wit hath need of all his sleight.

St. & B. 2987-62

 25

WERE EVERY THOUGHT AN EYE

év - e-ry thought an ®@ > co) And all those eyes could

They make no out - ward

PIANO

see, sub tle wile their sights would be -guile And

show; And her de - lights a = Mid the dark shades That

mock their jea De - sire —— live s in her heart, Di-

none dis-co ver grow. The flower's growth is un - seen, Yet

Copyright 1924 by Stainer § Bell Ltd. St.¢ B.2987-60

 a 3 © te o > el col| to wish wo-men true; ’tis well Gi
ev - ery day it rows; —— So where her fan-cy is set it thrives, But

cTeésc.

they prove WISER a

|Such a love de-serves more grace Than a
how, none knows.
——

tru er heart that hath no con-ceit To make

a

=
seal
ail
oaD

wit a=)oo) ~ S S o o a=) of all his sleight.

St. § B.2987-6b
 27
STAY, TIME, AWHILE THY FLYING

Sr

left

ita
eee
TRY

'
|
|
NG
OS

)
Bat
Q
7

i
|Los

a] ol}
LUTE

fe
4

oO La ac
i |
. reft

S,
oa
a

hic
Ha

'

close mine eyes, bet - are — 450) die ee - %

&9

a2
IM

Lier

iS) alshs

Copyright 1924 by Stainer§ Bell Ltd. St.§ B.2987-74

 a * fe
r EEG FSG 6S AAD OSES RE) GES (se
sr ROPER) RE RT Ge en DE ied Teen ie GR EA Re a
0 (4, EE © DE — (Ge Pese A) Re DE Ee RM eT PR a eee
Mii
EEE TE PS es eS _ ER RES (Se RSE a Re) a

Than toss live, to live thus dis - tress oo Qe

o aeSEE
eT
SESr

ese fod ae

Stay, Time,awhile thy flying,

Stay, and pity me dying.
For Fates and friends have left me,
And of comfort bereft me.
Come, close mine eyes; better to die blessed
Than to live thus distressed.

To whom shall I complain me

When thus friends do disdain me?
‘Tis Time that must befriend me,
Drowned in sorrow,to end me.
Come,close mine eyes; better to die blessed
Than to live thus distressed.

Tears but augment this fuel

I feed by night, O cruel.
Light griefs can speak their pleasure;
Mine are dumb passing measure,
Quick,close mine eyes; better to die blessed
Than here to live distressed.

* misprinted a crotchet in the original edition St.§ B.2987-74

 29

STAY, TIME, AWHILE THY FLYING

VOICE

Time, a - while
whom shall I i When~ thus
but aug - ment this

PIANO

CO 95) ea Co DI a Se i ie
oo. pl ES SE LE SS ET TTY SPS ot Ge PORTE
i Qoa VEO ETS Ee a SE)
SE AES CL SEER: *2 ARTOIS
GEA Se EY (EER RS

pi - - =a cust me dy - 2 ing.
Telglics pee ees see ek do dis - dain me ?
feed by night, LO pate aon carer nae em cru = - el.

dim
Pl A BE
FE
ee —_ EEE LS LN Fa
aS ay
| wy (ESE pa ee REESE ER AE hi Lae Ee ae
| Ge ee See SS
eae Ee a Fi
een

For Fates and friends have left me, And of

“Lis Time that must be - friend me, Drowned in
Light griefs can speak their plea = sure; Mine are

