(CM236: 46 cues); see especially F W Sternfeld Troilus and Cressida: music for the play, pp. 114-5, in English Institute Essays, 1952; ed. by A. Downer. NY, Columbia, 1954 and S204 on the ‘Music of the spheres’ The Mulliner Book has a keyboard piece ‘When Cressid went from Troy’ MB (f88) 1: 90 328
Cf. David Lindley in CDw 82-4 and John Stevens (SM34-5) on the significance of music in the play and the potential use of modes, Lydian (‘sensuous’) and Dorian (‘manly’).
act scene line Click here to find out more about suggested song
Prologue 0 (B248) 3 trumpet blasts
I i 88 Alarum
98-104 [Tell me, Apollo, for they Daphne’s love…] DO119-120 ‘When Daphne from fair Phoebus did fly’ melody and words (191d) 329
104 Alarum
ii 172 A retreat is sounded
iii 0 Sennet
52-3 [with an accent tun’d in selfsame key Retorts to chiding fortune]
73 [We shall hear music, wit and oracle]
101-110 [O when degree is shaked, Which is the ladder to all high designs, The enterprise is sick…Take but degree away, untune that string, And hark what *discord follows]
212-4 Tucket [What trumpet? Look, Menelaus./ From Troy] Enter Aeneas {and a trumpeter}
248 [I bring a trumpet to awake his ear,]
253-4 [Trumpet, blow loud. Send thy brass voice through all these lazy tents,]
256 The trumpet sounds LH276-80 gives a* flourish in 5 parts (fanfare of trumpets) 330
(B248) strong and rousing
260 [He bade me take a trumpet And to this purpose speak:]
II ii 0 (B248) {Flourish}
107-111 [Cry, Trojans…Troy must not be] DO412-4 ‘Troy town’ melody and words; ۞DO ii 69 331
III i 0 {Music sounds within}
{0-156} Instrumental serenade. S204: ‘150 lines of prose couched in elaborate…speech accompanied by voluptuous instrumental strains’ leading to the vocal section see also ME205-6 332
a) (B248) ‘Light o’ love (DY38, p. 103) lute CW82-4 (236)
b) (B248-9) (LO) lute piece ‘a *measure’ : pavan variant (strings and woodwind) l/t in LSoc B3; steps kDF53-4 rSATB + g CM384-5; rS/A+S/T + k DP i 5
c) LH142: 1599 HOLBORNE H61/ H1048 ‘Wanton’ (Playfellow no 2); ۞Ma 15/ ۞Pb20; (LF gives cantus and bassus only) bqHa61; rSSATB Hb i 4; rSS + g Hl 5; rA + k BJ4; lute ۞W7
d) S204: FARNABY Mall Sims kF281/ FAd9/ C177-8/ CW261/ DV2 & 5/ MP70; ۞Du5; rSATB/T Fg2; tune RE12 ii; (CH) lute pavan; ۞OH24/ ۞U4; anon ‘Ballet angloys’, Mal Simmes Bal Anglois, lute/t VS ii 15/ LSoc C15:1; kDV2; simpler version à 3 as ‘Wanton season’ DV5; SWEELINCK Malle Sijmen: variations kSWn5; VALLET lute VS i 87; lute attrib. BACHILER (PI 46); ۞HeP 11;
17-29 [What music is this?/ I do but partly know, sir: it is *music in parts./ Know you the musicians?/ Wholly sir./ Who play they to?/ To the hearers, sir,/ At whose pleasure, friend?/ At mine sir, and theirs that love music/…At whose request do these men play? To the hearers sir./ At whose pleasure, friend?/ At mine sir, and theirs that love music./ …At whose request do these men play?]
42 Enter…{attended by musicians}
49-52 [here is good *broken music./ You have broke it, cousin, and, by my life you shall make it whole again. You shall piece it out with a piece of your performance.—Nell, he is full of harmony] (B248) plucked strings and recorders with lute or guitar. cf. F. W. Sternfeld (CDw81) on the moral inappropriateness other than as a performer.
59-78 [We’ll hear you sing…You shall not bob us out of our melody. If you do, our melancholy upon your head.]
91-92 {to a musician} [Come, give me an instrument.] SM35 probably a lute
101; 106 [I’ll sing you a song now.] [Let thy song be love: ‘This love will undo us all.’]
108-110 [Ay , good now, ‘Love, love, nothing but love’./ In good troth, it begins so.
111-122 [43]. Sings. Love, love, nothing but love (see note on ‘character’ *music. W7) cf commentary ME205-6; F. W. Sternfeld (CDw81-2 on the song’s function and the need for Pandarus to be a good singer; see also G7 xx 192-3 333
a) uLH143 (middle voice and lute)/ uS139-142/ St12: adapts words to contemporary melody ‘The Good Shepherd’s sorrow’ to the tune ‘In sad and ashy weeds’ C202/ CW156/ SB235; kMP (f59v) 42; ۞Ec21
b) (B249) ‘Come sweet love let sorrow cease’ tune ‘Barafaustus Dream’ (201b)
c) uCM238-41 BYRD Galliarda (not identified)
d) uDO 259 set to ‘Heart’s-ease’ melody; as lute song ۞DO i 43 (281b)
e) uDO 258 set to ‘Sir Eglamore’ melody; as lute song ۞DO ii 38 (368)
144 Sound a retreat
ii 130-133 [Stop my mouth. And shall, albeit sweet music issues thence]
iii 22-3 [this Antenor is such a *wrest in their affairs]
290-4 [he is not in this tune, is he?/ No, but he’s out of tune thus. What music will be in him when Hector has knocked out his brains, I know not, but I am sure, none unless the fiddler Apollo set his sinews to make catlings on]
IV iii 0 (B248) {*Flourish}
v 86-7 [I cannot sing, Nor heel the high la*volt] cf. Sternfeld CDw82
139-140 A *trumpet sounds [Hark, Hector’s trumpet]
vi 3-10 [Give with thy trumpet a loud note to Troy, Thou dreadful Ajax, that the appalled air May pierce the head of the great combatant And hale him hither./ Thou, trumpet, there’s my purse.] He gives him money [Now crack thy lungs and split thy brazen pipe. Blow, villain, till thy spherèd bias cheek Outswell the colic of puffed Aquilon. Come, stretch thy chest, and let thy eyes spout blood; Thou blow’st for Hector]
10-12 The trumpet sounds (B249) Greek trumpet call [No trumpet answers/ ’Tis but early days.]
64-5 Flourish [The Trojans’ trumpet]
vii 159 [Beat loud the tambourines, let the trumpets blow]
V ii 10-12 [She will sing [i.e. seduce] any man at first sight./ And any man may sing Her, if he take her clef. She’s noted] LH134
iv 0 Alarum. Enter…{in} excursions
ix 10-14 […strike!…Now, Troy sink down…] DO412-4 ‘Troy town’ (37 i, ii) 334
14-16 A retreat is sounded. [Hark, a retire upon our Grecian part.] Another retreat is sounded. The Trojan trumpets sound the like].
0-2 A retreat is sounded. (B249) drums [Hark, hark! What shout is that?/ Peace, drums!]
(S204) no flourish for Hector or Achilles; omit trumpets conveying the lack of aristocratic tone; no dead march for Hector (CM242: 35 cues)

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