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These are the four virtuosic variations by Jacob van Eyck on one of John Dowland's most famous songs: “Come againe, sweet love doth now invite” from his First Booke of Songes or Ayres (1597). Within a few years the song became known in the Dutch Republic, where it appeared in various songbooks with new Dutch lyrics (“contrafact”).
In Dowland’s original, the melody begins on the second beat of the bar, the first beat being for the other voices. In two of the three Dutch contrafacts, the introductory opening note is added to the melody. Van Eyck also did it that way.
Dowland’s song consists of two strains, the second of which is repeated. So it has ABB as its form scheme. In Van Eyck’s Der Fluyten Lust-hof the form scheme is AABB. Evidence exists that Van Eyck did not intend the A section to be repeated, as Thiemo Wind shows in his dissertation (pp. 404-406). The inclusion of repeat signs must have been a misinterpretation of Van Eyck’s editor, the printer and publisher Paulus Matthijsz.
In Dowland’s multi-voice original, the B section contains dialogues between the melody and the lower voices. Van Eyck was inspired by this, as witnessed by the way in which - in his second and third variation - short motifs in different registers enter into a polyphonically oriented dialogue. It is a sign that he was familiar with Dowland’s original.
🔹This piece is played on a 'Ganassi' alto in F a' = 415 Hz by Monika Musch
🔹Edition used: New Vellekoop Edition, ed. Thiemo Wind, No. 33.
🔹Literature: Thiemo Wind, “Jacob van Eyck and the Others - Dutch Solo Repertoire for Recorder in the Golden Age” (Utrecht: KVNM, 2011).
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