LAWES William (1602-1645)

WILLIAM LAWES


Le romantique énigmatique

Quelque floues que puissent être les circonstances exactes de la mort de Lawes, il y a cependant une réelle ironie dans le fait que ce soit le seul jour de sa vie où nous sachions exactement ce qui lui est arrivé. Peu de compositeurs importants ont une vie sur laquelle on ait des renseignements aussi vagues. Nous savons qu’il naquit en 1602 à Salisbury, où il fut baptisé le 1er mai de cette même année. Son père était un lay vicar (chanteur professionnel) du chœur de la cathédrale, et William et son frère Henry, de six ans son aîné, et qui serait lui aussi un compositeur important, devinrent membres du chœur étant enfants. William se montra musicalement si doué qu’il attira l’attention d’Edward Seymour, comte d’Hertford, un grand protecteur des arts dans la région de Salisbury. D’après le biographe John Aubrey, le comte logea le jeune William dans sa propre maison, le plaçant sous la tutelle de John Coprario, son directeur musical privé. Malgré son nom, Coprario était anglais (de son vrai nom Cooper), et l’on pense qu’il avait, lors d’un voyage en Italie, italianisé son nom et incorporé à sa musique des traits stylistiques italiens. Il deviendrait, comme nous le verrons plus loin, la personne qui eut le plus d’influence sur la musique de Lawes. Mais Coprario ne fut pas la seule personne influente que le jeune garçon rencontra à Amesbury et Wulfall, les résidences de Hertford à Wiltshire; en effet, parmi les visiteurs assidus se trouvait un jeune prince, Charles, qui en 1612, à la mort de son frère aîné le Prince Henry, personne d’une grande culture, devint Prince de Galles et héritier de la couronne Britannique.

De deux ans plus âgé que Lawes, Charles prenait aussi un grand intérêt à la musique, et, comme le protégé de Seymour, il étudiait la viole. Il n’est pas invraisemblable d’imaginer la scène plaisante des deux jeunes gens faisant partie tous les deux d’un ensemble de violes. Lorsque le prince atteignit sa majorité en 1617, il put créer son propre orchestre de dix-sept musiciens, certains hérités de son frère, un nombre qui était passé à vingt-quatre au moment de son accession au trône en 1625. A un certain moment (la date exacte n’a pas pu être établie) William et Henry Lawes se joignirent aux musiciens de Charles, mais ce n’est qu’en 1635 que William reçut une patente royale comme membre des “ Luths et Voix ” du roi. Nous ne savons pratiquement rien de la vie des frères Lawes dans la période où ils furent attachés à la cour de Charles Ier. Outre les concerts de chambre privés donnés pour le roi, il est clair que William participa à d’autres représentations, plus publiques, telles que les somptueuses mascarades de la Cour données dans la magnifique Banqueting House de Whitehall, de l’architecte Inigo Jones, et qu’il fournit une importante somme de musique pour ces deux types d’occasions. La guerre civile mit une fin brutale à cette généreuse protection des arts par la Cour, même si l’historien du XVIIIe siècle Sir John Hawkins suggère que les activités musicales privées continuèrent à être florissantes après que la Cour se fut déplacée de Londres à la sécurité d’Oxford, une affirmation récemment contestée.

William passe toute sa vie d'adulte au service de Charles. Il compose de la musique profane et des spectacles de masque (auxquels il a sans doute participé) mais également de la musique sacrée : des hymnes et des motets pour les prières privées de Charles. Son œuvre est surtout connu aujourd'hui à travers ses suites de consorts pour viole de gambe (entre trois et six musiciens). Son utilisation du contrepoint et de la fugue ainsi que sa tendance à juxtaposer dans ses œuvres des thèmes non conventionnel à d'autres plus pastoraux ont nui à sa popularité des siècles après sa mort.
Lors de la Première révolution anglaise, Lawes rejoint l'armée des Royalists et est affecté à la garde personnelle du roi ce qui doit le tenir à l'écart du danger. Précaution vaine car le 24 septembre 1645, il est abattu par un Parliamentarian lors de la déroute Royalists à Rowton Heath près de Chester. Bien que le roi soit en deuil de son parent Bernard Stuart (tué lors de la même bataille), il institue un deuil spécial pour Lawes en l'honorant du titre de Father of Musick.




Ces 2 CD pour l'intégrale des "consorts", ces pièces pour ensemble de violes de 4 à 6 voix. Bien sûr, tout écouter à la suite engendre une certaine monotonie, mais l'ensemble est assez plaisant, beaucoup plus en tout cas que les pièces de Marin Marais...

