(CM20-21: 43 cues). Note especially Penguin edition, ed. H. J. Oliver, 1968, 2005, The Songs, pp 105-8. and Denis Stevens. The five songs in ‘As you like it’ with lute, piano or guitar [SF]. L143 suggests Amiens sings unaccompanied solo or with cittern, Jacques speaks rather than sings. See also ME189-198 and MS11 on the echo treatment of the songs 15 [20] & 20 [23].

Agnes Latham comments on the songs in AS2 (1975/1997) p. xxiii-xxvi and the masque on p. xxi-xxiii. For some ideas on further ‘forest’ music repertoire see NOTES under *greenwood and *horn. Southworth notes that there are more songs here than in any of the other plays and how music pervades it. (Sutton, 2000, p. 179). W. H. Auden discusses the role of music in the play ALd 518-520.

act scene line Click here to find out more about suggested song
I ii 131-2 [But is there any else longs to feel this *broken music in his sides?]
137 Flourish. W7 trumpets
202 Charles and Orlando wrestle. (B272) accompanied by roll of side drums
II v 1-8, 35-42 [20]. All sing SONG. Under the Greenwood tree…come hither, come hither. 15
47-54 See SM6 on the echo effects used at The Globe theatre. CS119/ James Kinsley The Oxford Book of ballads 1969 (1982) no. 101. [Note that the Playford tune given in SB477 is of later provenance, the Shakespeare title ‘Under the Greenwood tree’ occurring in the final line]
a) uESI 63 The oldest music attached to the verses tune RE 121 i (ESI 60) as in FU edition of the play, similar to: uSF1: 1606. BARTLETT ‘If there be any one’ lute song L + lute/g/k; +l+b-v: EL ii 3:5/ fEF3; SATB voices + lute: MB liii 61; SS/AA/T BE8
b) uG55-6/ L143-5: c1450 ballad ‘Robin Hood and the Monk’ has Shakespeare song title as end line. 1559 CS119. JACKSON Will you walk the woods so wilde; anon 1589 ‘The Woods so wild’ lute (DY8, p. 84)/ LO f1/ FD f3) WM ii 50; ۞N 14; rS HO 48; rS + k DX3; in E16/ Eb31 as ‘Greenwood’ or ‘The Huntsman’ E34, 38, 44/ SCt vii 11/ Sc iv 11;/ Eb 31/ RE34 i, 38 vi; ۞BroJ 1 i /۞EsU22/ ۞YF20 i; rS/TS/Ti Eh2; rSATB: DM2; [BYRD as ‘Will yow walke the woods so wylde’ arr. by Cutting] kBY27/ F67/ MB xxviii 85/ C66/ CW119-120; ۞BreW 1/ ۞Mo iv 1; lute/k BYnl 7; ۞OH 16; gBYng 7/ RZ ii 4; rSATTB OL235; GIBBONS ‘The woods so wilde’ kF40/ MB xx 29; ۞Py5; as song G30; PRAETORIUS Courante P151 has a similar musical motif ۞PaD24 (9b)
c) uN59-62: anon. c1515 ‘I am a jolly foster’ à 3 (T.Bar.B). (RA65 f69v-71) MB xviii 65/ N59-62; ۞Sg 17; rATT: TE3; (GB-Lbl Add Mss 31922) ‘I have been a forster, à 4 CW50; note also setting c1500 COWPER ‘I have been a foster’ à 3 (RA62) (TTB) MB xviii 62/ CW51/ HM86b, and an extant single line tune MB xxxvi 1.
d) uCM22-3: 1565 galliard ‘All in a garden green’ + rSATB; lute (DL, BA50, p 56) lute/tLSP 1; ۞BroP18/ ۞P1/ ۞Ci 3/ ۞KnK2/ ۞Mh 19 i; C110-1/ CW79-80/ G51/ E72/ Eb3/ SC vi/ SCt x 7/ SCg viii 4/ MK126/ RE25 ii, 44 iv/ K74; tune SB7; rS Er / HO 18; rSSAATB BC ii 19; rSS/AA/T BE13; rSAT SR7; rSS/AA Ec1; rSSA 8. Ez6; lute VALLET Onder de Lindegröne 1616 VS ii 13; keyboard SWEELINCK ‘Onder een linde groen’ SWn [Note the words of the ballad are lost and that the tune opens similarly to ‘Gathering pescods’ (see 16a below)]. [BYRD kF104/ BY32/ MB xxviii 56/ CW81; ۞Mo vii 7 i is based on a different melody. John Ward traces its origins in Musica disciplina xx (1967)].