Copyright 1924 by Stainer § Bell Ltd. St.& B.2987-7b

 com fort be = reft me. Come,
sor row, to n me. Come,
dumb pass = ing m e€a

mine eyes; bet a=)4 © n n ' ®o a

mine eyes; bet bless - ed

mine eyes; bet bless - ed
ial
i
ao Ho

TES ATE SE SEY

ill

Cae Raa
=P” ae.
GRR. eT
ES ST

Than to live, to
ane

=}
"es
OE

a!
o

nn
nn

Than Coss live, to

es

1
od

live, here
es wn

Than here to
a=]
®

vO

‘
't'
o
o

ww
2
—ae

PP
YL
wa
nn

oO
o
Hl
‘A

St.§ B.2987-7b
 31
TELL ME,TRUE LOVE

Tell me,true Love,where shall I seek

D D ;ESTES
|SEE PEE.
LUTE (Ss € SS rs
a a

f)? z._
tT I

Ae Se eS a a Oe a hier“ eee Se
Ee ae RD Oe
io

an eee) Ins es Ses PS pg , ge gs Eel go eee ee

eh

§ CE haa SS (eeea Fa SES" BES IEA

EL, RSS Sa Ree Gee

thoughts or words, pro - mise - mak = ing o

baal

m Vows or
i it
ii
iH

ise
Ree a ES
T°

Peli
ny aE
iis
> GR 6 ae

19
\

[|

Site.
NI

\
I

443

Sink ,
RQexS

©
Bape

i :-
|

3]
ll)

u
ay

il
LS
li

/
UT
(ite
au

2
areas
Nz

"

SA
NY
HT
;

ae ee]
Oa
;

fee
N)

In rea-sons, looks pas - sions,or pas - sions nev - er see-ing?

: Bal Ppa ft.

Y
ii
77m
Me

haan
D
SS
“_|
|v

Copyright 1924 by Stainer & Bell Ltd. St.§ B. 2987-82

 In men on earth or wo - men’s minds par- tak

Le
L=
d

:
:
eae ee ne ee ee
= Be ee ea ee
SenLE Ee =e" ee 2 eel ae eee| Tei
7m w= ERLE it SS

Thou canst not die, and therefore,

liv - ing, therefore,
liv - ing,tell me
Hie

tl if
a

p
L
>
:©
8

Where 1s thy seat? is thy seat, thy seat ?

St.& B. 2987-82
 *, is apparently a misprint for1

Tell me,true Love,where shall I seek thy being?

In thoughts or words in vows, or promise-making?
In reasons, looks,or passions never seeing?
In men on earth or women’s minds partaking?
Thou canst not die; and therefore, living, tell me
Where is thy seat ? why doth this age expel thee?

When thoughts are still unseen and words disguised,

Vows are not sacred held,nor promise debt
By passions Reason’s glory is surprised,
In neither sex is true Love firmly set.
Thoughts feigned,words false,vows and promise broken
Made true Love fly from earth, this is the token.

Mount then,
my thoughts,here is for thee no dwelling,
Since Truth and Falsehood live like twins together.
Believe not sense,eyes,ears,touch,taste,or smelling;
Both Art and Nature’s forced, put trust in neither.
One only she doth true Love
captive bind
In fairest breast,
but in a fairer mind.

O fairest mind,enriched with Love’s residing,

Retain the best,in hearts let some seed fall ,
Instead of weeds Love’s fruits may have abiding;
At harvest you shall reap increase of all.
O happy Love! more happy man that finds thee!
Most happy Saint, that keeps,restores,unbinds thee!

t+debt—sc, binding

St.§& B.2987-82%
34

TELL ME,TRUE LOVE

i
Rather slow

Tell me,true Love,where shall I seek my be-ing? In

ails
fair-est mind, en-riched with Love’s re - si-ding, Re-

PIANO

i
"

thoughts,
or vows, or words, or pro - mise - mak - ing?
-tain the best, in hearts let some seed
{

{|
Ft
i

Pos
ys
Sata

Mw
eae

1
w
7)mes)

on
Dy

on

he
_—

De J °°“oO sf wg~ n
co O°
gq nHe) aySues
Ba wnsa5no
=8B

{
uehd
dy2:5

(ils
ele
i'

cy
wn

()
=

a
‘Uy

iy
|

sions nev = er See sinea: In men on earth

may have a bi - ding; At har - vest you
i;

Copyright 1924 by Stainer §Bell Ltd. St.§ B.2987-8b

 : ; Ge gq ee)ae1

=)
Se
no) gS °

wn
iss)
°
~ ~

Q,
©

Se] eee re} Nipele gee AI|| lil] i

<2 -
ae Paes) an

$2
i
WSs (Jemnengy

lee 2 li
aed
¥
Z a Oo ees
on SBa ae md
die; < ey dr!

