(EuroEkonóm.sk,  0)

(CM176: 27 cues) MM178-182 Suggestions for music discussed including ‘Aeirs in 5 parts’ by HOLBORNE. MM182: minimum 7 players: 2-3 bowed strings and one plucked; ‘waits’ reed consort, flute(s) or recorder(s); 4 singers. AS (1981/1998) 236-7 App VI ‘The Songs’ mentions sources. Maynard writes on the songs’ significance ME 185-9. Brissenden discusses the dances (BR49-53). John Stevens notes that traditionally a wind band of shawms would have been used in dance music (SM30-31).

act scene line Click here to find out more about suggested song
Music for entrance a) MM179: 1599 HOLBORNE [J107] galliard, e.g. ‘Mari-golde’ à 5 H8/ H 1024/ Hn i 4; rS/AAATTB Hq3; cittern + b-v HC43; lt(BO 26v 85) 219
b) ۞Dart (Trumpet flourish, then) BYRD My Lord of Oxenford’s masque (The Earl of Oxford’s Marche, ‘The Marche before the Battle’) kBY5/ F250/ MBxxviii 93; ۞Mo vii 4; rSSAT Fq7; 2co+ 2sa+dr CM423-5; bcM14; ۞BaL21/ ۞BaS 1/ ۞Cap14/ ۞DoH1/ ۞EmR19/ ۞Hf7/ ۞Hp6/ ۞Lg4 1/ ۞MsE ii 29/ ۞NeE4/ ۞Sf 17/ ۞Wt21; rSAATTB + opt. drum, ed. Stanley Taylor, OUP (1962); (CC f19r) ‘Mask’ cittern kSA224; lute ‘A March’ (DY27, p. 95); DOWLAND ‘Lord Strangs March’ lute D65; ۞CmD x 12/ ۞Ld iii 9/ ۞OD iii 17; gDb3
c) (B273) drum *marches and trumpet *flourishes in the distance ending in prolonged flourish at I i 93
1 i 91 Enter… (Flourish) (MM179: flourish not appropriate here)
175-6 [Come, in what key shall a man take you, to go in the song?]
225-6 [I will have a *recheat winded in my forehead, or hang my bugle in an invisible baldric]
234-5 […pick out mine eyes with a ballad maker’s pen…] DO235-240 King Cophetua and the beggar man. Tune and words 220 (320b)
311 Exeunt. L122-3: (several minutes of music from a broken consort for banquet off stage) 221
uC149-151: ‘All you that love good fellows’; tune SB10/ CW263] tune (from Welde lute book f7) for ballad as ‘Sir Edward Noel’s delight’ (‘Nowells Delighte’); lute/ tk PO3; SSAT shawms & b-curtal ۞YM23; MORLEY as ‘Nancie’ kF12/ CW262/ C149; wind consort ۞Gt24 ii; rSATT/B Fg3; rS + k MG7; HAUSSMANN 1603 set: 28 (untitled) ‘Almain no 2’ à 5 cw DdT I xvi 134; ۞MgN4; rSSATB TB10/ TR14b; description and steps TR p.76; DEMANTIUS as an Intrada (from Conviviorum Deliciae à 6, 1608) in LPM TM17. (Tune adapted later for the famous march ‘British Grenadiers’ RE150 i/ C152-3).
ii {0} Enter..(Music for the banquet continues)
2-3 [Hath he provided this music?/ He is very busy about it.]
10-12 [the Prince loved …my niece,…and meant to acknowledge it this night in a dance.]
22 {Enter attendants} Several persons cross the stage. MM179 (including) musician carrying oboe or bassoon
entr’acte MM179: 1599 HOLBORNE: [J52] pavan ‘Bona Speranza’ reed consort, briskly then diminuendo to silence as Act II opens: 222
à 5 H1/ H1021; ۞HsT1; rS/AATTB Hm 1; bqHa i 1; as lute pavan no 5 HB10
II i 61-72 [The fault will be in the music, cousin, if you be not wooed in good time. If the prince be too important, tell him there is *measure in everything, and so dance out the answer. For, hear me, Hero, wooing, wedding, and repenting, is as a Scotch *jig, a *measure, and a *cinquepace. The first suit is hot and hasty, like a Scotch jig, and full as fantastical; the wedding, mannerly modest, as a *measure, full of state and ancientry. And then comes repentance, and with his bad legs, falls into the *cinquepace faster and faster, till he sink into his grave.]
a) ۞BroS7 ‘Scottish jigge’ kMP (f46v) 24/ SA397; FARNABY A Gigge F267/ MB xxiv 27 223
b) (B273) BULL St Thomas wake: pavan N196-8 (273d)
76-7 [The revellers are entering, brother. Make good room.]
