Vitis Temporal range: 60–0 Ma PreЄ Є O S D C P T J K Pg N Paleocene- Recent
Vitis californica with fruit
Scientific classification
Kingdom:	Plantae
Division:	Magnoliophyta
Class:	Magnoliopsida
Subclass:	Rosidae
Order:	Vitales[1]
Family:	Vitaceae
Genus:	Vitis L.[2]
Species
V. acerifolia V. adenoclada V. aestivalis V. amurensis V. × andersonii V. arizonica V. balansana V. barbata V. bashanica V. bellula V. berlandieri V. betulifolia V. biformis V. blancoi V. bloodworthiana V. bourgaeana V. × bourquina V. bryoniifolia V. californica V. × champinii V. chunganensis V. chungii V. cinerea V. coignetiae V. davidii V. × doaniana V. erythrophylla V. fengqinensis V. ficifolia V. flexuosa V. girdiana V. hancockii V. heyneana V. hui V. jacquemontii V. jaegeriana V. jinggangensis V. kelungensis V. labrusca V. lanceolatifoliosa V. lincecumii V. longquanensis V. luochengensis V. menghaiensis V. mengziensis V. monticola V. mustangensis V. nesbittiana V. × novae-angliae V. palmata V. peninsularis V. piasezkii V. pilosonerva V. popenoei V. pseudoreticulata V. retordii V. riparia V. romanetii V. rotundifolia V. rupestris V. ruyuanensis V. shenxiensis V. shuttleworthii V. silvestrii V. sinocinerea V. × slavinii V. tiliifolia V. treleasei V. tsoii V. vinifera V. vulpina V. wenchouensis V. wilsonae V. wuhanensis V. xunyangensis V. yeshanensis V. yunnanensis V. zhejiang-adstricta List sources :[3][4]

Vitis (grapevines) is a genus of about 60 species of vining plants in the flowering plant family Vitaceae. The genus is made up of species predominantly from the Northern hemisphere. It is economically important as the source of grapes, both for direct consumption of the fruit and for fermentation to produce wine. The study and cultivation of grapevines is called viticulture.

Biology[link]

Developing inflorescences of Vitis vinifera

Vitis is distinguished from other genera of Vitaceae by having petals which remain joined at the tip and detach from the base to fall together as a calyptra or 'cap'. The flowers are unisexual or modified to act functionally as unisexual, they are pentamerous with a hypogynous disk. The calyx is greatly reduced or nonexistent in most species and the petals are joined at the summit into one unit but separated at the base. Flower buds are formed later in the growing season and overwinter for blooming in spring of the next year. There are two types of flowers produced, sterile flowers with five long filaments and erect stamens with undeveloped pistils and fertile flowers with well-developed pistils and that have five undeveloped reflexed stamens. The fruit is a berry, normally produced with four or less per flower by way of aborted embryos, ovoid in shape and juicy.^[5]

In the wild, all species of Vitis are normally dioecious, but under domestication, variants with perfect flowers appear to have been selected.

Most Vitis species have 38 chromosomes (n=19), but 40 (n=20) in subgenus Muscadinia. In that respect the Muscadinia are the same as other Vitaceae such as Ampelocissus, Parthenocissus, and Ampelopsis.

Uses[link]

The fruit of several Vitis species are grown commercially for consumption as fresh grapes and for fermentation into wine. Vitis vinifera is the most important species.

The leaves of the grape vine itself are considered edible and are used in the production of dolmades and Vietnamese lot leaves.

Species[link]

Vitis coignetiae with autumn leaves

Most Vitis species are found in the temperate regions of the Northern Hemisphere in North America and Asia with a few in the tropics. The wine grape Vitis vinifera originated in southern Europe and southwestern Asia. The species occur in widely different geographical areas and show a great diversity of form. However they are sufficiently closely related to allow easy interbreeding and the resultant interspecific hybrids are invariably fertile and vigorous. Thus the concept of a species is less well defined and more likely represents the identification of different ecotypes of Vitis that have evolved in distinct geographical and environmental circumstances.