Mm

o vo
Gg
3~
a § rar] ~ ~~
Love! More hap D>
a gs ao
fey

-
o
een

4
bac}

At
mT
(fie ih
I

oh
tu | 4)
ie 2 WES
Jae
:
Hl

ime
a
ne 5
Rea p> 2 2
es.
aed =&~
3 mf me
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o
177] ~ a.
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he

|
|

34 eevee ane ars an zs «x tet 2.2Pe

o

Se
S)
n
a

(cites
~~

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a0
3~ 3©
ts
i-|
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Sg
Se nm!g
n
=
! S25
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bh
maf
LD

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ft

ina ® )
?)

St. & B. 2987-8b

36

GO, NIGHTLY CARES.

VOICE.

0 d night - ly cares ’

mfr oe
VIOLIN
1:
Viol)

mf
VEONE
ON GIES INO,
“Viol da Gamba)

PIANO

a
ee NN CL In ee a a C a G a a é C é é
d a
LUTE a c € é
d a € Cc
(i a

2
AA CSS
2
“aa
a
:
(eee
er
era
———————E
ee
aa

CA
EFS,
[Se
ee
aoe Seer
SF SS

I
i
a
Ba
ea
ap
Gee an I PRS
a Se) CaaS
S,

Go, night - ly cares, the e-ne-my to

|

P —
a ee ee ees === fll
ih
ih

NESE LOICESLES CLEA EBL, SSOP AEB TD, SS Gee

eeeeT TE 2S a
See

P aaa

es See eee a ee 2 ee ee = ee eee TEE EOS LES

et eal
f

IY |
Ae

ans
TY

The bass-viol part alone has two flats in the signature inthe original edition.
Copyright 1924 by Stainer & Bell Ltd. St. § B. 2987-948
 wee
lee OO
i TSHAN! mf esa

Ts
+

Mas

gall
s
‘\
FN

avez

SY
V

dean

on
b
nee

—
ll :i ie, Hfae

a
tlI) de aus

LT
Picea
*

so
413 ia h s o

fecaa]
@rlHN) ££ 3)% 4 ip i) i

griev
rest.

CS
c€

a
= 5

ID
Y)

————————

eresc
-
t me 1 es

es?
pre
Sree

TEA
long, so
eS
a
} :

Sit
[eeeee
os Mth s -
Si4rr

a
SHY] re AL ita

ed
NI Tn GS
SLT Ly LUT RSS re) ° . 2

ae aan ESTE
| |

c
tT HY lt = TWhe
TBS! 4 \la dl !Ht
n

R
LTT ieIlene feyet UN Erp(TPE Ly} Sy]
(ET WE
We Eg) w= ee 1

a
sprite
7

* The dot is omitted in the original edition

m WE i my |s | ue i | |;S ws HHT
| TN) | ey
(bee UM Tm | At
SUS T | N. ll,
(3

long your weight —__

e

at qh IP thle KAT [US 738)MZ

Seas sss

a| uF
AN | in

Ey

El
Se
a
For

Ta i b

hath
=

aaa
ee

see

a
a

my
ae
OT Dad Bh Heit
ee

ae

|
SSS

Ss
Sarsaes

ees
Eee
ee

St.§6 B. 2987-94
MTT

=e

lain
tsa
Se

ae ee

=_- a
ee EEA
== ees

ae
fs
saa
ere
Ses

Gee
Sea

are ag

RR
‘. res HA PaCI
|

——
Ts In Hy
OMe

i . YI | HI) ' Hh+ |

ch
\ il iH

up-on
| Mt| | T
G fe | ] ie | ] ; te | tHith
i |Il HH :|
for-bear

Auha TA i Ue JH)
UbeOya =ith NOT =)
eqAEM
TT ALY Want
| | Mae} i an IT) = an ts = TA ioh Ni ft,
ie il: i |
a- while __

i>
|
244 rT) i lt To

hd SNM | ih Tl mt
ht
lil ult dh ai.
to vex

ae Met
les lal ie i(k ll ALG 4
my

one
37
 Me Mm | he fl
mt = an rez
life

iM 1
eas
AEE)

L ®
& ul ii athe i we ibis {I Hl + Ht
of

eM A

hh
ti ts mle eS

ith
breath,
: |
EE

live

PH = \-ltb il ile fl i tf.