Voici son catalogue d'après le Grove :

Vocal secular:

dramatic works and printed poetry collections containing songs are given in parentheses
A hall, a hall, to welcome our freind (J. Suckling: The Tragedy of Brennoralt, 1639), 3vv, GB-Lbl*
Ah cruell love (To Pansies) (R. Herrick: Hesperides, 1648), 1v, Lbl*
A health to the northerne lasse (Suckling: The Goblins, 1638), 3vv, Lbl*, US-NYp
A knot of good fellows, catch, 3vv, 1667; M
All these lye howling (J. Fletcher: The Mad Lover, revived 1639), glee, 2vv, NYp
Amarilis, teare thy haire, 1v, GB-Lbl*, 1669 (adaptation, attrib. H. Lawes); ed. in Lefkowitz (1960)
And may your language be of force (W. Davenant: The Triumphs of the Prince d’Amour, 1636), madrigal, 3vv, chorus 4vv, Ob*; A, M
A pox on our gaoler (W. Cartwright: The Royal Slave, 1636), catch, 4vv, 1667; R
A round, a round, boys (R. Brome: A Jovial Crew, 1641), catch, 3vv, 1667
Aske me noe more where Jove bestowes (T. Carew), 1v, Lbl*, 1678; ed. in Lefkowitz (1960)
Behold how this conjunction thrives (Davenant: The Triumphs of the Prince d’Amour, 1636), 1v, chorus 4vv, Eu (inc.), Ob*†; A, M
Beliza, shade your shining eyes, 1v, Lbl*
Be not proud, pretty one (Love’s Affection), 1v, Lbl*, Ob (a 3), 16695 [also with text: I can love for an hour, Eu (inc.), Lbl, Ob (inc.)]
Bess black as a charcole, catch, 3vv, 1667
Brisk clarett and sherry, catch, 3vv, Ob* (only incipit texted)
Britanocles the great and good appears (Davenant: Britannia triumphans, 1638), 5vv, Ob*; M
Call for the ale, catch, 4vv, Lbl, Ob*, 1652; R
Can bewtye’s spring admitt, 1v, Lbl*
Cease, warring thoughts (J. Shirley: The Triumph of Beautie, before 1645), madrigal, 3vv, Eu (inc.), Ob*†; ed. in Lefkowitz (1960)
Charon, O Charon, hear a wretch opprest (Charon and Amintor), dialogue, 2vv, 1669; S
Charon, O gentle Charon, let me wooe thee (Charon and Phylomel), dialogue (Herrick: Hesperides, 1648), 2vv, Lbl*, Ob, 1652
Clorinda, when I goe away (‘Elizium’: seeother instrumental ensemble: Aires and dances), 1v, Ob†, US-NYp
Cloris, I wish that Envye were as just, 1v, GB-Lbl*
Come, Adonis, come away (J. Tatham: Ostella, 1650), 1v, US-NYp (2vv), 1659, 16784; S
Come, Amarillis, now let us be merry, catch, 4vv, 1667
Come away, see the dawning of the day (Shirley: The Triumph of Peace, 1634), ?4vv (?inc.), GB-Ob*; M
Come, Cloris, hye wee to the bower (H. Reynolds), 3vv (inc.), Eu (inc.), Ob (inc.)
Come follow me brave hearts, catch, 3vv, 1667
Come, heavy hart, whose sighs thy sorrowes shew, dialogue, 2vv, Lbl*
Come, let us cast the dice (Shirley, or W. Cavendish: The Country Captain, 1640), catch, 3vv, Lbl, 16516
Come, let us have a merry heart, catch, 3vv, 1667
Come lovely Cloris, 3vv, 16725 [see alsoother instrumental ensemble: Aires and dances]
Come, my Daphne, come away (Strephon and Daphne) (Shirley: The Cardinal, 1641), dialogue, 2vv, Lbl*, 16528
Come, my lads, catch, 6vv, Ob* (only incipit texted)
Come, quaffe apace this brisk Canary wine, catch, 3vv, 1652
Com, shepherds, com, com away (Beaumont and Fletcher: The Faithful Shepherdess, 1607, revived 1634), 1v, US-NYp; ed. in Cutts (1963)
Come, take a carouse, 3vv, GB-Lbl*
Corinna false! it cannot be, 1v, 16784 [attrib. H. Lawes; seeinstrumental consort: Consort setts, no.73]
Cupids wearie of the court, 1v, Lbl*, US-NYp, 1678
Dainty fine aniseed water, catch, 3vv, 1652
Damon, good morrowe, may the morning queene, ?3vv (?inc.), GB-Eu (inc.), Ob (inc.)
Deere, leave thy home and come with me (A Sonnet) (W. Herbert), madrigal, 4vv (inc.), Eu (inc.), Ob*†
Deerest, all faire is in your browne, 1v, Lbl*, US-NYp; M
Doris, see the am’rous flame, 1v, GB-Lbl*
Dost see how unregarded now (Sonnet) (Suckling: Fragmenta aurea, 1646), 1v, Lbl*
Drink tonight of the moonshine bright, catch, 3vv, Lcm, 1652; R
Erly in the morne, 1v, Lbl*
Fair as unshaded light (To the Queene, entertained … by the Countesse of Anglesey) (Davenant: Madagascar, 1638), 1v, 1678; ed. in Gibbs (1972)
Faith, be noe longer coy (A Motive to Love) (Wit’s Interpreter, 1655), 1v, Lbl*, US-NYp, 1652, 16664 [as Fie, be no longer coy, for cittern, with text added]; S
Far well, faire sainct (On his mistress crossing the sea) (T. Cary, in R. Fanshawe: Il pastor fido, 1647), 1v, GB-Lbl*, 1678
Feare not, deere love (Secresie Protested) (T. Carew, 1640), madrigal, 5vv (inc.), Ob*†
Fill, fill the bowele, glee, 2vv, US-NYp
Gather ye rosebuds while ye may (Herrick: Hesperides, 1648), 1v, GB-Lbl*, Ob, US-NYp, 1652, 16664 [for cittern, with text added]; S
Gather ye rosebuds while ye may (Herrick: Hesperides, 1648), 3vv, GB-Eu (inc.), Gu, Lbl, Ob (inc.), 16528 [arr. from preceding setting]; S
