John Dowland

約翰·道蘭德（英語(yǔ)：John Dowland，1563年－1626年2月20日之前），英國(guó)文藝復(fù)興晚期作曲家，歌手，魯特琴演奏家。
生平與創(chuàng)作
道蘭德的出生地存在爭(zhēng)議，一般說(shuō)法是倫敦，但有愛(ài)爾蘭學(xué)者聲稱他生于都柏林，不過(guò)后者尚無(wú)確鑿根據(jù)可以證實(shí)。[1]曾到巴黎在英國(guó)駐巴黎使館工作，又曾在丹麥國(guó)王克里斯蒂安四世的宮廷里工作。他于1626年在倫敦逝世，但只記錄下他的下葬日期，具體逝世日期不得而知。
道蘭德現(xiàn)在被公認(rèn)為一位偉大的作曲家，盡管生前他只以演奏魯特琴和歌唱技藝出名。他的歌曲創(chuàng)作被認(rèn)為對(duì)藝術(shù)歌曲的發(fā)展有推動(dòng)作用。他的器樂(lè)曲集《淚》（Lachrimae, or Seaven Teares）也是十分著名的作品。
后世影響
后世的古典音樂(lè)作曲家常常引用道蘭德的歌曲作為素材，著名者包括珀西·格蘭杰和本杰明·布里頓。
2006年，英國(guó)歌手斯汀推出了道蘭德歌曲的專(zhuān)輯《迷宮之歌》（Songs from the Labyrinth），相當(dāng)熱賣(mài)。
John Dowland (1563 – buried 20 February 1626) was an English Renaissance composer, singer, and lutenist. He is best known today for his melancholy songs such as "Come, heavy sleep" (the basis for Benjamin Britten's Nocturnal), "Come again", "Flow my tears", "I saw my Lady weepe" and "In darkness let me dwell", but his instrumental music has undergone a major revival, and with the 20th century's Early Music Revival has been a continuing source of repertoire for lutenists and classical guitarists. Very little is known of John "the Bard" Dowland's early life, but it is generally thought he was born in London. Irish historian W. H. Grattan Flood claimed that he was born in Dalkey, near Dublin, but no corroborating evidence has ever been found either for that statement or for Thomas Fuller's claim that he was born in Westminster.In 1580 Dowland went to Paris, where he was in service to Sir Henry Cobham, the ambassador to the French court, and his successor, Sir Edward Stafford.He became a Roman Catholic at this time.In 1584, Dowland moved back to England where he was married. In 1588 he was admitted Mus. Bac. from Christ Church, Oxford.In 1594 a vacancy for a lutenist came up at the English court, but Dowland's application was unsuccessful - he claimed his religion led to his not being offered a post at Elizabeth I's Protestant court. However, his conversion was not publicized, and being Catholic did not prevent some other important musicians (such as William Byrd) from having a court career in England.From 1598 Dowland worked at the court of Christian IV of Denmark,though he continued to publish in London.King Christian was very interested in music and paid Dowland astronomical sums; his salary was 500 daler a year, making him one of the highest-paid servants of the Danish court.Though Dowland was highly regarded by King Christian, he was not the ideal servant, often overstaying his leave when he went to England on publishing business or for other reasons.Dowland was dismissed in 1606and returned to England;in early 1612 he secured a post as one of James I's lutenists.There are few compositions dating from the moment of his royal appointment until his death in London in 1626.While the date of his death is not known, "Dowland's last payment from the court was on 20 January 1626, and he was buried at St Ann's, Blackfriars, London, on 20 February 1626."Two major influences on Dowland's music were the popular consort songs, and the dance music of the day.Most of Dowland's music is for his own instrument, the lute.It includes several books of solo lute works, lute songs (for one voice and lute), part-songs with lute accompaniment, and several pieces for viol consort with lute.The poet Richard Barnfield wrote that Dowland's "heavenly touch upon the lute doth ravish human sense." He later wrote what is probably his best known instrumental work, Lachrimae, or Seaven Teares, Figured in Seaven Passionate Pavans, a set of seven pavanes for five viols and lute, each based on the theme derived from the lute song "Flow my tears".It became one of the best known collections of consort music in his time. His pavane, "Lachrymae antiquae", was also popular in the seventeenth century, and was arranged and used as a theme for variations by many composers. Dowland's music often displays the melancholia that was so fashionable in music at that time.He wrote a consort piece with the punning title "Semper Dowland, semper dolens" (always Dowland, always doleful), which may be said to sum up much of his work.Dowland's song, "Come Heavy Sleepe, the Image of True Death", was the inspiration for Benjamin Britten's "Nocturnal after John Dowland for guitar", written in 1964 for the guitarist Julian Bream. This work consists of eight variations, all based on musical themes drawn from the song or its lute accompaniment, finally resolving into a guitar setting of the song itself.In 1597, Dowland published his First Book of Songs in London. It was one of the most influential and important musical publications of the history of the lute.This collection of lute-songs was set out in a way that allows performance by a soloist with lute accompaniment or various combinations of singers and instrumentalists.Dowland published two books of songs after the First Book of Songs, in 1600 and 1603, as well as the Lachrymae in 1604.He also published a translation of the Micrologus of Andreas Ornithoparcus in 1609, originally printed in Leipzig in 1517, a rather stiff and medieval treatise, but nonetheless occasionally entertaining.Dowland's last, and in the opinion of most scholars, best work, A Pilgrimes Solace, was published in 1612,and seems to have been conceived more as a collection of contrapuntal music than as solo work