(CM242: 35 cues)

The most recent contribution to the study of the place of music and dance in this play, in David Lindley’s Shakespeare and music (LS 199-218), providing a detailed analysis, in particular of the role of Feste as a singer. Thurston Dart characterised this as ‘a play bathed in music’, a Court spectacle employing the Corporation Band of the City of London in elaborate, subtle and ‘expensive’ music (in volume between six and eight players), and Peter Thomson writes ‘the play is animated by music from the overture and Orsino’s opening speech to the concluding dance and song (English Renaissance Theatre, 1955, p. 185). John Stevens (SM32-3) summarises the contrasting musical extremes: the Court, with its professional *broken consort and knock-about tavern music: bawdy ballads, catches and snatches of popular songs.

Note PS (ed. by M. M. Mahood, 1968) pp 193-205: ‘The Songs, transcribed and edited with the assistance of F.W. Sternfeld.’ NA (ed. by J. M. Lothian and T. W. Craik, 1975) App. II pp. 181-8 has the tunes of the songs and catches with the words underlayed. In CM286-408 Andrew Charlton offers 41 pieces of Elizabethan music effective as entr’actes or incidental music for use in the plays of which half may be used in this single play. He also uses this play as an example of the choice of music he would find appropriate as bridging between scenes, these being noted below. Brissenden discusses the dances in the play (BR56-61). A chapter by D. J. Palmer ‘The role of music in Twelfth Night’ is included in John Hollander ‘Twelfth Night: a case book’ (Macmillan, 1972), pp. 98-111. W. H. Auden considered ‘taken by themselves the songs are the most beautiful Shakespeare ever wrote…but in the context in which he places them, they sound shocking’ (ALd 520-2).

The Director’s Shakespeare approaches to Twelfth Night, ed. by Michael Billington 1990, pp. 68-72 treats of ‘Songs and the singer: Fitting the music to the mood.’ Van den Borren suggests that all the songs be sung unaccompanied (V69). NOHM iv 819 notes that the extant text may have been revised by 1606, by which time Shakespeare’s company had acquired as a regular member, Robert Armin, ‘an adult clown equally adept both at acting and singing.’ (cf Leslie Hotson Shakespeare’s motley, 1952). MM12 notes that an ‘overture’ is implied and that no brass is used during the play. A chapter entitled ‘The role of music in Twelfth Night’ by John Hollander is to be found in Twelfth Night, a casebook, ed. by D. J. Palmer. Macmillan (1972), pp. 98-111.

GPc vii 27 considers the 5 Act structure was not authentic, see 352 and 360 below for his suggested breaks. Winifred Maynard discusses the clown’s songs (ME198-204), noting how, to Feste, ‘song is as natural a mode of expression as nimble speech’ (ME 199). Further comment on the music will be found in Leslie Hotson The First night of Twelfth Night, 1954, pp 180-1 and 201-2. Auden remarks that ‘one has a sense, and nowhere more strongly than in the songs, of there being inverted commas around the “fun”’ (AL152).

The Globe Theatre has recorded a programme of music for broken *consort, in The Food of Love employing variously, recorder, shawms, curtal and lute, in connection with the 400th anniversary production of the play (discography under recent survey Sf) related to Morley’s Consort Lessons published in 1599. The recording featured among the named composers, Morley, Dowland, Holborne, Byrd, Lauder, Playford, Ferrabosco II, Alison, Cornish, Simpson and Woodcock.

Peter Holman ventures to suggest an actual date, 1597, for the introduction of the mixed instrumental consort provided by the waits bands onto the stage and that 1619 ‘may mark the moment when they abandoned it in favour of ensembles with two violins’ (HV138). Manifold draws attention to the absolute quality of the music in Act 1 sc. 1 and Act II sc. 4 which is ‘pure, without the slightest element of signalling in it’ (MM 101)

