John Dowland – The Complete Works for Lute Solo and Duet

John Dowland – The Complete Works for Lute Solo and Duet

Published in Paris in 2026, The Complete Works for Lute Solo and Duet offers the most comprehensive modern presentation of the repertoire for solo lute and lute duet by John Dowland, a central figure of Elizabethan music. Conceived for the 400th anniversary of his death, this volume is distinguished by an approach entirely based on tablature, presented in a coherent and continuous manner and conceived above all for practical performance. Unlike earlier editions combining modern staff notation with tablature, this editorial choice allows for direct, fluent and historically meaningful reading for the lutenist. The volume also introduces a complete reorganisation of the catalogue, providing a clear and unified structure of the works while fully respecting the diversity of the manuscript and printed sources of the sixteenth and seventeenth centuries through which the corpus has been transmitted.

The edition is based on a catalogue of 90 authenticated works, encompassing all the genres cultivated by Dowland: pavans, galliards, almains, corantos, jigs, ballad arrangements, a prelude, seven fantasias, as well as celebrated duets such as My Lord Chamberlaine, his Galliard and My Lord Willoughby’s Welcome Home. This figure, however, only partially reflects the true scope of the volume, as many of these works survive in multiple distinct versions, sometimes markedly different, all of which are fully edited and presented. The edition thus provides access to a far broader musical corpus, revealing the richness of the transmission tradition and the multiple states of individual works. Two appendices complete the volume, devoted respectively to works of disputed attribution and to the numerous alternative versions preserved in European manuscripts.

The edition is prepared by Nigel North, an internationally renowned lutenist, following a rigorous urtext approachbased on the systematic comparison of all known sources. The tablature is restored with scrupulous fidelity and accompanied by an extensive critical commentary, elucidating variants, transmission errors and editorial decisions. A detailed guide to left-hand ornaments, based on early seventeenth-century English practice, further complements the edition.

The carefully designed layout, high-quality paper and clarity of presentation make this volume a reference work for professional lutenists, students, conservatoires and scholars. Long awaited, this edition finally offers a complete, reliable and fully practical presentation of the lute works of the greatest English master of the Renaissance.

Nigel North – Lutenist and Scholar

An internationally renowned lutenist, Nigel North is one of the leading specialists in Renaissance lute music, with particular authority on the works of John Dowland. As a performer, teacher and scholar, he has held teaching positions at prestigious institutions including the Guildhall School of Music & Drama, the Hochschule der Künste in Berlin, and Indiana University (Bloomington).

The author of landmark recordings and numerous publications, he combines an exceptional command of the instrument with a deep knowledge of historical sources. His long editorial experience and meticulous philological work have established him as a central reference in the field of Elizabethan lute music.

Jean-Daniel Forget – Computer Scientist and Lutenist

A dedicated enthusiast of Baroque lute repertoire, Jean-Daniel Forget is a self-taught lutenist who has been copying and disseminating early manuscripts for nearly two decades. Trained as a computer scientist, he has developed a strong expertise in music notation software adapted to lute tablature.

In collaboration with Guy Grangereau, he makes a substantial body of tablatures available through a dedicated website. He has also assisted Miguel Serdoura in the preparation of his editions and of his Baroque Lute Method, contributing discreet but essential work in the structuring, verification and presentation of the tablature.

Le Luth Doré Urtext Editions

Le Luth Doré Urtext Editions offer musical scores faithful to historical sources, intended for musicians and musicologists. Our editions combine careful engraving, practical layout, durable materials, and a detailed critical apparatus in multiple languages.

Each text is rigorously established note by note to ensure an authentic restitution of the works, preserving original fingerings and ornamentation, with stylistic suggestions provided where the sources allow.

All volumes are printed in Europe using professional offset printing, a demanding production choice that ensures precision, stability, and durability—essential for musical reading, performance practice, and long-term preservation.

Created by experts, our editions offer clear readability and an informed interpretation of early music repertoire.

Le Luth Doré Urtext Editions are dedicated to the memory of William H. Roberts († 2024), co-founder and guiding spirit of the collection.

• Editor(s): Nigel North
• Tablature typography: Jean-Daniel Forget
• Musical period: Renaissance (Elizabethan & Jacobean)
• Instrument(s): 6-course, 7-course, 8-course, 9-course lute
• Instrumentation: Solo lute & lute duets
• Notation: French tablature
• Modern edition: Urtext
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2026
• Collection: Lute & Theorbo Music Collection
• Pages: 460 pp.
• Dimensions: 230 × 310 mm
• Weight: 1.3 kg
• Binding: Sewn perfect binding
• Cover: Softcover with flaps, anti-scratch lamination, gold stamping and selective varnish
• ISMN: 377-0-0017-8843-2

Part I – Pavans

From Lachrimae (D 15) to Pavana Johan Douland (D 94), including Semper Dowland, semper dolens (D 9) and La mia Barbara (D 95).

Part II – Galliards

The complete cycle of galliards, from Piper’s Galliard (D 19) to Galliard to Lachrimae (D 46), including The Frog Galliard (D 23), Awake sweet love (D 24/92), The Earl of Essex / Can she excuse (D 42), Lady Rich’s Galliard / Dowland’s Bells (D 43), The Queen’s Galliard (D 97), The King of Denmark’s Galliard / The Battle Galliard (D 40), etc.

Part III – Almains

Sir John Smith’s Almain (D 47), Lady Laiton’s Almain (D 48), Mrs White’s Choice / Mistris White’s Thing (D 50), My Lady Hunsdon’s Puffe (D 54), Mrs Clifton’s Almain (D 53), Lord Strange’s March (D 65), Sir Henry Guilforde his Almaine (D 111), Mr Dowland’s Midnight (D 99).

Part IV – Corantos, jigs and toys

From Mrs White’s Nothing (D 56) and Mrs Winter’s Jump (D 55) to The Shoemaker’s Wife, a Toy (D 58), including Tarleton’s Resurrection (D 59), Tarleton’s Jigge (D 81), A Coye Toye / Mrs Vaux’s Gigge (D 57/80), etc.

Part V – Ballad tune settings

Orlando Sleepeth (D 61), Fortune my Foe (D 62), Go from my window (D 64), My Lord Willoughby’s Welcome Home (D 66), Walsingham (D 67), Aloe (D 68), Loth to depart (D 69), Sweet Robin (D 70), What if a day (D 79), Une jeune fillette(D 93), Monsieurs Almaine (D 113).

Part VI – Preludium and Fantasies

Preludium (D 98) and the seven Fantasies (D 1–7), forming the core of Dowland’s instrumental output.

Part VII – Lute duets

My Lord Chamberlaine, his Galliard (D 37), Dowland’s Round Battle Galliard (D 39), My Lord Willoughby’s Welcome Home (D 66), and two versions of Fortune my Foe (D 63, D 63c) for two lutes.

Part VIII – Three pieces reconstructed from Simpson

Three works for two lutes reconstructed from Thomas Simpson’s Taffel-Consort (Hamburg, 1621): a Pavan, a Coranto(Were every thought an eye, D 185), and a Volta (D 110).

Appendix I

Works of uncertain but possible attribution.

Appendix II

Alternative versions of works preserved in multiple sources.