God of winds, when thou art growne brethles, 1v, Lbl*
Goe, bleeding hart, before thou die, madrigal, 3vv (inc.), Ob*
Good morrow unto her (Shirley), 3vv, Eu (inc.), Ob (inc.), US-NYp
Goose law’d with Goose for cousin Gander’s land, catch, 3vv, 1652; R
Had you but herd her sing, 1v, GB-Lbl*, 1678
Hang sorrow and cast away care, catch, 3vv, Lbl, 1652; R
Harke, harke, how in every grove (Cupid’s Call) (Shirley, 1646), 1v, US-NYp
Harke, jolly lads, catch, 3vv, GB-Ob* (only incipit texted)
Hast you, nimphs, make hast away (Nimph and Shepherd), dialogue, 2vv, 16695
Ha we to the other world, catch, 4vv, 1652; R
Heark, faire one (R. Lovelace: Lucasta, 1649) (text only)
Hence, flatt’ring hopes, 1v, Lbl*
Hence, ye prophane, far hence away (Shirley: The Triumph of Peace, 1634), 1v, chorus 4vv, Ob*; ed. in Dent, A and M
Here’s a jolly couple, 1v, US-NYp
He that will not love (Not to Love) (Herrick: Hesperides, 1648), 1v, GB-Lbl*, 16695
I burne, and beg of you to quench or cool me (To the Dewes) (Herrick: Hesperides, 1648), 1v, Lbl*
I can love for an hour (Love’s Flattery) (Wit’s Interpreter, 1655), 1v, US-NYp, 16537; S
I can love for an hour (Love’s Flattery) (Wit’s Interpreter, 1655), 1v, GB-Eu (inc.), Lbl, Ob (inc.) [music as Be not proud, pretty one]
I doe confesse, catch, 3vv, Ob* (only incipit texted)
If you a wrinkle on the sea have seene, 1v (inc.), Lbl*
If you will drink Canary, catch, 3vv, Lbl, Ob*, 1652; R
I keepe my horse, I keepe my whore (The Cuttpurse Song) (T. Middleton: The Widow), 1v, US-NYp
Ile tell you of a matter, catch, 3vv, 165210
I’m sick of love (To the Sycamore) (Herrick: Hesperides, 1648), 1v, GB-Lbl*, Ob
In envye of the night (Shirley: The Triumph of Peace, 1634), 1v, Lbl*, US-NYp; ed. in Lefkowitz (1960), A and M
It is folly to be jolly, catch, 3vv, 16585
It tis hir voice, 1v, GB-Lbl*
I would the god of love would dye (Shirley, 1646), 1v, Lbl*
Lets cast away care, catch, 3vv, Ob*, 1651; R
Listen near to the ground, catch, 3vv, 1658
Love, I obey, shoot home thy dart, 1v, Lbl*, 1678
Love is lost and gone astray, glee, 2vv, in J. Playford: A Brief Introduction to the Skill of Musick (London, 4/1662)
Lovers rejoice, your paines shall be rewarded (Beaumont and Fletcher: Cupid’s Revenge, revived 1637), 1v, Lbl*
Love’s a child and ought to be won with smyles (H. Glapthorne: Poems and Argalus and Parthenia, 1639), 1v, Lbl*, 16784
Love throws more dangerous darts, 3vv (inc.), Eu (inc.), Ob (inc.)
May our three gods so long conjoyne (Davenant: The Triumphs of the Prince d’Amour, 1636), 4vv, Ob*; A, M
Music, the master of thy art is dead (On the memory of my friend, John Tomkins) (? W. Lawes), madrigal, 3vv, 1638, Ob*, 1648
Never let a man take heavily, catch, 3vv, Ob*, 1652; R
Noe, noe, faire heriticke (Suckling: Aglaura, 1638), 1v, US-NYp [also attrib. H. Lawes]; S
Now in the sad declenshion of thy time, 1v, GB-Lbl*
Now, my lads, now let’s be merry (catch), 3vv, 16676
Now that the spring hath fill’d our veins (W. Browne in Merry Drollery, 1661), glee, 2vv, Lbl, 1652
Now the sun is fled downe, dialogue (Cartwright: The Royal Slave, 1636), 2vv, chorus 5vv, F-Pc, US-NYp [also attrib. H. Lawes]; S
O draw your curtaynes and apeere (Davenant: Love and Honour, 1634), lv, GB-Lbl*, US-NYp, 16784; ed. in Gibbs (1972)
O let me still and silentt lye, 1v, NYp
O love, are all those arrowes gone, 1v, GB-Lbl*
O my Clarissa, thou cruel faire, 1v, Och, US-NYp, 1652, 1666 [for cittern, with text added]
O my Clarissa, thou cruel faire, 3vv, GB-Gu, Lbl, 1653; ed. in M [version for harpe consort ed. in Lefkowitz (1960)]
On, on, compassion shall never enter heere, 1v, chorus 3vv, Lbl*
Orpheus, O Orpheus, gently touch thy Lesbian lyre (Trialogue between Alecto, Orpheus and Euridice), 3vv, Lbl*, 1678
O tell me, Damon, canst thou prove (Wit’s Interpreter, 1655), 1v, US-NYp, 1652 [probably by W. Webb]
O the fickle state of lovers (F. Quarles), glee, 2vv, GB-Ob, US-NYp, 16537 [also attrib. H. Lawes]
O thinke not Phoebe cause a cloud (Shirley, 1646), 1v, GB-Lbl*
Perfect and endles circles are, 1v, Lbl*, Llp
Pleasures, bewty, youth attend yee (Love in the Spring) (J. Ford: The Lady’s Trial, 1638), 1v, Lbl*, US-NYp, 16695; S
Renounce this humour and attend, 1v, NYp
Sacred love whose vertues power, dialogue, 2vv, NYp
See how Cawoods dragon looks, catch, 3vv, 1658; R
See how in gathering of their may, catch, 3vv, GB-Lbl, 1652
Singe, singe his praises that do keep our flocks (Fletcher: The Faithful Shepherdess, revived 1634), 3vv (inc.), Eu (inc.), Ob (inc.); ed. in Cutts (1963)