The exact number of species is not certain, with species in Asia in particular being poorly defined. Estimates range from 40 to more than 60.^[6] Some of the more notable include:

• Vitis vinifera, the European grapevine. Native to the Mediterranean and Central Asia.
• Vitis labrusca, the Fox grapevine, sometimes used for wine. Native to the Eastern United States and Canada.
• Vitis riparia, the Riverbank Grapevine, sometimes used for winemaking and for jam. Native to the entire Eastern U.S. and north to Quebec.
• Vitis aestivalis, the Summer Grape, native to the Eastern United States, especially the Southeastern United States.
• Vitis rotundifolia (syn. Muscadinia rotundifolia), the Muscadine, used for jams and wine. Native to the Southeastern United States from Delaware to the Gulf of Mexico.
• Vitis rupestris, the Rock grapevine, used for breeding of Phylloxera resistant rootstock. Native to the Southern United States.
• Vitis coignetiae Crimson Glory Vine, a species from East Asia grown as an ornamental plant for its crimson autumn foliage.
• Vitis amurensis, native to the Asian continent, including parts of Siberia and China.
• Vitis vulpina, the Frost Grape, native to the Eastern United States, from Massachusetts to Florida, and west to Nebraska, Kansas, and Texas.^[7] Treated by some as a synonym of V. riparia.^[8]

There are many cultivars of grapevines; most are cultivars of V. vinifera.

Hybrid grapes also exist, and these are primarily crosses between V. vinifera and one or more of V. labrusca, V. riparia or V. aestivalis. Hybrids tend to be less susceptible to frost and disease (notably phylloxera), but wine from some hybrids may have a little of the characteristic "foxy" taste of V. labrusca.

Commercial distribution[link]

Vitis for producing Sherry at Jerez

According to the "Food and Agriculture Organization" (FAO), 75,866 square kilometres of the world is dedicated to grapes. Approximately 71% of world grape production is used for wine, 27% as fresh fruit, and 2% as dried fruit. A portion of grape production goes to producing grape juice to be used as a sweetener for fruits canned "with no added sugar" and "100% natural". The area dedicated to vineyards is increasing by about 2% per year.

The following list of top wine-producers shows the corresponding areas dedicated to grapes for wine making:

• Spain 11,750 km²
• France 8,640 km²
• Italy 8,270 km²
• Turkey 8,120 km²
• United States 4,150 km²
• Iran 2,860 km²(There is no wine produced in Iran; Grape is used as a favorite fruit there, also the leaves of the grape vines are widely used in cooking in Iran.)
• Romania 2,480 km²
• Portugal 2,160 km²
• Argentina 2,080 km²
• Australia 1,642 km²
• Lebanon 1,221 km²

Sources: FAO, Organisation Internationale de la Vigne et du Vin (pdf), Australian Wine and Brandy Corporation.

Pests and diseases[link]

Palatina, a German grape

Phylloxera is an American root aphid that devastated V. vinifera vineyards in Europe when accidentally introduced in the late 19th century. Attempts were made to breed in resistance from American species, but many winemakers didn't like the unusual flavour profile of the hybrid vines. Fortunately, V. vinifera grafts readily onto rootstocks of the American species, and most commercial production of grapes now relies on such grafts.

The Black vine weevil is another root pest.

Grapevines are used as food plants by the larvae of some Lepidoptera species - see list of Lepidoptera that feed on grapevines.

Symbolism[link]

The grape vine (typically Vitis vinifera) has been used as a symbol since ancient times. In Greek mythology, Dionysius (and with the Romans Bacchus) was god of the vintage and, therefore, a grape vine with bunches of the fruit are among their attributes. Their attendants on the Bacchanalian festivals — the Bacchanals — hence had the vine as an attribute, together with the thyrsus, the latter often entwined with vine branches. For the same reason, the Greek wine cup (cantharos) is commonly decorated with the vine and grapes, wine being drunk as a libation to the god.

In Christian iconography, the vine also frequently appears. It is mentioned several times in the New Testament. We have the parable of the kingdom of heaven likened to the father starting to engage laborers for his vineyard. The vine is used as symbol of Jesus Christ based on his own statement, “I am the vine.” In that sense, a vine is placed as sole symbol on the tomb of Constantia, the sister of Constantine the Great, and elsewhere. In Byzantine art, the vine and grapes figure in early mosaics, and on the throne of Maximianus of Ravenna it is used as a decoration.