77{-161} Enter…., masked {with a drummer}
L125 partners for a courtly masque dance usually a pavan;
DF93-4 gives steps of the pavan ‘Intrada anglicana’ see 225a below 224
(B273-4) galliard- version in triple time of pavan above (223b) N&194-5 (274b)
78-9 [Lady, will you walk about with your friend?]
86-7 [God defend the lute should be like the case.]
97-100 [God match me with a good dancer/ Amen/ And God keep him out of my sight when the dance is done.]
140-1 {Music} [We must follow the leaders.] 225
a) L125: The Lord Zouche’s masque (Lord Souches maske); pavan bcM23/ MB ix 54/ CM393-6; ۞BaL14/ ۞CamQ10/ ۞KnQ13/ ۞YF 14; (FD f8 lute ‘Zouch his march’) lute/k SA223; 2 lutes/t LR13; rB/A + k DE5; rS + k DX19 tune RE10 iv; kDF93 -4 as ‘Intrada Anglicana’ with steps; also set by FARNABY kF239/ MB xxiv 34; ۞ChF4. VALLET Brandt Yrlandt VS i 86 [Note also DOWLAND Sir John (Lord) Souch, his galliard à 5] (881)
b) MM179: 1599 HOLBORNE pavane (see note at 151a) (34a ii)
c) ۞Dart unidentified pavane.?1592 PHILIPS Passamezzo (antico) pavan à 6 ‘Deo gratias’ 3co/3sa/viols/recorders LPM EM7/ MB ix 90; ۞PaC21a; rSSAT Fq3; kF76
d) DP i 5 c1570 The Measure (265)
144 Dance. a) ۞Dart has related galliard PHILIPS attrib.? Galiarda passamezzo; kF77; à 6 LPM EM7; ۞PaC21b; Galliarde de la passomeze VS ii 27 226
b) L125 Pavane = ADSON Courtly masquing Airs à 5 no 1 (209a)
217-220 [I will teach them to sing, and restore them to the owner./ If their singing answer your saying, by my faith, you say honestly.]
222-3 [The gentleman that danced with her told her that she is much wronged by you.]
299-300 [I may sir in a corner and cry heigh-ho for a husband] 227
a) DO194-5 ‘Heigh-ho for a husband’ melody and text. US-NYpl Drexel 4257/ K40/ VH4; ۞DO ii 1
b) DO195-6 ‘There was a maid this other day’ set to tune of ‘Stingo’ melody & text (196b)
iii ALd 516-8 Auden comments on the significance of music of this scene
12-14 [I have known when there was no music with him but the *drum and *fife, and now had he rather hear the tabor and the pipe]
32 [Of good discourse, an excellent musician.]
36-8 Enter Don Pedro…, [followed by Balthazar and Musicians}
(L127: consort; MM180 broken consort). 228
[Come shall we hear this music?/ Yea, my good lord. How still the evening is, As hushed on purpose to grace harmony.]
40-56 [O, very well, my lord: the music ended,…/ ] Enter Balthazar with music] Come, Balthasar, we’ll hear that song again./ O, good my lord, tax not so bad a voice To slander music any more than once./ … I pray thee, sing, and let me woo no more./ Because you talk of wooing I will sing…/ …Do it in notes./ Note this before my notes; There’s not a note of mine that’s worth the noting./ Why, these are very crotchets that he speaks: Notes, notes, forsooth, and nothing!]
56 The accompaniment begins {perhaps here the musicians tune or play instrumentally
57 the music of the song to follow}. (B274) Balthazar plays the melody of the song on a kit [dancing master’s miniature violin] 229 (230)
57-60 [Now divine air! Now is his soul ravished! Is it not strange that sheeps’ guts should hale souls out of men’s bodies? Well, a horn for my money, when all’s done]
61-6 Balthasar {sings}. [17]. SIGH NO MORE, LADIES; see comment V 116 230
a) uL129-30/ (DO373): 1560 ‘Heart’s-ease’ (281a)
b) (B274) L132: [Gooch 11442] 1607 FORD lyric and music adapted by Peter Warlock as lute song in 4 Songs of the early 17th century. OUP, 1925 [Gooch 11583] ۞BroS35 / ۞ EnG7 iii; (Seng p. 59, considers wrongly) attrib. WILSON. AS (1981) 237 warns that word underlay in this setting does not fit Shakespeare’s lines [also as 3 part madrigal ATB. GB-Och MS 736-8 (Seng p.59-61)] ۞ EnG7 ii.