Sing out pent soules (Lovelace: Lucasta, 1649) (text only)
Soe well Britanocles o’re seas doth raigne (Song of Galatea) (Davenant: Britannia triumphans, 1638), 1v, choruses 3, 5vv, Ob*; M
Some drink boy, some drink (Suckling: The Goblins, 1638), catch, 3vv, Lbl, Ob*, 1667
Somnus, the ’umble god (J. Denham: The Sophy, 1641), 1v, US-NYp
Stand still and listen, catch, 3vv, GB-Ob*, 1652
Stay, Phoebus, stay (Songe) (E. Waller), 1v, GB-Lbl*
Still to bee neate, still to bee dresst (B. Jonson: Epicoene, or The Silent Woman, 1609, revived 1636), 1v, US-NYp; ed. in Lefkowitz (1960)
Sullen care, why dost thou keepe, 1v, NYp
Suppose her fair, suppose I know itt, 1v, NYp, 1678 [also attrib. A. Coates]
Tell me noe more her eyes (H. Moody in Wit’s Interpreter, 1655), 1v, GB-Lbl*, US-NYp, 1652
That flame is born of earthly fire (Love’s Constancy), 1v, F-Pc, GB-Lbl*, 1669
The angry steed, the phyph and drum (Davenant: The Triumphs of the Prince d’Amour, 1636), 1v, chorus 4vv, Ob*; A, M
The balmes rich swet, the myrrhs sweet teares (Davenant: The Triumphs of the Prince d’Amour, 1636), 2vv, chorus 4vv, Ob*; A, M
The catts as other creatures doe, 3vv, Lbl*, US-NYp; M
The larke now leaves his wattry nest (Davenant), dialogue, 2vv, NYp; ed. in Gibbs (1972)
The pot, the pipe, the quart, the can, catch, 4vv, GB-Lbl, 1658; R
There can bee noe glad man (Wit and Drollery, 1661), 1v, chorus 3vv, US-NYp
The wise men were but seven, catch, 3vv, GB-Lbl, 1652, 1666 [for cittern, with text added]; ed. in Lefkowitz (1960) and R
Thinke not I could absent myself this night (Shirley: The Triumph of Peace, 1634), 2vv, chorus 4vv, GB-Ob*; ed. in Dent (1928), A and M
Those lovers only hapye are, 1v, Lbl*
Though I am not Bachus preist, catch, 3vv, Ob* (only incipit texted)
Thou that excellest, 1v, Lbl, US-NYp
Tis no shame to yeild to beauty, 1v, chorus 3vv, NYp
Tis not, boy, thy amorous looke, dialogue, 2vv, GB-Lbl*
To bed, to bed (Davenant: Britannia triumphans, 1638), 5vv, Ob*; M
Tom, Ned and Jack, catch, 3vv, Ob* (only incipit texted)
To whome shall I complaine, 1v, Lbl*, US-NYp, 1678; S
Upp, ladies, upp, prepare your taking faces (Cupid’s Progress), 1v, GB-Lbl*, US-NYp, 1669; M
Virgins, as I advise, forbeare, 1v, GB-Lbl*, 1678
Vulcan, O vulcan, my love (Venus and Vulcan), dialogue, 2vv, 1653
Warrs are our delight, catch, 6vv, Lbl, Ob*, 1652; M
Wee shoe noe monstrous crockadell (J. Mayne: The City Match, 1637), 1v, US-NYp
What hoe, wee come to bee merry (Ford: The Lady’s Trial, 1638), 3vv, GB-Lbl*
What if I die for love of thee, dialogue, 2vv, Lbl, Och, US-NH
What should my mistresse doe with haire (One that loved none but deformed women) (Shirley, ? intended for The Duke’s Mistress, 1636), glee, 1v, chorus, 2vv, NYp
What softer sounds are these (Joy and Delight) (Jonson: Entertainment at Welbeck, 1633), dialogue, 2vv, GB-Lbl*
When by thy scorne foule murderess (The Apparition) (J. Donne, 1633), madrigal, 3vv (inc.), Eu (inc.), Ob (inc.)
When death shall snatch us from these kidds (Thirsis and Dorinda) (text: A. Marvell, 1681), dialogue, 2vv, Lbl
When each lynes a faithfull drinker, 3vv, Lbl*, US-NYp
When I by thy faire shape (Lovelace: Lucasta, 1649), 1v, NYp
Wher did you borrow that last sigh (W. Berkeley: The Lost Lady, 1638), 1v, GB-Lbl*, US-NYp
Wherefore do my sisters stay? (Shirley: The Triumph of Peace, 1634), madrigal, 1v, chorus 3vv, GB-Ob*, ed. in Dent (1928), A and M
Whieles I this standing lake swathed up with ewe (Justiciae Sacrum) (Cartwright, 1651), 1v, Lbl*
White though yee bee (On the Lillyes) (Herrick: Hesperides, 1648), 1v, Lbl*, 1669
Whither goe yee?, catch, 3vv, Ob*
Why doe you dwell soe longe in clouds (Shirley: The Triumph of Peace, 1634), 3vv (inc.), Eu (inc.), Ob (inc.); ed. in Cutts (1963), Walls (1976) and M
Why move these princes of his traine so slow? (Davenant: Britannia triumphans, 1638), 1v, choruses 2, 4, 5vv, Ob*; M
Why should fond man be led about, 3vv (inc.), Eu (inc.), Ob (inc.)
Why should great bewty vertuous fame desire (Davenant), 1v, Lbl*, US-NYp, in H. Lawes: Second Book of Ayres and Dialogues, 1–3vv (London, 1655) ed. in Gibbs (1972) and S
Why soe pall and wan, fond lover (Suckling: Aglaura, 1637), 1v, Carlisle, Bishop Smith’s Partbooks, US-NYp ed. in Lefkowitz (1960) and S
Wise nature that the dew of sleep prepares (Davenant: Britannia triumphans, 1638), 1v, chorus 3vv, GB-Ob*; M
Yee feinds and furies, come along (Davenant: The Unfortunate Lovers, 1638), 1v, Lbl*, 16784; ed. in Gibbs (1972)
Your love, if vertuous, will shew forth (T. Jordan: A Royal Arbor, 1664) (text only)

