John Dowland (c. 1563 - 1626) was an English Renaissance composer, lutenist, and singer. He is best known today for his melancholy songs such as "Come, heavy sleep", "Come again", "Flow my tears", "I saw my Lady weepe", "Now o now I needs must part" and "In darkness let me dwell". His instrumental music has undergone a major revival, and with the 20th century's early music revival, has been a continuing source of repertoire for lutenists and classical guitarists. From 1598 Dowland was employed as lutenist to Christian IV of Denmark, but he still published in London, where he seems to have maintained a family home. The title-page of Lachrimae states that the book can be purchased from the "author's house" in Fetter Lane. In the case of the Second Book of Songs (1600), we know that Mrs Dowland was in London and handed over the manuscript. In the case of Lachrimae, he may have been back in England long enough to oversee the publication process directly. The book was dedicated to Anne of Denmark, and Dowland mentions meeting her at Winchester, which suggests his involvement in her October 1603 masque, Prince Henry's Welcome at Winchester.

Lachrimæ or seaven teares figured in seaven passionate pavans, with divers other pavans, galliards and allemands, set forth for the lute, viols, or violons, in five parts is a collection of instrumental music composed by John Dowland. It was published by John Windet in 1604. It consists of a set of seven slow pieces which the composer calls tears ("teares" in Early Modern spelling) plus other pieces including some livelier numbers.

The title page of Lachrimæ is adorned with a Latin epigram: "Aut Furit, aut Lachrimat, quem non Fortuna beavit" ("He whom Fortune has not blessed either rages or weeps"). Dowland points out in his dedication that there are different types of tears. “The teares which Musicke weeps” can be pleasant; “neither are teares shed always in sorrow but sometime in joy and gladnesse”. The seven pavans are variations on a theme, the "Lachrimæ pavan", which Dowland had already made well known as a lute solo and a song. (That pavan was reworked into the song "Flow my tears" in Dowland's Second Book of Songs (1600) and begins with a "falling tear" motif of four notes.) The harmonies of the seven are intense, with lines weaving close together. Each was given a title by the composer, and there has been speculation that the group forms a narrative or musical journey, though any meaning remains unclear:

1. Lachrimæ antiquae (Old Tears) — already existed as a lute solo and a song
2. Lachrimæ antiquae novæ (Old Tears Renewed) — a harmonic parody of Lachrimæ antiquæ
3. Lachrimæ gementes (Sighing Tears)
4. Lachrimæ tristes (Sad Tears)
5. Lachrimæ coactae (Forced Tears) — a harmonic parody of Lachrimæ tristes
6. Lachrimæ amantis (A Lover’s Tears)
7. Lachrimæ veræ (True Tears)

Source: Wikipedia (https://en.wikipedia.org/wiki/Lachrimae,_or_Seaven_Tea res).

Although originally written for Lute, Viols, or Violons in five parts. I created this Arrangement of "Lachrimæ Amantis" (A Lover’s Tears) from "Lachrimæ or seaven teares" for Wind Quintet (Flute, Oboe, English Horn, French Horn & Bassoon).