Die Anatomie der Melancholie

ELEMENT OF PRIME
CARIN VAN HEERDEN | recorder
MAGDALENA RATH | recorder
DOMENIKA THANNER | recorder
VERONIKA TRAXLER | recorder
MICHAELA VAUGHT | recorder

The English lutenist and composer John Dowland (1563–1626) has been hailed as the Bob Dylan, Nick Drake, or Neil Young of the Renaissance. This reputation is likely owed to his skilful poetry, but also to the subtle irony and dark melancholy of his music. Dowland embarked on extensive tours throughout Europe, was engaged as a royal lutenist in Copenhagen, and later became a member of the English court. Among his most popular songs are “In darkness let me dwell” and “Flow my tears.” From the latter, Dowland distilled the first four notes into the starting point for a unique instrumental cycle: “Lachrimae, or Seaven Teares” portrays seven types of tears, including “sighing,” “true,” and even “forced,” with uncompromising, sombre mastery. They are written for a consort of same instruments. At Imago Dei, we will perform the cycle with the enchanting sound of recorders. Shortly after Dowland devoted a variety of reflections to the theme of tears, his contemporary Robert Burton explored melancholy in more than lavish detail: over 1000 pages (or roughly half a million words) discuss its causes, cures, and particular forms, such as religious or romantic melancholy. After this impressive tome, which he revised five times, Burton would publish nothing more. With “The Anatomy of Melancholy,” he not only wrote a most powerful work on the subject, he created a panorama of his time.

John Dowland on the 400th anniversary of his death: “Lachrimae, or Seaven Teares” figured in seven passionate Pavans (1604)

Lachrimae Antiquae
Lachrimae Antiquae Novae
Lachrimae Gementes
Lachrimae Tristes
Lachrimae Coactae
Lachrimae Amantis
Lachrimae Verae

With music by Antony Holborne and improvisations by the musicians

Texts from Robert Burton: “The Anatomy of Melancholy” (1621)

WORLD PREMIERE

CONCERT INTRODUCTION
Albert Hosp

DÖRTE LYSSEWSKI | reading