Vocal religiosa:

anthems; full unless otherwise stated
All people that on earth doe dwell, verse, 3vv, GB-Och; ed. G. Dodd (London, 1970)
All yee tht feare him, praise the Lord, verse, 3vv, DRc, Och
Before the mountains were brought forth, Lbl, Ob (text only)
Behold how good and joyful a thing it is, 3vv, 16484
Cast mee not, Lord, out from thy face, verse, 3vv, Och
Come sing the great Jehovah’s praise, 3vv, Lbl, Ob (inc.), 1648
Gloria Patri et Filio, 3vv, 1648
Have mercy on us, Lord, verse, 3vv, Och; ed. G. Dodd (London, 1970)
How hath Jehovah’s wrath, 3vv, Lbl, 1648
How like a widow, 3vv, 1648
How long wilt thou forget me, O Lord, Ob (inc.), 1648
I am weary of my groaning, 3vv, Ob (inc.), 1648
In resurrectione, 3vv, 1648
In the substraction of my yeares, 3vv, Ob (inc.), 1648
I to thy wing for refuge fly, 3vv (inc.), Ob*
Judah in exile wanders, 3vv, 1648
Let all in sweet accord clap hands, 3vv, Lbl, Ob (inc.), 1648
Let God arise, verse, 1v, Lbl, Och, Y
Let God, the God of battell, rise, 3vv, Lbl, Ob (inc.), 1648
Lord, as the hart imbost with heat, 3vv, Lbl, Ob (inc.), 1648
Lord, in thy wrath reprove mee not, verse, 3vv, Och
Lord, thy deserved wrath asswage, 3vv, Lbl, Ob (inc.), 1648
Memento, memento, Domine, 3vv, 1648
My God, my rock, regard my cry, 3vv, Ob (inc.), 1648
My God, O why hast thou forsook, 3vv, Ob (inc.), 1648
Ne irascaris, Domine, 3vv, 1648
Oft from my early youth, 3vv, Ob (inc.), 1648
O God, my God, wherefore doest thou forsake me, verse, 3vv, DRc, Och
O God, my strength and fortitude, verse, 3vv, Och
O Lord, consider my distresse, verse, 3vv, Och
O Lord, depart not now from mee, verse, 3vv, DRc, Och
O Lord, in yee is all my trust (The Lamentation), verse, 3vv, Och
O Lord, of whom I doe depend (Humble Suite of a Sinner), verse, 3vv, Och
O Lord, turne not away thy face (The Lamentation of a Sinner), verse, 3vv, Och
O sing unto the Lord a new song, 3vv, 1648
Out of the horrour of the deep, 3vv, Ob (inc.), 1648
Praise the Lord enthron’d on high, 3vv, Lbl, Ob (inc.), 1648
Sing to the king of kings, 3vv, Lbl, Ob (inc.), 1648
The Lord is my light, verse, 4vv, DRc, Lbl, Och, Y, W. Boyce, Cathedral Music (London, 1760–78), ii
They that go down into sea in ships, Y (inc.)
They who the Lord their fortresse make, 3vv, Ob (inc.), 1648
Thou mover of the rowling spheres, 3vv, Ob (inc.), 1648
Thou that art inthron’d above, 3vv, 1648
To thee I cry, Lord, hear my cries, 3vv, Ob (inc.), 1648
To thee, O God, my God, 3vv, Ob (inc.), 1648
To the God whom we adore, 3vv, Ob (inc.), 1648
When man ffor sinne thy judgment feeles, verse, 1v, Lbl
Who is this that cometh out of the wildernesse, Lbl (text only)
Yee nations of the earth, 3vv, Ob (inc.), 1648