The vine as symbol of the chosen people is employed several times in the Old Testament. The vine and wheat ear have been frequently used as symbol of the blood and flesh of Christ, hence figuring as symbols (bread and wine) of the Eucharist and are found depicted on ostensories. Often the symbolic vine laden with grapes is found in ecclesiastical decorations with animals biting at the grapes. At times, the vine is used as symbol of temporal blessing.^[9]

Art[link]

In decorative art, while not as favored as many other motifs, the vine is frequently found in works of the Middle Ages, and in Renaissance works the vine ornaments friezes, pilasters, etc. In the art of the early 20th century, the grape bunch was prolifically used in the decorative arts.^[9]

References[link]

Ermano Fegatilli
Statistics
Nickname(s)	Il Dottore
Rated at	Super Featherweight
Nationality	Belgian Italian
Born	(1984-08-19) August 19, 1984 (age 27) Ougrée
Stance	Orthodox
Boxing record
Total fights	29
Wins	25
Wins by KO	5
Losses	4
Draws	0
No contests	0

Ermano Fegatilli (born August 19, 1984 in Ougrée, Belgium) is a Belgium-based Italian boxer.

He is the current European Boxing Union Super Featherweight champion.^[1]

Personal life[link]

Fegatilli holds a Master's Degree in Economics with the highest honours from Liège University, making him arguably the cleverest boxer in the world.^[2] Hence his nickname Il Dottore.

Fegatilli combines work and boxing and is currently a full-time employee as a health management project consultant at the University Hospital of Liège.

Boxing career[link]

Amateur career[link]

Fegatilli's amateur career was a rather short one, finishing at 25-2-2 and becoming Belgian champ in four consecutive years since 2001.^[3]

Professional career[link]

Fegatilli started his professional career in 2005. He is the Belgian Champion since 2008. In May 2007 he won the European Boxing Union European Union (EBU-EU) Super Featherweight title against Italian champion Antonio De Vitis.

As of February 2012 Fegatilli is ranked #9 by the WBC.^[4] and is therefore official title challenger for both the WBC and WBA world titles.

Fegatilli is being promoted by GMG Boxing Promotion and managed by Mirco Giuliani.

His trainers are Martin Jansen (head trainer/coach and cutman), Sandro Menconi (co-trainer), Urbano Giuliani and Dimitrios Mevroudis.

Winning the EBU Super Featherweight Championship[link]

Fegatilli vs Foster Jr.

On February 26, 2011, Fegatilli won the EBU Super Featherweight Title by beating Stephen Foster Jr., 30, in the Premier Suite at Bolton’s Reebok Stadium, England, United Kingdom. This was Fegatilli's biggest win to date. Foster Jr. was knocked down a total of five times yet lasted to the final bell.^[5] Relatively unknown and a 13-2 underdog before this fight, Il Dottore surprised many with the result.^[6]

Final scores were 140-110 and 114-109 twice, making Fegatilli the winner by unanimous decision. Foster was knocked down once in round nine, three times in round 10 and once more in round 11. Foster Jr. gave a good account of himself in the first seven rounds but Fegatilli's consistent body attack and high workrate proved to be too much for Foster Jr, who had stopped Levan Kirakosyan in three rounds in October 2010.^[7][8]

First Title defense[link]

Fegatilli was set to make a voluntary defense of his European title against tough Frenchmen and EBU-EU super featherweight champion Karim Chakim in October ^[9] but French promotor Gilbert Tesseron cancelled the fight just 4 days before it was to take place because of financial reasons. ^[10]

Ermano will now defend his EBU title on February 25th against Italian Antonio De Vitis in the latter one's hometown of Savigliano, Italy.

Non-Title Fight[link]

Because of the cancellation of the fight against Chakim Fegatilli's management was forced to organize a bout to keep Ermano's high world rank spot secured.

On December 23rd 2011 Fegatilli faced Dutch-Nigerian boxer Innocent Anyanwu in Liege, Belgium. Ermano won the fight by unanimous decision.

