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Now, oh now I needs must part
composer
1597; A Firste Booke of Songes or Ayres; tune from The Frogs Galliard
arranger
1935; Free Settings of Favourite Melodies No 5
For numbers 5 and 6 in his series of Favourite Melodies, Grainger turned to an air by John Dowland (1563–1626). Now, oh now I needs must part inspired Grainger to make not only two piano versions (concert and easy) but also an extended ‘ramble’ for tenor solo and wind band, which he called Bell Piece. This concert version (FSFM No 5) dates from his Australian trip of 1935, and was written at ‘Claremont’, the home of his Aunt Clara in Adelaide. (The easy version, FSFM No 6—containing no big stretches, was written out in Segeltorp, Sweden, the following year.) In both piano settings the Dowland melody is heard twice: the first time with harmonies almost identical to the original lute accompaniment but adapted to pianistic technique, the second time with free harmonies and a tail-piece (coda) of Grainger’s own devising. The song was one that Grainger particularly liked to play and sing before retiring to bed.
from notes by Barry Peter Ould © 2002
Pour les numéros 5 et 6 de ses «Mélodies favorites», Grainger emprunte un air de John Dowland (1563–1626). Now, oh now I needs must part («À présent, hélas, je dois prendre congé») lui inspire non seulement deux versions pour piano (l’une de concert, l’autre facile), mais aussi une longue «divagation» pour ténor solo et ensemble à vent qu’il intitule Bell Piece. Cette version de concert (FSFM no5) date de son voyage en Australie de 1935, et a été écrite à «Claremont», chez sa tante Clara à Adelaide. (La version facile—FSFM no6, qui évite les grands intervalles—a été mise au nette à Segeltorp (Suède) l’année suivante.) Ces deux versions pour piano font entendre la mélodie de Dowland par deux fois: la première, avec des harmonies quasiment identiques à celles de l’accompagnement de luth original, mais adaptées à la technique pianistique; la seconde avec des harmonies libres et une coda entièrement inventée par Grainger. Cette mélodie était l’une de celles que Grainger aimait particulièrement à jouer et à chanter avant d’aller se coucher.
extrait des notes rédigées par Barry Peter Ould © 2002
Français: Josée Bégaud
Die Nummern 5 und 6 in seiner Reihe beliebter Melodien entstammen einer Weise von John Dowland (1563–1626). Now, oh now I needs must part inspirierte Grainger so sehr, dass er nicht nur zwei Klavierversionen schrieb (eine leichte und eine Konzertversion), sondern auch eine längere Fassung für Solotenor und Bläserensemble, die er Bell Piece nannte. Diese Konzertversion (FSFM Nr. 5) ist auf seiner Australienreise 1935 in „Claremont“, dem Haus seiner Tante Clara in Adelaide entstanden. (Die leichte Version, FSFM Nr. 6—ohne höhere Anforderungen, schrieb er im schwedischen Segeltorp ein Jahr später.) In beiden Klavierversionen erscheint die Dowlandsche Melodie zweimal: das erste Mal mit Harmonien, die mit der originalen Lautenbegleitung fast identisch, jedoch für Klavier arrangiert sind, und das zweite Mal mit freien Harmonien und einem Graingerschen Schlussteil (Coda). Dieses Lied sang und spielte Grainger besonders gerne, bevor er zu Bett ging.
aus dem Begleittext von Barry Peter Ould © 2002
Deutsch: Viola Scheffel
Recordings
 Dowland & Campion: It fell on a summer's dayCDH88011Archive Service  |
 Dowland: Awake, sweet loveCDH55241 ‘Restores a dimension of beauty that is often sacrificed in present day performances … Happy the family that spent its leisure hours with this mu ... ‘James Bowman’s usual ease of tone is in full evidence here. He gives us meltingly sweet, gorgeous, resonant high notes, and fluidity of vocal line. M ...» More |
 Dowland: First Booke of Songs or AyresStudio Master: SIGCD553Download onlyStudio Master FLAC & ALAC downloads available  Blending melancholy with wit in his writing for both lute and voice, John Dowland’s songs have continued to enchant audiences and singers for over 400 years.» More |
 Dowland: Lute Songs; Britten: NocturnalCDA67648 Mark Padmore is widely acknowledged as one of the greatest tenors working today. He is admired—among other things—for his ‘extraordinary diction and whispering chamber-like intimacy … [his] joy in conveying the emotional core of each situation’ (Gra ...» More |
 English Ayres and DuetsCDA66003Archive Service ‘Thoroughly agreeable as well as vastly interesting’ (Hi-Fi News) ‘Of immense value and interest … a full recommendation’ (The Monthly Guide to Recorded Music)» More |
 Grainger: Rambles and ReflectionsCDH55454 As the fiftieth anniversary year of Grainger's death draws to a close, here is another chance to sample the composer's miraculous piano transcriptions in dazzling performances by compatriot Piers Lane. Everything from Stanford's folksy Irish Dance ...» More |
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