Canons:
Gloria in excelsis Deo, 3vv, 1648
Happy sons of Israel, 3vv, Lbl, Ob*†, 1648
Jesus is harmonious, 3vv, Lbl, 1648
Lord, thou hast been favourable, 3vv, Lbl, Ob*†, 1648
Regi, regis, regum (2 versions), 4vv, Ob*, 1648
Re, me, re, ut, sol, 3vv, Ob*
She weepeth sore in the night, 4vv, Lbl, Ob (inc.), 1648
These salt rivers of mine eyes, 3vv, 1648
Tis joy to see, 3vv, Lbl*, 1648
Why weepst thou, Mary? 3vv, 1648

Instrumental:

Instrumental consort:
The Royall Consort (nos.1–67), ‘old version’, 2 tr, t, b insts, bc (2 theorbos), GB-Ob; ed. D. Pinto (London, 1995):
Setts nos.1–3, d, 4 movts (nos.10–13) Lbl;
Setts nos.4–6, D, 2 movts (nos.26–7) Lbl;
Sett no.7, a; Sett no.8, C;
Sett no.9, F;
Sett no.10, B
The Royall Consort (nos.1–67), ‘new version’, 2 vn, 2 b viols, bc (2 theorbos); ed. D. Pinto (London, 1995):
Sett no.1, d, Ob*, Och, 6 movts (nos.2–7) Lbl;
Sett no.2, d, Lbl, Ob*, Och, 2 movts (nos.11–12) W;
Sett no.3, d, Lbl, Ob*, Och;
Sett no.4, D, Lbl, Ob*, Och;
Sett no.5, D, Lbl, Ob*, Och;
Sett no.6, D, Ob*, Och, 5 movts (nos.37–41) Lbl;
Sett no.7, a, Lbl, Och;
Sett no.8, C, Lbl, Och;
Sett no.9, F, Lbl, Och;
Sett no.10, B , Lbl, Och
Arr. tr, b: nos.54, 58, 61, 1655; no.41, 1662
Consort setts (nos.68–83), 2 tr, a/t, t, b viols, org, GB-Lbl*, Ob*, US-NH, F.B. Zimmerman’s private collection, Philadelphia; ed. D. Pinto (London, 1979):
Sett no.1, g, 2 movts (nos.68–9) GB-Ob, ed. in L, 1 movt (no.70), Ob [2 tr, t, b insts, seeother instrumental ensemble: Other suites];
Sett no.2, a, 1 movt (no.73), version in g, tr, b insts, Ob, US-NH [see alsokeyboard, ‘Mr Laws flat tune’], 1 movt ed. in L;
Sett no.3, c, 1 movt (no.75), 2 tr, b insts), GB-Lbl*, W, 1 movt, d (no.76), 2 tr, t, b insts, Lbl, 1 movt (no.77, as sym. in anthem attrib. H. Lawes), tr, b insts, Lbl, 1 movt ed. in L, 1 movt ed. in [Arkwright] (1909–10);
Sett no.4, F, 1 movt (no.79), 2 tr, ?2 b insts, G, D-Hs [2 tr, t, b insts, seeother instrumental ensemble: Other suites], ed. L. Ring (London, 1965);
Sett no.5, C, 1 movt (no.83), 2 tr, b insts, GB-Lbl*, ed. H. Mönkemeyer (Wilhelmshaven, 1966)
Consort setts (nos.84–100), 2 tr, a/t, t, 2 b viols, org, GB-Lbl*, Ob*, Och, F.B. Zimmerman’s private collection, Philadelphia; ed. D. Pinto (London, 1979):
Sett no.1, g, 2 movts (nos.85–6) ed. A. Dolmetsch and P. Grainger (New York, 1944);
Sett no.2, C, ed. H. Mönkemeyer (Wilhelmshaven, 1966);
Sett no.3, F, ed. L. Ring (London, 1967);
Sett no.4, B , 1 movt (no.96) ed. in L;
Sett no.5, c, ed. in L