e) uDO415-7 set to ‘Sir Eglamore’ ۞DO i 61 (302c)
9-34 [More, more, I prithee, more./ It will make you melancholy, Monsieur Jaques./ I thank it. thank it. More! I prithee, more. I can suck melancholy out of a song as a weasel sucks eggs. More! I prithee, more./ My voice is ragged, I know I cannot please you./ I do not desire you to please me; I do desire you to sing…. Will you sing?/ More at your request than to please myself./…Come, sing; and you that will not, hold your tongues./ Well, I’ll end the song…/ Come, warble; come]
35-42 [20]. {Verse 2.} SONG [i.e. chorus to lines l-8]. Who doth ambition shun All together here… uCM24 + SATB consort
43-46 [I’ll give you a verse to this note that I made yesterday in spite of my invention./ And I’ll sing it./ Thus it goes:]
47-54 [20]. {Verse 3.} If it do come to pass… (B272) sung by Jaques however inferior the actor’s voice may be uCM25-6 + SATB consort. ALd 519: Jaques’ extemporary verse, which he speaks rather than sings, satirizes the moral of the song
vi (LH145) logically should precede the scene v
vii 4-6 [Here was he merry, hearing of a song./ If he, compact of jars, grow musical, We shall have shortly *discord in the spheres].
147-9 [And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow.]
161 [his big, manly voice Turning again toward childish treble, pipes And whistles in his sound]
174 [Give us some music, and good cousin, sing]
175-194 [21]. SONG. Blow, blow, thou winter wind… Commentary ALd 519-520. The 16
Globe production 1999 has recorders in three different spots in the middle gallery and bassoon in the music room, with Amiens conducting to keep time. (SM11)
a) uL147-9: 1583 ‘Gathering pescods;’ (lute tune DL241); E96/ Eb27/ C258/ CW301/ MK152/ RE22 iii, 47 ii/ SCt iii 6/ SCg 5/ SCd 8; ۞EnG 18 iii; 2 lutes SC20/ LR 34; steps DI v 1; rSATB BC i 28; rSS/AT/A Em2; rS: Er/ HO17; as [John] ‘JOHNSON’sToy’ (lute CH56) lute/t (BO 26r 82); also known as ‘Allin’s (Alleyn’s) jig;’ and ‘Johnson’s Almain’ (CH f56) CHr34/ LR34; ۞OL 17/ ۞Sa 10
b) uSF2: 1606. DANYEL ‘Let not Cloris think’ L + lute/g/k.; EL LS10 (ii 8): 12; fEF13; WA v 6
c) u27-8 (adapted from STROGERS Fantasia F89/ MB lxvi 30): + SATB consort
d) uDO69-71 set to ‘Goddesses’ ۞DO i 6 (193)
195 [If that you were the good Sir Rowland’s son…] DO348-352 ‘Rowland’ tune ‘Brave Lord Willoughby’(12 verses); ۞DO ii 60 17 (203a)
III ii 242-3 [I would sing my song without a *burthen; thou bringest me out of tune.]