Professional boxing record[link]

25 Wins (5 knockouts, 20 decisions), 4 Losses (0 knockouts, 4 decisions), 0 Draws[11]
Res.	Record	Opponent	Type	Rd., Time	Date	Location	Notes
Win	25-4	Antonio De Vitis	TD	7 (12)	2012-02-25	Bocciodromo, Savigliano, Italy	Retained EBU Super Featherweight Title
Win	24-4	Innocent Anyanwu	UD	8	2011-12-23	Salle Omnisport, Oupeye, Belgium
Win	23-4	Stephen Foster	UD	12	2011-02-26	Reebok Stadium, Bolton, England	Won EBU Super Featherweight Title
Win	22-4	Pascal Bouchez	UD	6	2010-04-17	Deux Acren, Lessines, Belgium
Win	21-4	Maurycy Gojko	UD	6	2010-02-20	Salle de la Prehalle, Herstal, Belgium
Win	20-4	Samir Boukrara	UD	6	2009-11-28	Salle Omnisport, Oupeye, Belgium
Win	19-4	Alix Djavoiev	UD	6	2009-11-01	Stedelijke Sporthalle, Izegem, Belgium
Win	18-4	Maurycy Gojok	UD	4	2009-10-10	Salle Omnisport, Cheratte, Belgium
Win	17-4	Jesus Garcia Escalona	UD	8	2009-05-09	Hall Omnisport, Loncin, Belgium
Win	16-4	Pascal Bouchez	TKO	3 (6)	2009-02-21	Hall Omnisport de Herstal, Herstal, Belgium
Win	15-4	Ivan Godor	UD	6	2008-11-22	Vise, Belgium
Loss	14-4	Vitali Tajbert	UD	8	2008-08-29	Burg-Waechter Castello, Dusseldorf, Germany
Win	14-3	Araik Sachbazjan	UD	10	2008-05-30	Vise, Belgium	Won vacant Belgium Super Featherweight Title
Win	13-3	Gagik Martirosyan	UD	10	2008-02-23	Herstal, Belgium	Won TWBA Super Featherweight Title
Loss	12-3	Jesus Garcia Escalona	SD	12	2007-11-17	Complexe Sportif, Andenne, Belgium	Lost EBU-EU Super Featherweight Title
Win	12-2	Pascal Bouchez	PTS	6	2007-09-29	Centre Sportif, Soumagne, Belgium
Win	11-2	Antonio De Vitis	MD	12	2007-05-05	Sart Tilman, Liege, Belgium	Won vacant EBU-EU Super Featherweight Title
Win	10-2	Andrei Florin	KO	1 (6)	2007-02-24	Herstal, Belgium
Loss	9-2	Devis Boschiero	UD	10	2006-12-17	Battaglia Terme, Padova, Italy	For vacant IBF Youth Super Featherweight Title
Win	9-1	Elemir Rafael	TKO	5 (6)	2006-10-21	Complexe Sportif de la Spetz, Arlon, Belgium
Win	8-1	Karim Chakim	UD	8	2006-05-27	Salle Omnisports, Vise, Belgium
Loss	7-1	Karim Chakim	PTS	6	2006-04-08	Flemalle, Belgium
Win	7-0	Robert Zsemberi	TKO	1 (6)	2006-02-25	Herstal, Belgium
Win	6-0	Kamel Guerfi	PTS	8	2005-12-02	Dudelange, Luxembourg
Win	5-0	Andrei Florin	UD	4	2005-11-26	Verviers, Belgium
Win	4-0	Miloud Saadi	PTS	4	2005-10-22	Arlon, Belgium
Win	3-0	Piotr Niesporek	TKO	3 (4)	2005-09-30	Amay, Belgium
Win	2-0	Damian Lawniczak	UD	4	2005-05-21	Vise, Belgium
Win	1-0	Sergey Babushkin	PTS	4	2005-04-23	Salle La Ruche, Herstal, Belgium	Fegatilli's professional debut

References[link]

External links[link]

• Official website of Ermano Fegatilli
• Ermano Fegatilli's boxing record from BoxRec
• European Boxing Union
• AFAV Advanced Fighter Video Analysis
• Ermano Fegatilli on mixfight

See also[link]

• British Scene: Stephen Foster vs Ermano Fegatilli Preview
• List of European Boxing Union super featherweight champions

Peter e Barker
Country	England
Residence	Harold Wood, England
Born	(1983-09-26) 26 September 1983 (age 28) London, England
Height	6 ft 0 in (1.83 m)
Weight	82 kilograms (180 lb)
Turned Pro	2002
Retired	Active
Plays	Left Handed
Coached by	Paul Carter Peter Nicol
Racquet used	Wilson
Men's singles
Highest ranking	No. 7 (May, 2009)
Current ranking	No. 7 (November, 2011)
Medal record Competitor for  England Squash Commonwealth Games Bronze 2010 Delhi Singles
Last updated on: October 8, 2010.