Other instrumental ensemble:
Setts for division viols (nos.101–7), 2 b viols, org:
Sett no.1, g, GB-Ob*, ed. J. Richards (London, 1972);
2 movts (nos.101, 103), 2 tr, t, b insts, bc, Ob [seeother instrumental ensemble: Other suites], 1 movt (no.102), tr, b insts, Ob, 1655
Sett no.2, C, Ob*;
nos.104–5, ‘Paven and Almane of Alfonso’ Ferrabosco (ii), ed. in L;
no.106 inc., no.107 resetting of Royall Consort no.33
Setts ‘For the Violls’ (nos.108–113), 2 tr, 2 b viols, GB-Ob*; ed. R. Taruskin (Ottawa, 1983); ed. R. Nicholson, William Lawes: Fantasies and Aires (London, 1985):
Sett no.1, c, 1 movt (no.109) Lbl*, 1 movt (no.110), d, Lbl*;
Sett no.2, C, 1 movt ed. in M

Fantasia-suites (nos.114–37), vn, b viol, org, GB-Lbl, Ob*, Och, L. Ring’s private collection, Hexham, Northumberland; ed. in MB, lx (1991):
Sett no.1, g, ed. in L; Sett no.2, G, 1 movt (no.118) 1655, 2 tr, ?2 b insts, D-Hs;
Sett no.3, a;
Sett no.4, C; Sett no.5, d, ed. C. Arnold (London, 1957);
Sett no.6, D;
Sett no.7, d, ed. in L;
Sett no.8, D, ed. in Lefkowitz (1960)

Fantasia-suites (nos.138–61), 2 vn, b viol, org, F-Pc, GB-Lbl, Ob*, Och, L. Ring’s private collection, Hexham, Northumberland:
Sett no.1, g, ed. in L;
Sett no.2, G, ed. G. Dodd (London, 1977);
Sett no.3, a, 1 movt (no.144) ed. in M;
Sett no.4, C, ed. G. Dodd (London, 1967);
Sett no.5, d, ed. C. Arnold (London, 1957);
Sett no.6, D, ed. in L;
Sett no.7, d, ed. in L;
Sett no.8, D, 1 movt (no.159) pr. in Meyer (1946)

Harpe consorts (nos.162–91), vn, b viol, harp, bc (theorbo), GB-Ob*:
Sett no.1, g, Och, 1662, 1 movt (no.162) Mch, 2 movts (nos.162–3) 1651 [seekeyboard], ed. in L;
Sett no.2, g, Och;
Sett no.3, G, Och, 3 movts (nos.170–71, 173) 1651 [seekeyboard];
Sett no.4, d, Och, 1655, 1 movt (no.177), kbd, Och [see alsosecular vocal: ‘O my Clarissa’, 2nd version], 1 movt ed. in Lefkowitz (1960);
Sett no.5, D, Och, 1655;
Sett no.6, D, Och, 1 movt (no.182) 1655 [seekeyboard]; no.187, G, Och; no.188, G (pavan), ed. in L; no.189, D, on pavan for harp by ‘Cormacke’ [McDermott], ed. in L; no.190, on ‘Paven of Coprario’, 2 b insts, ed. in L; no.190, d (fantasy)

Other suites, 2 tr, t, b insts, bc; ed. D. Pinto, William Lawes:
The Royall Consort (old version) (London, 1995):
Sett no.1, g (nos.101, 103, 338, 70, 339, 337), GB-Ob; 2 movts (nos.101, 103), 2 division b viols, org, Ob [see alsokeyboard: Consort setts andinstrumental consort], 4 movts Lbl, 3 movts Och, 2 movts W; 3 movts ed. L. Ring (London, 1964)
Sett no.2, G (nos.79, 320, 80, 322–3), Ob, 2 movts Lbl, 1 movt Lbl, Ob, 2 movts D-Hs [seeinstrumental consort: Consort setts]
Airs in d (nos.78, 260, 264), GB-Lbl, Och [seekeyboard]
Symphonies, mainly from masques The Triumph of Peace, 1634 [TP], The Triumphs of the Prince d’Amour, 1636 [TPA], Britannia triumphans, 1638 [BT]: all ed. in M:
in C: no.200 (TP), GB-Lbl, Ob*, 16498, ed. in Dent (1928), ed. in A; no.201 (TP), Lbl, Ob*, 1666; no.209 (BT), Lbl, Ob*, 1649; no.210 (TP) probably by S. Ives, sources in Holman (1975–6), also Ob (attrib. Lawes), 16498; no.215 (TPA), Lbl, Ob*, 1655, ed. in Dent (1928), ed. in A
in c: no.231 (BT), Ob*, US-NH, 1655; no.232 (from ‘Deere, leave thy home’: seesecular vocal), GB-Lbl, Ob*, 1655; no.239 (TPA), Ob*
in G: nos.311–12 (TPA), Och (tr, a, b insts), US-NH, 16555
in g: no.343, GB-Lbl (tr, a, b insts), US-NH, 16516, ed. in B; no.345, GB-Lbl (tr, a, b insts), US-NH, 16516
in a: no.380 (TP), GB-Lbl, Ob*, 16784
Aires and dances, tr, b insts unless otherwise stated, GB-Lbl, Llp, Ob, Och, W, US-NH, 1651, 16555, 1662, 1664 (cittern), 1672, 1678:
in C: nos.200–15 [no.205, arr. as ‘Come lovely Cloris’: seesecular vocal]; in c: nos.221–39; in D: nos.246–51; in d: nos.256–88; in e: nos.296–300; in F, nos.306–7; in G: nos.311–28; in g: nos.336–70 [no.346, arr. as ‘Clorinda when I goe away’: seesecular vocal]; in a: nos.380–87; in B : nos.391–8