c) uCM178-80 1597 MORLEY Introduction to practical music pt 1: a textless air for 3 voices treble voice, violin and viola, or tenor, viola and cello. ۞DeE2
d) uDO371-3 to tune of ‘Lustie gallant’ melody and text; ۞DO i 52 as lute song (64d)
e) (DO373) Sellenger’s round (188d)
f) (DO373) Rogero (120c)
g) ۞Ph29 set to music by JONES by Gerald Place
77-89 [By my troth, a good song./ And an ill singer, my lord./ Ha, no, no, faith; thou singest well enough for a shift./ An he had been a dog that should have howled thus, they would have hanged him; and I pray God his bad voice bode no mischief. I had as lief heard the night-raven, come what plague could have come after it./ Yea, marry; dost thou hear, Balthazar? I pray thee get us some excellent music, for tomorrow night we would have it at the Lady Hero’s chamber-window./ The best I can my lord./ Do so. Farewell].
Act music (MM180): as preceding Act I (219a) 231
MM180 suggests Interval following Act III scene ii or iii (scene change)
III i 47-48 [O god of love! DO173-5] allusion to song below, V ii 26-9 232 (242)
ii 54-57 [his jesting spirit, which is now crept into a lute-string, and now governed by stops./ Indeed, that tells a heavy tale for him. Conclude,… he is in love]. W9: the lute, symbolically associated with melancholy, here ironic
iii 0 (MM180): 1599 HOLBORNE [J31]‘The Night Watch’ the waits’ reed consort à 5 233
H55/ H1047; ۞A18/ ۞CwM17/ ۞DoP7/ ۞Go 1:3/ ۞Gt16/ ۞HsT9/ ۞MgO28/ ۞Pb30/ ۞To2/ ۞YF 15; rSSATB Hn ii 1; rSAATB Hp5; bqHà 55; cittern + b-v HC47; bandora no 12; HC App. as ‘Almaine’; lute alman no 3 l/tk HB45; ۞Cc 14/ ۞He 16/ ۞Ma8/ ۞Th 17/۞W21; gHBj5/ NR26
iv 0 (MM180): 1599 HOLBORNE [J80] ‘The Sighes’ reed consort, strings or broken consort à 5 H18/ H1029; ۞Do6/ ۞HsT19; bqHa 18; rSSATB Hb i 6; rA+ k BJ5 234
37 Good morrow, sweet Hero. John Parkinson in letter MT cv (1964) 664 remarks that the opening two bars of the anon untitled 16th century lute piece [GB-Cu D.d. 5.78 f39] fits these four words which Beatrice speaks 235
a) ‘The Sick tune’ 1579 C226/ CW73-5 cittern piece (CC f6) fitted to ballad ‘Captain Car’ opening ‘It befell at Martinmass’ which has the refrain ‘Syck, sicke and too too sick…’; l/tk (CC f6) HT3/ JE15/ JR4; l/k LU37; ۞He7/ ۞Ph28/ ۞St25; gDt2/ SG35; rS/AS/T + k DP i 6; rS/A + k DX30; K42-3: tune and words DO 369 i, also in 1597 HOLBORNE [J23] cittern piece ‘Sicke, sicke and very sick HC25; DO 369 (i); ۞DO ii 63 ii ; tune SB427/ RE16 iv; consort MB ix 6;
b) DO366-8; ۞DO ii 63 i (Holmes lute book GB-Cu Dd 5.78.3 & Dd 9.33)
c) DO369 (ii) song with ‘sick’ refrain ‘My heart is leaned on the land…I am so sick’ ۞DO ii 63 iii: melody and text with 11 verses: Stowe ms 389 (c.1558)
38-42 [Why, how now! do you speak in the sick tune?/ I am out of all other tune, 236
methinks./ Clap’s into ‘LIGHT O’ LOVE’; that goes without a *burden: do you sing it, and I’ll dance it./ Ye light o’ love with your heels!] (allusion to a song whose words are lost, but see 288 which refers to a provided text. Malone refers to it as an old dance tune (1778 ed. vol.2, p 323)
a) (DY38, p.103) C221/ CM345-6/ ESI 100/ K44/ VH5/ N&69, 181 adds words ‘By force I am fixed my fancie to write’; ۞BaL20/ ۞BaS 11/ ۞BroP12/ ۞S26/ ۞St4, 23; 1589 ‘Lightie Love Ladies’ lt (BO 5r 14 /Th382) as ‘Engelsche Volte’) l/tk HT3; l/k SB285; ۞St23; gCR7; rSS + k MA14; rS/AST + k DP i 7; rS + k DX5; rSA + chime bars Cm4; Countess of Ormonde’s galliarde’ SB p. 447-8; ۞Sk15, school performance rSAT SR24a; rSTB SR24b; K44; rS + k DX5; (CHf74v ), notes Sk44-5; PRAETORIUS P152 Courante à 4 Pm iv 5/ TB8; ۞PaD25; as’ The poor people’s complaint’ ۞St24