Peter Barker (born 26 September 1983 in Harold Wood, England)^[1] is a professional squash player from Upminster, England.

Barker reached a world ranking of 13 in November 2007, the same month that he was selected to represent the senior England team at the World Team Championships in December 2008, held in India.

Peter Barker has 12 professional tour titles to his name out of 15 final appearances. In September 2008, Barker defeated David Palmer twice with a decisive 3–0 victory over David Palmer in Chicago at the Sweet Home Chicago Open and a 3–2 victory in Baltimore at the Merrit Properties Open. Barker's highest world ranking of 7 was reached in May 2009.^[1]

In 2010, Barker wins the bronze medal in the 2010 Commonwealth Games squash men's singles event in Delhi after defeating Mohd Azlan Iskandar from Malaysia in straight sets 11-5, 11–4 11–2. The match ended in 45 minutes.^[2]

Barker attended Brentwood School from 1995 to 2002.^[3]

See also[link]

• Official Men's Squash World Ranking

References[link]

External links[link]

• Peter Barker profile on the PSA official website
• Peter Barker profile on SquashInfo

v t e Professional Squash Association: Top ten English male squash players as of March 2012 James Willstrop (1 1) Nick Matthew (3 2) Peter Barker (7 ) Daryl Selby (11 1) Adrian Grant (16 1) Tom Richards (20 1) Jonathan Kemp (38 7) Chris Ryder (39 ) Chris Simpson (47 1) Adrian Waller (53 2)

This biographical article relating to a British squash figure is a stub. You can help Wikipedia by expanding it. v t e

John Dowland^[1] (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 has been a source of repertoire for lutenists and classical guitarists during the twentieth century.

Career and compositions[link]

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.^[2] 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.^[3] He became a Roman Catholic at this time.^[4] In 1584, Dowland moved back to England where he was married. In 1588 he was admitted Mus. Bac. from Christ Church, Oxford.^[5] 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.^[3]

From 1598 Dowland worked at the court of Christian IV of Denmark,^[6] though he continued to publish in London.^[7] King Christian was very interested in music^[8] and paid Dowland astronomical sums; his salary was 500 daler a year, making him one of the highest-paid servants of the Danish court.^[9] 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.^[8] Dowland was dismissed in 1606^[8] and returned to England;^[9] in early 1612 he secured a post as one of James I's lutenists.^[10] There are few compositions dating from the moment of his royal appointment until his death in London in 1626.^[11] 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."^[12]

Two major influences on Dowland's music were the popular consort songs, and the dance music of the day.^[13] Most of Dowland's music is for his own instrument, the lute.^[14] 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.^[15] The poet Richard Barnfield wrote that Dowland's "heavenly touch upon the lute doth ravish human sense."

One of his better known works is the lute song "Flow my tears", the first verse of which runs:

Flow my tears, fall from your springs,
Exil'd for ever let me mourn;
Where night's black bird her sad infamy sings,
There let me live forlorn.

—John Dowland, ^[16]

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".^[17] 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.^[18] 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.^[19]

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.^[20]

Richard Barnfield, Dowland's contemporary, refers to the lutenist in poem VIII of The Passionate Pilgrim (1598):

If music and sweet poetry agree,
As they must needs, the sister and the brother,
Then must the love be great 'twixt thee and me,
Because thou lovest the one, and I the other.
Dowland to thee is dear, whose heavenly touch
Upon the lute doth ravish human sense;
Spenser to me, whose deep conceit is such
As, passing all conceit, needs no defence.
Thou lovest to hear the sweet melodious sound
That Phoebus' lute, the queen of music, makes;
And I in deep delight am chiefly drown'd
When as himself to singing he betakes.
One god is god of both, as poets feign;
One knight loves both, and both in thee remain.