Fantasies, preludes, dances, 1–3 lyra viols (by tuning):
Harpway sharp (defhf): nos.421–35, 441–51, A-ETgoëss, IRL-Dm, GB-HAdolmetsch, Lbl*, US-NH*, 16527
Harpway flat (edfhf): nos.461–7, 471–81, A-ETgoëss, GB-HAdolmetsch, Lbl, Mp, R. Spencer’s private collection, Woodford Green, Essex, 16614
High harpway sharp (fdefh): nos.491, 496–9, IRL-Dm, GB-HAdolmetsch
High harpway flat (fedfh): nos.511–14, 521–7, HAdolmetsch, Mp, US-CA*, 16614
Eights (fhfhf [A'–D–A–d–a–d']): nos.541–6, 555–79, IRL-Dm, GB-HAdolmetsch, Mp, Ob, Och*, Chester, Cheshire Record Office, US-CA*, no.567 ed. in M, nos.568, 573 ed. in L
French set (efdef): no.591, R. Spencer’s private collection, Woodford Green, Essex
(ffcdh): no.596, GB-Mp
Lawes, William: Works
keyboard
all for virginals/harpsichord
Suite (based with variants on alman by O. Gibbons), a, F-Pc, GB-Lbl, Och, 1 movt in S.R. Lancelyn Green’s private collection, Bebington, Wirral, Merseyside, 1 movt in 16516; ed. in M, 1 movt ed. in MB, xx (1962)
Symphony, Saraband, a (nos.343, 345 in g: seeother instrumental ensemble: Aires and dances), US-NYp, 16637
‘The Golden Grove’ alman and suite, a (nos.361–3 in g), GB-Och, Lbl, Llp, variant in 16637; tr, b insts (nos.361–4), g, Ob, 16628; cittern (nos.361–2), 16664; 1 movt ed. in M
Saraband, a, Llp, Och, 16637; (following ‘Golden Grove’, nos.361–2)
Country Dance, a, addn to ‘Golden Grove’, Och
‘Mr Laws flat tune’, g [cognate of no.73; seeinstrumental consort: Consort setts], US-NYp, ed. in CEKM, xliv (1982), variant for lyra viol, GB-Mp [see alsosecular vocal: ‘Corinna false!’]
Alman, Corant (nos.162–3), g, with anon. Saraband, Ob [see Harpe Consort no.1]
Alman, Corant (nos.170–71), G, Llp, 16637 [see Harpe Consort no.3]
Saraband, G, 16637 (in suite with nos.170–71 from Harpe Consort no.3)
Alman (no.182 from Harpe Consort no.6), D, US-NYp
Jig (no.251), D, NYp; tr, b insts, 16628
Symphonies, C (nos.200–01), Huntingdon, Cromwell Museum, GB-Lbl
Saraband (no.264), d, Ctc, Lbl, Och; 2 tr, t, b insts, Och; lute, R. Mathew: The Lutes Apology (1652); lyra, Cu; tr viol, The English Dancing Master, ed. J. Playford (1651): ascribed only in Ctc
Jigg, G (no.313), arr. B. Cosyn as ‘Coranto’, US-NYp; tr, b insts, GB-Och, 16555; vn, The Dancing Master (4/1670) as ‘The Lord Chamberlins Delight’
Coranto, g (no.339a, seeother instrumental ensemble: Other suites), arr. B. Cosyn, US-NYp
Symphony, a (no.380), Huntingdon, Cromwell Museum
See alsoother instrumental ensemble: Harpe consorts
Lawes, William: Works
plucked strings
Suite: alman (arr. from R. Mesangeau, 1638), 2 corantos, 2 lutes, GB-Ob*; ed. L. Sayce and C. Wilson (London, 1998)
Alman, 2 corantos, cittern (incl. no.396), 1666, seekeyboard: ‘The Golden Grove’ suite

Paru le 10 juin 2016 chez harmonia mundi

J'ai essayé d'écouter mais c'est trop austère pour moi ... enfin non austère n'est pas le bon mot parce que c'est assez mélodieux mais la viole est un instrument que je n'apprécie pas particulièrement.