Ce

a]
oe
Te

a)
ies

==
NS

my wea-ry
fll | ’ bh bai

— eens
Ss SSS
na
ee
I

nee
aaa

ire enor a ae

Sneee Tet bee

Rs
aa
BEE

.Fl
3S

or: Ces es RS
——=}

ae

es
Ss atSs SS

ee
ae
SSS
yer
lo

Pe Ry

Ff,
(a

Cs

Cant
ora a

Heres
Scene

EO
EET Te

OES TERN RE
that

a? eS
[,
[veneer

draw
ase

5
1

(ae
GR
live,

Rani

ad
Sy

ne iy a

f
l

7
it _ ; eel 1s %

a4
Uy
| Elis
em:
ii | il a
i Qi |

St.& B. 2987-94
Sf) > Sun th
3 | a5 oo (i| q e} JIG {L3| |<
Wall | | | ll
Q©8Uy
4 na
I Al ea tk Ty
{
| f
ng) da; Ve)
ri itt nd nd =
‘
&D | (i Aes cS e
-
gy Qd |he &,
|
=
e ji
: | |
ee Nitta| ae Lae
il | lll - Hiiis
| il ' ie
— 3 ~
% hs
| = MS]
= ail
aT
2
&
s
ith
th
IR can :
|
Baa
: 2
I vu Pia: ih hl ae oe : ads
2Te He 4h til aul He,bad Lhmr
aan ar. | | iy ill on vs to
nnd Tht fl tia ‘i asc ii ; ith
 GE Se eS [ Pee ee OA cee Se |Li
aaa Sea SS es
PEee SeeBETS Le Se 2 aa fit Se Se ed
es es Se
= eee SE BSLiki 64 ees ee 2 ee ye, ee]
Se
SeeroT Ee U0 ereAe 8
a

Or let me die as I de - sire the death.

~ come, sweet

@ 0... G4 CE law ane |

a GEE aa a

S » Ma)

alt
ce: death, wel - come,sweet death, s 2 db ~
i si
|

il

: )&
wn
.

Laas
Md
a

ace Y

iS)
8

(4) misprinted a crotchet in the original edit ion (3)

; 2)
WN
misprinted A in the original edition (8) @ in the origina] edition seems to be a misprint for @ St. & B. 2987-94
 death, wel - come, a hell! ee

=a
fas CSS
eee) Soe ED

ti 44 eee
el aay ES
2 Ra i

ile
Te yutl) 4)

aa
ileal?
N ZS

fogs
LESED GBS

|
al
y/

im

44
4h_

ff
=
4h_

rile
44 ie
8 HOPS}
8
S/8 9}
9] S OR
~S)

.)
&
i QLSpoys
|
“S| <i

and thus I bid the world fare - well.

sess

Ce, CEO é
|22ers eee
[2 Bie Sa ia ie ee
oh

* The sharp marked to this note in the original edition is clearly a misprint.
* § would seem to be printed a quaver too late,and# and § over the 2nd and 3rd beats omitted.

Go,nightly cares,the enemy to rest,

Forbear awhile to vex my troubled sprite;
So long your weight hath lain upon my breast
That lo I live of life bereaved quite.
O give me time to draw my weary breath,
Or let me die as I desire the death.
Welcome, sweet death, O life,no life,a hell!
Then thus and thus I bid the world farewell

False world,farewell! the enemy to rest,

Now do thy worst;I donot weigh thy spite;
Free from thy cares I live for ever blest,
Enjoying peace and heavenly true delight,
Delight whom woes nor sorrows shall amate,
Nor fears nor tears disturb her happy state.
And thus I leave thy hopes,thy joys untrue;
And thus,and thus,vain world,again adieu.

St&B.2987-9a
 FROM SILENT NIGHT.
To my louing Country-man M? John For/ter the younger, Merchant of Dublin in Ireland

Very smoothly but not slow.

VOICE.

