Delyght Pavan and Delyght Gallyard by John Johnson and the ballad tune I Can not keepe my wife at howme from Margaret Board's Lutebook, played by John Edwards

George Torres, Prof. in Music at Lafayette College, Deanne Williams, Prof. in English at York University, and John Edwards discuss correspondences between lute instruction manuals and manuals on civility from 16th and 17th century in France & England, how lute lessons were also decorum lessons, & the lute lesson in Taming of the Shrew. We hear Delyght Pavan & Gallyard (Johnson) & I Cannot keepe my wyfe at howme (anon.) from Margaret Board’s lutebook.

Music from court masques arranged for lute played by John Edwards: Antiq Masque per Mr. Confesso set by Mr. Taylor, originally by John Coprario, Witches Daunce by Robert Johnson, Lady Phillyes Masque, Anon. La: Elyza her Masque, The Prince his Almayne and The Prince his Coranto all by Johnson and from Margaret Board's Lutebook.

Prof. Deanne Williams, author of Shakespeare and the Performance of Girlhood, discusses the Stuart masque, its meaning and its participants. From Margaret Board's Lutebook we hear lute arrangements of The Antiq Masque, The Witches Daunce, The Lady Phyllyes Masque, The Lady Elyza, her Masque, The Prince his Almayne and The Prince his Corrento played by John Edwards. 

Lachrymae by John Dowland, anonymous settings of the ballads Poore Tome and Bony Sweete Robyn, and Richard Allison's setting of Goe from my Wyndowe, all from Margaret Board's Lutebook, played by John Edwards.

Prof. Tom Bishop (Univ. of Auckland) talks to John Edwards about plays, theatres, playgoers and pieces in Margaret Board's Lutebook she’d need to know to get all the references in the plays of Jacobean London. From Margaret’s book we hear Lachrymae, by John Dowland, referenced in Knight of the Burning Pestle, anonymous settings of ballads Poore Tome (King Lear) and Bony Sweete Robyn (Hamlet), and Richard Allison's setting of Goe from my Wyndowe (also Knight of the Burning Pestle).

The anonymous Delacourt Pavin, Markanthonyes Gallyard, probably by Mark Anthony Galliardello or Mark Anthony Bassano, and Orlando by John Dowland, from Margaret Board's Lutebook, played by John Edwards, lute. 

Margaret Board was born in 1600, the daughter of a rich merchant, and had Europe's leading lutenist, John Dowland, as a teacher. Her book of lute pieces, notated in tablature in her hand and that of her teacher, is a collaboration between what her lute master thinks she needs to know and her taste as a young woman in Jacobean London. 

The basse dance set La Magdalena probably by Pierre Blondeau, published in Attaingnant's 'Dixhuit Basses Dances garnie de Recoupe et Tordions' of 1529,  played by John Edwards, lute. 

Profs. Matt Kavaler and Deanne Williams talk with John Edwards about the paintings of the Master of the Female Half-lengths and their shared context with Anne Boleyn's songbook. We hear the Basse Danse La Magdalena by Pierre Blondeau played by John Edwards.

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