iii 89-95 (snatch) O SWEET OLIVER!: 18
a) 1537 ballad tune duple version known as ‘Soet Oliver’ LO / DY11, p. 84) (N&72), 186/ C198-9/ G22/ OS235-6 C50/ CW86-90; ۞BroS15/ ۞Ph25; SB205; uCM29 +SATB consort; cittern (CC4v) as ‘Ye old hunt is up’ CCb 1; lute (Th f472) set to ‘O sweet Oliver’ text & tune uDO292; 2 voices and cittern ۞DO i 49; lute/tk PO 10/ WM ii 67a/ JE3; lute/t LSoc C18: 2/ RN9; gJR1; r2S/2A/2T+k ad lib: DP ii 12; rSAAB ET2; kMP41; rS + k DX16; also known as ‘The hunt’s up’ SB234; à 4 CM400-1 setting attrib. WHITFELDE lute (PI f13v-14) 1616 adapted OS235/ PS 199/ LH78/ K49; The English huntsuppe ktSL9; voice + rSATB consort CM29 à 4; consort alone CM373-5; ۞KnK 10; melody MK90; PS105; pipe and tabor ۞St22
b) to the tune of ‘In pescod time’ NP105 (55a)
93-5 (snatch continued) Wind away,
IV i 10-11 [I have neither the scholar’s melancholy, which is emulation, nor the scholar’s which is emulation, nor the musician’s, which is fantastical.]
ii 6-9 [Have you no song, forester…?/ Yes, sir./ Sing it. ’Tis no matter how it be in tune, so it make noise enough
10-19 [22]. SONG. WHAT SHALL HE HATH THAT KILLED THE DEER? Foresters’ song. (B273) Amiens (solo) and male chorus 19
SF3/ CM30-1 + SATB consort/ FV3 p12/ OS236. 1672. HILTON the elder fl 1580), attrib. [Gooch 1845] (Seng p.85: version of earlier music) catch for 4 bass voices;[Gooch 1846] catch adapted for solo and chorus by Brennecke in MT(1952) 152-6; L151 refrain sung by all present, noblemen as well as foresters; adapted to bass voice unaccompanied: OS236; E (1667 edition): ‘new’ version for 3 bass voices: G111/ L150-2; as lute song DO433-4 tune and text; song with chord symbols K48; as 3 part round ۞DO i 67, cf. article by Ross W. Duffin in Studies in music 19-20 (2000-1) and ESI 224 on the hunting motif in Shakespeare.
(12-14) the rest shall bear This burden Take thou no scorn to wear the horn. WT58 burthen sung as a bass line, not as a refrain
iii 68-9 [What, to make thee an instrument and play false strains upon thee? — not to be endured.]
V iii 5-14 Enter two Pages…[Come, sit, sit, and a song…Shall we clap into’t roundly, without hawking or spitting, or saying we are hoarse, which are the only prologues to a bad voice I’ faith, ‘I faith; and both in a tune, like two gipsies on a horse.]
15-38 [23]. SONG. IT WAS A LOVER AND HIS LASS… 20
SF4/ HS5 [vocal duet with Touchstone sitting between the singers, playing, or seeming to play, the lute] PS185-6 discusses this song HH + lute/g/k: 2 voices + piano N48-50 1600 MORLEY PS106-8/ MA 10/ Km54/ VH 10; ۞BroS5/ ۞DeC 1/ ۞DO i 37/ ۞Lg21 / ۞Ph9; (uCM32 adapted to SS + rSATB) L152-6: [solo voice] H+lute+ b-v fL154; EL LS13 (i 16): 6/ PM ii 34; tune and text DO221-3/ MK264; tune G112; fEF33; ۞Am3/ ۞BaS28/ ۞BreE5/ ۞CamP11 / ۞CamS21/ ۞Ec 9/ ۞Eh3/ ۞Ge 12/ ۞MgE 1/ ۞NeE 12/۞St 6, ۞To3; 2S + consort ۞SgL21; 2 sopranos and consort ۞MgM5; H+ k: PS200-2/ HS5/ C204-5/ K46-7/ OS237/ HH14/ GR204-7; SATB voices: MA5; rAT SE19a; rSATB SE19b; rSS/AA/TT H55; 12. [Gooch lists 51 separate editions, including those of Stainer & Bell for M + k; SA unaclc.; SATB unacc.] See also Fellowes ‘It was a lover and his lass; some fresh points of criticism’ Modern Language Review xii (1946) pp.202-6.
