Can She Excuse My Wrongs

Front page of First Booke of Songes or Ayres of Foure Partes with Tableture for the Lute, 1597

Can She Excuse My Wrongs is a late 16th century song by the English Renaissance composer John Dowland, the fifth song in his "First Booke of Songes or Ayres" (Peter Short, London 1597). The words are set to a dance-tune, a galliard. The song is sometimes known as The Earl of Essex Galliard, although that title normally refers to an instrumental version, The Earl of Essex, his galiard, scored for viol consort and lute.[1]

Identity of the poet

Young man, possibly the Earl of Essex, c.1588. Nicholas Hilliard, Victoria and Albert Museum.

Dowland's lyricists are often anonymous, their identities lost over time. Given this, it is often unclear as to which came first, the tune or the text. The tune for "Can She Excuse My Wrongs" was included in the "Dowland Lutebook", now in Washington,[2] completed at least before 1594, before any earlier dating of the text. Edward Doughtie notes that the lyrics do not have a metric structure that combines well with music, and at times forces the singer into unusual word stresses.[3] Bertrand Harris Bronson makes a similar observation, noting how the timing and meter of the tune forces "the text into its service".[4] The upbeat and energetic style and pace of the music seems to be at odds with the somewhat downbeat mood of the lyrics. For these reasons it is generally assumed that the lyrics were a later addition.

"Can She Excuse My Wrongs" has been widely attributed to Robert Devereux, 2nd Earl of Essex (1565-1601),[5] however the lack of surviving documentation make it impossible to discern if in fact Essex was the lyricist.[6] He is certainly a possible candidate: other poems by him survive and there is another lute-song associated with him, 'To plead my faith', set by Daniel Batcheler.[7] However, the attribution of "Can She Excuse" largely rests on Dowland's posthumous dedication of the galliard to the Earl. When Essex was executed for treason in 1601 his title was made extinct. However, James I, who showed favour to those involved in the Essex Rebellion, restored it in 1604 for his son Robert Devereux, 3rd Earl of Essex. Dowland's dedication of the same year was therefore not risky in the way it would have been in previous years.

It has also been suggested that Dowland makes a veiled reference to the Earl in the third strain[3] by quoting the melody of the popular early 16th-century Tudor ballad, Will Yow Walke the Woods soe Wylde.[8] Contemporary listeners would have picked up the allusion to woods, and, according to some scholars, would have gone on to make the connection to the Earl's habit of retreating to the woods north-east of London where he had a house. Both retreat to the country and, drawing from older poetic traditions, the utilisation of woodland imagery, were common features of this type of ballad.[9] The song has been interpreted as recording the poet's feelings of exile and alienation, after being banished from court to the countryside, presumably having fallen from favour with Elizabeth I. This was a popular theme in Tudor poetry and lyrical balladry, and often the poet would use the sence of political alienation to make acute, often satirical commentary on the world of the court, with all its intrigues and jostling for position.[9]

The lover as banished courtier

The lyrics present a stereotypical Petrarchan lover, and appear to form a personal plea to Elizabeth I. Essex is known to have addressed poems to the Queen.[10] The song appeared before Essex's greatest failure, his period as Lord Lieutenant of Ireland which lead to his ill-fated coup d'état, but he had previous fallings-out with her. Many commentators see the favours ("high joys") the poet expects from his disdainful mistress as political rather than sexual.[8]

As a virginal queen in a staunchly traditional patriarchal society, Elizabeth was naturally a focus for the imagination of English lyricists. This seems to have reached its peak during the last two decades of the 1500s, and there is reason to believe that Elizabeth encouraged it as a means to keep ambitious suitors in competition and preoccupied with petty jealousies.[11]

Music

Dowland gave more than one option for performance of Can She Excuse My Wrongs. It is often performed as a lute song by soloist and lute, but, like other songs in the First Book, was originally printed in a format that can also be performed as a madrigal by a small vocal group (SATB). The video of Sting's version of the song shows how the musicians could have sat around a single music book. As one the finest lutenists of his time, Dowland would presumably have played the lute part, although he may also have performed as a singer.[12]

Although Dowland worked for aristocratic patrons, the First Book was aimed at a wider market, and it is assumed that he did not compose "Can She Excuse My Wrongs" with highly trained singers in mind. The book sold well and appeared in various editions during the composer's lifetime.

In 1609 "Can She Excuse My Wrongs" was published in an arrangement by Dowland's contemporary Thomas Robinson. It may have inspired a number of other pieces, including the unattributed "Can Shee" in the keyboard collection Fitzwilliam Virginal Book, and the "Galliard Can she excuse" transcribed in Thomas Morley's 1599 "First Booke of Consort Lessons".[13]

The "First Booke of Songes" was reprinted in the nineteenth century by the Musical Antiquarian Society. Dowland's music was important to the early music revival and has been perceived as relatively accessible to modern audiences.[14] However, in songs such as "Can She Excuse" the tonality is not confined to the modern key system, but draws on an older modal tradition.

Recordings
Can She Excuse My Wrongs
Short extract of a recording by Kai Wessel from the collection Un Soir À La Cour - Lute Songs.
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There are vintage recordings of the song by singers such as Alfred Deller,[15] and Sir Peter Pears, who worked with the lutenists Desmond Dupré and Julian Bream respectively. Although charts for the period when the song was composed do not exist, it is thought that the song’s highest chart performance was achieved by Sting and Edin Karamazov, who included a version in their 2006 album Songs from the Labyrinth.[5]

References

  1. ↑ This was published in Dowland's 1604 collection Lachrimae, or Seaven Teares. By this time Essex and Elizabeth were dead.
  2. ↑ Craig-McFeely, Julia. Folger. US-Washington Folger-Shakespeare Library, Ms.V.b.280 (olim 1610.1)
  3. 1 2 Holman, 67
  4. ↑ Harris Bronson, Bertrand. "The Ballad as Song". University of California Press, 1992. 299. ISBN 978-0-520-01399-5.
  5. 1 2 Torrance, Kelly (2006). "Sting gives Elizabethan composer new voice". The Washington Times (Washington, DC). News World Communications, Inc. Retrieved 13 Aug 2013.
  6. ↑ Gibson, 222
  7. ↑ It was published in Robert Dowland's A Musicall Banquet (London, 1610), with the added inscription 'The Right Honourable Robert, Earle of Essex: Earle Marshall of England'.
  8. 1 2 Gibson, 226
  9. 1 2 Gibson, 221
  10. ↑ Gibson
  11. ↑ Gibson, 229
  12. ↑ It has been suggested that Dowland was the "tenor" who sang at the retirement pageant for Sir Henry Lee.
  13. ↑ Poulton, Diana. "Letters to the Editor". The Musical Times, Volume 105, No. 1454, 1964. 275
  14. ↑ Heseltine, Philip. "More Light on John Dowland". The Musical Times, Volume 68, No. 1014, 1927. 690
  15. ↑ Deller's extensive discography includes versions of "Can She Excuse" for solo voice and for vocal consort (on Vanguard). see Alfred Deller (1912–1979) - A discography

Sources

External links

Wikisource has original text related to this article:

The First Book of Songs: Scores at the International Music Score Library Project

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