From si-lent night, true= re

VIOLONCELLO
(Viol da Gam ba)

ie i)
|

TINS Th

TT
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LES th 7

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mn

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as esEag wml as ae
}
SSDhE EE) 1G EE eae Se,
ii
files

-gister of moans; From sad -dest soul, con -sumed

lil
I

ine ce
— — aa
‘

= ed -—*
|
||

F ia ee
ee Se
-—F
Me

(TRA Swiss mp

at 2 oc Sones =

if
i

{it Eas) Oo ee | a Rare PR

\ eS ee eee i ae
2S iS as En ae SEL
(PEER
Ne
Ky

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|

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iC OCI ARN sera C cae no

Copyright 1922 by Stainer & Bell Ltd, St.$ B. 2987-1048

 with deep - est sins;

ll
ass2 e

ah
k
it

iif ?
imi
ie
i
mi
ini

th
| |
itt

iH li
|
:

q| il
i
jy__<
STE
LSS

i]
Wy

i
i
ahi

il lll
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Ssideiee

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Bsa
pg
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it

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= ne
8
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tp || |

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w
@
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i

la
:

Net
VS

Sy a y \S

S % in

Mi
for notes see p. 45 St.&B. 2987-104
 =
AN i?
ire
Ae
|
MT
€
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“Tee
hi Sines USs°_ ih Sis?
NS?
:|& il aE oo De Ss. A Lut aD Qo

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oa : ail
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< {| Z o
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:aa ; SIs
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= 2 | 5 lt
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world

Ss Y}
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tunes
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(4)
taA
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TE
 He
the world brings tunes of sad de-spair, Sound
Hi

to

i
Pf ea
ali Bi
&
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ae
EE RE SS SES
2 RS RI ESS ESE
5 | Se

oe ——————————————

H ill
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Wshihoamdern
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sil
TT

- ing nought else but nought

TS
sd

be
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sah.
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r
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r
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¢
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—else, nought else but sor-row, nought else but sor - row, grint ae
D
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7 mee ass Ce GO
Ty bays ee ea
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4 rf

SS. BE Ss
SS ye

it
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for notes see p. 45 8t.4 B. 2987-108

0 Ci (22 eS
Lies >
oe ES (2
BET5 a eee
a
ee
a. Pe
SS ee
aS
aa '
aS ae
|e tH |}

ee and care, And care

——<———_____ ——===-—-
f cCrTresc. pp

1 Se ee See ee eee Eo JSS Se eee Se

eee eresc. P Pp
—S——————————
-_ = rf = SS ee es ee E Healt :

SS ES DE Cees Se eee eS Se
| ear

| Id
Ss eee
BS Be ee
>
[|
| .
Gar
Kez
ee ee aa

Ss
|
oo
5 ay & G S
Et eT eae TEE
ya 3 ey ee Le SEL Seay Daa: ee 4 {
ee RPS eae Play See -s 2 SS ee aay |) ee | ee |0 |ee |
Ee Aa en ene ee €..A= S355 GES Te a 9 oe ee ee !
Ras a ee fe SSS ee a eee ees ee” ee | | 0 |ee |

é a (Sr se ee aT eS | aT |
(7s
SY | TS |
Ts. CY AC || a
Uhl. Se a eae q| |ee
Cee eee |
Se a ey a
&

From silent night, true register of moans,

From saddest soul consumed with deepest sins,
From heart quite rent with sighs and heavy groans,
Mv wailing Muse her woeful work begins,
And to the world brings tunes of sad despair
Sounding nought else but sorrow, grief and care,

Sorrow, to see my sorrows cause augmented,

And yet less sorrowful, were my sorrows more.
Grief, that my grief with grief is not prevented,
For grief it is must ease my grieved sore.
Thus grief and sorrow cares but how to grieve,
For grief and sorrow must my cares relieve.

If any eye therefore can spare a tear

To fill the well-spring that must wet my cheeks,
O let that eye to this sad feast draw near;
Refuse me not, my humble soul beseeks;
For all the tears mine eyes have ever wept
Were now too little had they all been kept.

p.42. (4) the original edition has a minim rest in place of crotchet and no dot to the minim FE,
»» (2) D is misprinted F in the original edition.
p.43. (4) B and R are omitted in the original edition.
p.44. (4) the # is misprinted with G instead of with D in the original edition.
fs, (2) E and D are misprinted as semibréve and minim in the original edition.
»» (3) in these two bars in the original edition # (=) is placed before E, no {to F, § to G, and} to A.