39-44 [Truly, young gentlemen, though there was no great matter in the ditty, yet the note was very untuneable./ You are deceived, sir, we kept time: we lost not our time./ By my Troth, Yes, I count it but time lost to hear such a foolish song…God mend your voices.]
iv 44 [I have trod a *measure]
106-113 {Still music} played during recitations of ‘Then is there mirth in heaven…’ 21
124-128 and of ‘Peace ho! I bar confusion…’ masque. SM26: Recorders used to underline Hymen’s speech played at balcony level within the tiring house behind curtains. AS (1975) p.xxi John Dover Wilson questions the authenticity of Hymen’s words
a) L156-7: LEJEUNE Pavane à 6 ‘for hautboys’/ L157 recorders
b) SF5: 1597 William HOLBORNE à 3 SSA voices unacc.; cittern HC 59-64
c) (B273): GILES ‘Triumph now with joy and mirth’ originally in ‘Lord Hayes masque’ 1607, for alto, lute and bass viol). As a lute song then played instrumentally EL (ii 21) LS19: 4/ G62/ SA5
135 […Whiles a wedlock hymn we sing]:
V iv 139-144 [24]. SONG. Wedding is great Juno’s crown… L158: hymeneal song probably sung in 22
Unison, perhaps with chorus and with accompanying recorders. MM hautboys.Discussed AS (1975) xxi
a) uL158-9 DOWLAND 1612 ‘Welcome black night’ as solo fEF18: 20; EL LS4 (i 14): 20; ۞CmD v 4; original adds 5 part chorus
b) uSF5 1597 William HOLBORNE à 3 SSA voices unacc. (21b)
c) uFV3 1610 CORKINE ‘Shall frown or angry eye’ EL ii 11: 12; fEF12:
d) uCM41 Dulcina (see SB p.201-5 for the complex history of SB129 – and mention of another seemingly quite separate tune which bore this name: SB130, which is given under 189 (q.v.). The tune has been associated with a poem ascribed to Raleigh ‘As at noone Dulcina rested’, words underlaid in G147-8; ۞DO ii 14; facsimile BL iii (f35v) 32; lute solo (BO f83v 188);melody & text DO 127-132; ۞DO ii 14/ ۞Gt24 i/ ۞KnK 15/ ۞MgN20; tune SB129; as ‘Daunce’ kF206; gFd11; 2gFe6; rAT: SR13a; rSAT: SR13b; rS + k Fr5; CW160-1 ‘Dulcina I’; BRADE à 5 ‘Türkische Intrade’ BN20/ SA 400; rSSATB BNd 1; ۞KnK 14/ ۞MgN 10/ ۞MgO 14
e) (B273): GILES ‘Triumph now with joy and mirth’ (21c)
f) uDO427-8 set to tune of ‘Troy Town’; kMP40; as lute song ۞DO i 66 (334)
175-7 [fall into our rustic revelry. Play music and you, brides and bridegrooms all,
With *measure heaped with joy, to thy measures fall]
191 [I am for other than dancing measures].
197 {They dance} (BR135) a *pavane 23
a) L160-1/ (B238-9) 1588. ARBEAU *Branle de la Haye AR90/ ARe169-71; N58 (who adds 4 part harmony); rSSA/TAT + k: DPii3; tune and steps N145/ rSSATB TR8; steps B238-9/ TR p.57; ۞BroA 8 i
b) (B236, 273)
i). ARBEAU *Branle double; AR79/ ARe130, 254 ; rSA ARd 7
ii). *Branle de Poitou; à 4 Gervaise LPM AD5: 11-12; tune + steps AR 90/ Are 146-8, 257/ DF69-70/ NE i; rAAAA/ 4fl/ str: ARi 11; ۞BroA 5 i/ ۞Md28. = Warlock ‘Capriol Suite 5th movement ‘Pieds en l’air’
c) Banke cites also a different tune for ‘Branle de Poitou’ a decorated version for mandora of the tune MK310 familiar from a ‘freeman song’ à 3 ‘We be three poor mariners’ SA 411/ CW134-5/ C77-8/ K92/ Rd6; as solo MK60; solo with chord symbols K92 (1428)

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