—Richard Barnfield, The Passionate Pilgrim^{[citation needed]}

Publications[link]

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.^[3] 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.^[21]

Dowland published two books of songs after the First Book of Songs, in 1600 and 1603, as well as the Lachrymae in 1604.^[17] He also published a translation of the Micrologus of Andreas Ornithoparcus in 1609, originally printed in Leipzig 1517, a rather stiff and medieval treatise, but nonetheless occasionally entertaining.^[22]

Dowland's last, and in the opinion of most scholars, best work, A Pilgrimes Solace, was published in 1612,^[23] and seems to have been conceived more as a collection of contrapuntal music than as solo works.^[24]

Suspicions of treason[link]

Dowland performed a number of espionage assignments for Sir Robert Cecil in France and Denmark; his high rate of pay notwithstanding, Dowland seems to have been only a court musician.^[8] However, we have in his own words the fact that he was for a time embroiled in treasonous Catholic intrigue in Italy,^[25] whither he had travelled in the hopes of meeting and studying with Luca Marenzio, a famed madrigal composer.^[3] Whatever his religion, however, he was still intensely loyal to the Queen, though he seems to have had something of a grudge against her for her remark that he, Dowland, "was a man to serve any prince in the world, but [he] was an obstinate Papist."^[26] But in spite of this, and though the plotters offered him a large sum of money from the Pope, as well as safe passage for his wife and children to come to him from England,^[27] in the end he declined to have anything further to do with their plans and begged pardon from Sir Robert Cecil and from the Queen.^[28]

Private life[link]

John Dowland was married and had children, as referenced in his letter to Sir Robert Cecil.^[29] However, he had long periods of separation from his family, as his wife stayed in England while he worked on the Continent.^[30]

His son Robert Dowland was also a musician, working for some time in the service of the first Earl of Devonshire,^[11] and taking over his father's position of lutenist at court when John died.^[31]

Dowland's melancholic lyrics and music have often been described as his attempts to develop an "artistic persona" though he was actually a cheerful person,^[32] but many of his own personal complaints, and the tone of bitterness in many of his comments, suggest that much of his music and his melancholy truly did come from his own personality and frustration.^[33]

Modern interpretations[link]

One of the first twentieth century musicians who successfully helped reclaim Dowland from the history books was the singer-songwriter Frederick Keel.^[34] Keel included fifteen different Dowland pieces in his two sets of Elizabethan love songs published in 1909 and 1913,^[35] which achieved popularity in their day. These free arrangements for piano and low or high voice were intended to fit the tastes and musical practices associated with art songs of the time.

In 1935, Australian-born composer Percy Grainger, who also had a deep interest in music made before Bach, arranged Dowland’s Now, O now I needs must part for piano. Some years later, in 1953, Grainger wrote a work titled Bell Piece (Ramble on John Dowland’s ‘Now, O now I needs must part’), which was a version scored for voice and wind band, based in his previously mentioned transcription.

In 1951 Alfred Deller famous counter-tenor (1912-1979), recorded songs by John Dowland/Thomas Campion/Philip Rosseter with the label HMV (His Master's Voice) HMV C.4178 and another HMV C.4236 of Dowland's "Flow my Tears". In 1977, Harmonia Mundi also published two records of Deller singing Dowland's Lute songs (HM 244&245-H244/246).^[36]

Dowland's music became part of the repertoire of the early music revival with lutenist Julian Bream and tenor Peter Pears, and later with Christopher Hogwood and David Munrow and the Early Music Consort in the late 1960s and later with the Academy of Ancient Music from the early 1970s.

Jan Akkerman, guitarist of the Dutch progressive rock band Focus, recorded "Tabernakel" in 1973 (though released in 1974), an album of John Dowland songs and some original material, performed on lute.

The Collected Lute Music of John Dowland with lute tablature and keyboard notation has been transcribed and edited by Diana Poulton and Basil Lam, Faber Music Limited, London 1974.

The complete works of Dowland have been recorded in a boxed set by the Consort of Musicke.

The 1999 ECM New Series recording In Darkness Let Me Dwell features new interpretations of Dowland songs performed by tenor John Potter, lutenist Stephen Stubbs, and baroque violinist Maya Homburger in collaboration with English jazz musicians John Surman and Barry Guy.

Nigel North recorded Dowland's complete works for solo lute on four CDs between 2004 and 2007.

Elvis Costello included a recording (with Fretwork and the Composers Ensemble) of Dowland's "Can she excuse my wrongs" as a bonus track on the 2006 re-release of his The Juliet Letters.