StsB. 2987-102
46

LASSO VITA MIA

Wat
Two very moderate beats in a bar.

Las vi mi fa mo-ri -

Zales
ae —

aS GES 3 oO ow
§ zu N

a3 S
77 |

LE:
LZ

yf ce
iT]
a_|\s

sh.

S
a

S5 2
8

é Cc

Sale
os
KO)

eo
Gee ee eee ee)
%S
)

ND
Rasa nif
rn

lle
(aema
a an gm
|

Nil
Wd

eee eyear Eee

ij
ie

ij

aay BLES ese Ea

aaa

Las - so vl
~

mi
WQit
-

n
Hee

8
tay
E
om
«

: mfr
Dasa ll
J

f mf

=o
a

Q
OR]

d Q G
BeOS

Copyright 1924 by Stainer & Bell Ltd. St.& B. 2987-114

UPB
WY

Al: eal

ti |
q TI
=e
Sra
Cage

Un
mo - ri
Bisca

i
Bl
a Ss
PRESS
he? Se

Wy

Mi
geu

el
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®)
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44_
VS ba

|
Bro
.
t

SS

- del’ mor mio cor

AS

Daath WT RY

(b)
= =
—_—=

as ee el ee oe ae

i
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ap’
i 48 |
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aN iMs |lity ah
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£8

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ae

Da mil-le, mil-le, mil-le da mil-le, mil- le,

;
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S
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St. B. 2987-114
 ff TH aie ec, ure eee DN AN se
Meio
Fell |4
ne Il i ss

| i A Nie, He Hil
I th oe am) ne :
my us| if |e a all &
l li
Hl
ont il ;
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4 i Ie Y
deed 4! ey
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WE! TTT UA) Oa) «ah iT]
etn? fay i|cea mip ° s kK

I ur) TT]TTT ce IM) US PME seen)TR famn

HEU JIT] a (ANSI) ated UE We. Oe
4 cena
ays EBRD
A) Pelane andl fh Ih! ,a ie
aNNiei
<A T||| a IT |
ll o : z
I Me & ae
TA Att re PI]
i | Seli ioe I ae
mn TtUe SS Je A:
“~N INHe o a i

St.§ B. 2987-1148
A ay ae ‘llRE Te
il MAE we TT AMLTT ECT
ie
: “nt li ul | i
bi

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Q
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Soo
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LORE

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DEE A AEERE EO
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PG EIDE
Camamiaaers

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 GO , NIGHTLY CARES

JOHN DOWLAND.

(d- é but a little slower)

The bass-viol part alone has two flats in the signature in the original edition.
Copyright 1924 by Stainer § Beli Ltd. St.& B. 2987-9
os |i

GO, NIGHTLY CARES

wey Sy

/ f
6
Faia VIOLONCELLO
vol./ (Viol da Gamba)
Dart 2 of 6
JOHN DOWLAND
Very moderate speed

CT'CSC.,

but a little slower)

The bass-viol part alone has two flats in the signature in the original edition.
*The sharp marked to this note in the original editionis clearly a misprint.
Copyright 1924 by Stainer § Bel) Ltd. St. & B. 2087-9°
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JOHN DOWLAND

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FROM SILENT NIGHT

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VIOLONCELLO
(Viol da Gamba)
JOHN DOWLAND
Very smoothly , but not slow.

Copyright, 1922,by Stainer & Beil, Ltd. St. & B. 2987-109

aie

[623,5
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S64 LASSO VITA MIA
VIOLIN.
(Viol )
JOHN DOWLAND.
Two very moderate beats in a bar

Copyright 1924 by Stainer § Bell Ltd. St. & B. 2987-119

e bebi¢*‘2
 LASSO VITA MIA
VIOLONCELLO
(Viol da Gamba ) JOHN DOWLAND
Two very moderate beats in ab ar.

Copyright 1924 by Stainer § Bell Ltd. St. & B. 2987-4110

 ay OU
BRIGHAM YOUNG UNIVERSITY

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