b) V181/ DO253-5 ‘Leave, lightie love, ladies’ from FD W.b.541; ۞DO ii 36
Act music (MM180-1) short *motet sung; or possibly recorders alone leading to 237
IV i 0 diminuendo and fades out
ii (MM181): strain of ‘The Night Watch’ possibly (233) 238
Act music a) (MM181): i) 1599 HOLBORNE ‘Funerals’ pavane strings/broken consort 239 (40a ii)
and ii) ‘The Image of Melancholy’ [J3] à 5 H27/ H1034/ MB xvi 1; ۞HsT12/ ۞RoM2; (as Paduana à 5 BN19); lute pavan 16 HB 21
b) (DLC) DOWLAND Melancholy galliard, lute (CH f2) D25/ Dt8/ LU6/ NR35; ۞BreD12/ ۞CmD viii 5/ ۞Ld iii 8/ ۞Mf4/ ۞OD i 17
V i 196 (MM181): a crescendo from the waits playing ‘The Night Watch’ 240 (233)
ii 24-8 [18]. THE GOD OF LOVE, THAT SITS ABOVE …How pitiful I deserve, — (snatch of ballad by William Elderton) 241
a) uSB163/ K31: 1546 and later versions incl. Willoughby lute book (GB-NO f88v-9) = version of lute dance tune ‘Turkeyloney’ (Tordiglione) = ‘Pavan dans vers (=?d’Anvers’) (DY22, p. 91) SA334/ SB163, LSoc C41: 2/ JAMS (1957) 164-5; tune CW237-8; ۞Ci 12; kDB25/ LPM DM3 ed. Morrow: 28 as ‘Gentil Madonna’ in AZZAIOLO Villotte 1557 (RA57-62 f17) (steps described in DF144 and ARb 82-5); tune and full text DO173; as lute song ۞DO i 29
b) (B274) 1617 CAMPION ‘Shall I come sweet love’ sung expertly by Benedick G95; lute song EL (ii 10) LS7: 19; ۞BreE24/ ۞CamE3/ ۞U7
c) ۞Dart Greensleeves tune ‘squawked’ (178)
d) (MM181): extempore song, tune made up as Benedick goes along
e) uCM181-3: BYRD Gagliarda in C minor; kF168/ MB xxvii 29b; ۞Mo vi 4
29-30 [I mean, in singing; …Troilus the first employer of panders…] DO409-411 ‘When Troilus dwelt in Troy town (18 verses) set to ‘The lustie gallant’; ۞DO ii 68 (64d) 242
iii 0 Enter…with {music and} tapers.
11 [Now music sound, and sing your solemn hymn. 243
MM181: 1599 HOLBORNE ‘The Funerals’ pavan 5-part recorder consort (40a ii)
12-21 [19]. Song (Dirge). Pardon, goddess of the night,… Heavily, heavily. 244
Seng 68: with viol consort. SM31 discusses who sang this
a) (B274-5) 1592 EAST ‘Hymn for a widower,’ tune of ‘The Lamentation’ G163
b) uL134-5: 1600 DOWLAND Flow my tears (Lachrymae) (31a)
c) (MM181): KIRBYE madrigal ‘Up then, Melpomene’ (‘Hero’ replacing ‘Dido’) by adapting? SSATTB S&B English Madrigalists 24: 22
d) uCM184-7: c1604 GREAVES ‘What is beauty but a breath’ as lute song EL ii 18: 7/ WA v 19/ GR151-3/
e) uDO301-2 set to ‘Robin Goodfellow’ tune and text; song with cittern (48a)
iv 116-120 [let’s have a dance ere we are married, that we may lighten our own hearts and our wives’ heels./ We’ll have dancing afterward./ First, of my word; Therefore play music]
127 [Strike up, pipers] Dance and exeunt B275 recorders. BR: *galliard, *volta or *coranto 245
a) L136: 1580 Galliard ‘Sweet Margaret’ cushion dance: VALLET ‘Galliarde angloise & reprinse’ pipe & tabor PE53; tune C153-6; rSATB SR15; lute VS i 31; à 4 CM326-8 (719)
b) (B275): 1588 ARBEAU a *branle ARb113-140/ ARe 128-173 airs for dancing
c) (MM181): 1599 HOLBORNE almain: ‘The Honeysuckle’ à 5 (281a)
d) (MM181): 1599 HOLBORNE [J83] ‘The New-yeere’s gift’ à 5 H6/ H1023; ۞Ma6/ ۞Pb29/۞Sf7; bqHa i 6; bandora galliard no 3 HB11; kMB lv 27

Už ste čítali?

Pridaj komentár