In October 2006, Sting, who says he has been fascinated by the music of John Dowland for 25 years,^[37] released an album featuring Dowland's songs titled Songs from the Labyrinth, on Deutsche Grammophon, in collaboration with Edin Karamazov on lute and archlute. They described their treatment of Dowland's work in a Great Performances appearance.^[38] To give some idea of the tone and intrigues of life in late Elizabethan England, Sting also recites throughout the album portions of a 1593 letter written by Dowland to Sir Robert Cecil.^[39] The letter describes Dowland's travels to various points of Western Europe, then breaks into a detailed account of his activities in Italy, along with a heartfelt denial of the charges of treason whispered against him by unknown persons. Dowland most likely was suspected of this for traveling to the courts of various Catholic monarchs and accepting payment from them greater than what a musician of the time would normally have received for performing.^[25]

Other interpretations of Dowland's songs have been recorded by Windham Hill artist, Lisa Lynne, (for her CD, Maiden's Prayer) and Lise Winne (for her Wing'd With Hopes, New Interpretations of Renaissance Songs CD). Several bands, such as Die Verbannten Kinder Evas, Aesma Daeva and Qntal, have recorded albums featuring lyrics by John Dowland. The countertenor Andreas Scholl sings in Crystal Tears English consort songs with Concerto Viole of Basel. A rendition of Dowland's "Come again" (sung by Sting) can also be found on Joshua Bell's 2009 album, At home with Friends.

In popular culture[link]

• The science fiction author Philip K. Dick was a fan of Dowland's and his lute music is a recurring theme in Dick's novels. Dick sometimes assumed the pen-name Jack Dowland.^[40] Dick also based the title of the novel Flow My Tears, The Policeman Said on one of Dowland's best-known compositions. In his novel The Divine Invasion, the character Linda Fox (a thinly disguised proxy for Linda Ronstadt) is a popular singer whose repertoire consists of remakes of John Dowland compositions.
• Rose Tremain's 1999 novel Music and Silence is set at the court of Christian IV of Denmark some years after Dowland's departure and contains several references to the composer's music and temperament: in the opening chapter, Christian remarks that "the man was all ambition and hatred, yet his ayres were as delicate as rain".
• Aesma Daeva's song "Darkness" uses "Flow my Tears" as lyrics.
• Both Dowland and Thomas Tallis are referenced in the Half Man Half Biscuit song, "I went to a wedding".
• Dowland is referenced in the Big Big Train song "Reaching for John Dowland" on their album English Boy Wonders.
• Haruki Murakami's novel 1Q84 mentions one of the characters, the dowager, as a fan of Lachrimae, and listening to it frequently.
• Klaus Nomi's second album Simple Man juxtaposes excerpts of Dowland's music in his songs.^[41]

References[link]

• Peter Holman/Paul O'Dette: "John Dowland", Grove Music Online, ed. L. Macy (Accessed July 10, 2007), (subscription access)

Notes[link]

Bibliography[link]

• John Dowland by Diana Poulton, published by Faber & Faber (2nd edition, 1982). ISBN 0-520-04687-0.
• A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith, published by the Lute Society of America (2002). ISBN 0-9714071-0-X
• The Lute in Britain: A History of the Instrument and its Music by Matthew Spring, published by Oxford University Press (2001).
• The Collected Lute Music of John Dowland edited by Diana Poulton, published by Faber Music (2nd edition, 1978). ISBN 0-571-10024-4.
• The English Ayre by Peter Warlock, published by Greenwood Press, Publishers (1970). (Originally published 1926, Oxford University Press, London). ISBN 8371-4237-7.
• New Oxford History of Music, Volume IV: The Age of Humanism 1540-1630 edited by Gerald Abraham, published by Oxford University Press (1968).

Recordings[link]

	Dowland - I saw my lady weep - (guitar and alto) (1.42 Mb)
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External links[link]

Wikiquote has a collection of quotations related to: John Dowland

• johndowland.co.uk - site containing videos, essays, and scores
• Some video performances of John Dowland's songs by Valeria Mignaco, soprano & Alfonso Marin, lute
• Free scores by John Dowland in the Choral Public Domain Library (ChoralWiki)
• Free scores by John Dowland in the Werner Icking Music Archive (WIMA)
• Works by John Dowland at Project Gutenberg
• Free scores by John Dowland at the International Music Score Library Project
• The Mutopia Project has compositions by John Dowland
• John Dowland's Come Again sung by male alto Russell Oberlin
• Four Pieces by John Dowland performed by lutenist Brian Wright