act scene line Click here to find out more about suggested song
0 a) ۞Sf 1 MORLEY La Volta on shawms and sackbuts preceding performance. Cf. LS202-4 335 (313e)
b) CM5 My Lady Carey;s Dumpe` (300b)
Manifold notes how this opening scene is built around music which is ignored in the stage directions (MM 101).; see also Edmondson p.86 on the significance of the opening music and Orsino’s reactions to it.
I i 0 Music a) N5-8/ L168/ CM5 Pavane and Galliard: My Lady Carey’s Dompe (300b) 336
b) N105/ L166-7/ (B277) 1611 GIBBONS Lord of Salisbury, his pavin; lute ۞ChF13; kMB xx 18/ GH2/ RV12/ FE ii 6/ HM179a; rSSAT Fq6; + steps DF96 possibly complemented with the Galliard MB xx 19/ GH3/ FE ii 7/ HM179b
c) (DLC) GIBBONS Pavanes kMB xx 17, 15
d) ۞Dart 1599 HOLBORNE [J97] Noel’s galliard à 5 H40/ H1039/ MB ix 67; ۞HsT 22/ ۞Pb21; rSATTB TD18; rSATB or viols HG17/ rSSTBB RC i 41/ rB/A + k/ DE 1; S + k MG1; kF244/ Fa22; gRZ i 10; here using ‘Funerals galliard’ as the title ۞Sf 5
e) (MH146) DOWLAND (melancholy) style here; e.g. ‘Flow my tears’ cf. SJ 5 (31a)
f) (BD71) ‘O Mistress Mine’ Byrd/ Morley harmonisation (344)
g) ۞Ge ‘Walsingham’ (44)
h) (DLC) Alman in g rSSAT Fq2; kF14/ Fa21/ RV13; 2gFe 10
i) (DLC) BYRD In nomine à 5 no 5 cw17:22; ۞Hc13/ ۞RoR16; also on ۞Veritas 545264
j) ۞Sf5 HOLBORNE The Funerals (40 a ii)
1-8 [If music be the food of love, play on, Give me excess of it, that, surfeiting, The appetite may sicken and so die. That strobin hoodrain again, it had a dying fall. O, it came o’er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour. Enough, no more, ’Tis not so sweet now as it was before.] {Music ceases} cf LS202
20-22 […That instant was I turned into a hart, And my desires, like fell and cruel hounds, E’er since pursue me]
a) DO122-4 ‘The Goddess Diana’ set to ‘The New Rogero’ (120c)
b) DO122, 124-6 ‘The history of Diana and Acteon’ set to ‘Quarter braules’ (325b)
40 SCM5 {Flourish} CM414:7: ‘Scene bridge 8’ 337
ii 0 CM304-7 ‘country dance (à 4) ‘‘no 2’’’ Andrew Barton 338
52-4 [Thou shall present me as a eunuch to him…for I can sing And speak to him in many sorts of music] SM33 Viola – a singer. see also Penny Gay comments in CUP edition of the play, p. 34.
CM5: ‘Scene bridge 24’ Three merry men be we 339 (348)
iii 22-25 [He’s a very fool and a prodigal./ Fie, that you’ll say so. He plays o’th’ viol-de-gamboys, speaks three or four languages]. W10 questions an opinion held that this is a sexualised musical metaphor. See also Mary Springfels (SJ 3) and N&28
109-110 [I delight in *masques and *revels sometimes altogether]
114-9 [What is thy excellence in a *galliard, knight?/ Faith I can cut a *caper./ And I can cut the mutton to ’t./ And I think I have the back-trick simply as strong as any man in Illyria.]
122-137 [Why dost thou not go to church in a *galliard, and come home in a *coranto? My very walk shall be a *jig. I would not so much as make water but in a *cinquepace…I did think by the excellent constitution of thy leg it was formed under the star of a galliard./…let me see thee caper].
iv 32-33 [thy small pipe Is as the maiden’s organ, shrill and sound]
140 CM335-9 ‘Scene bridge 20’ ‘The King’s morisco’ (morris dance) 340 (353a)
v 0 CM5 ‘Watkin’s ale’ 63d (340A)
225-9 [Write loyal cantons of contemnèd love, And sing them loud even in the dead of night; Hallow your name to reverberate hills, And make the babbling gossip of the air Cry out ‘Olivia’.
II i 0 CM294 Put up thy dagger Jemy; kFARNABY F127/ MB xxiv 44: bars 1-8/ cm294 341
ii 0 CM345 Light o love (236) 342
iii For reference to the considerable output of material on this music dominated scene, see introductory notes to the play above.
0 CM347 HILTON Three merry men be we: catch (Hey down a down) 343 (348a)
17-20 [Welcome, ass. Now let’s have a catch./ By my troth, the fool has an excellent *breast. I had rather than forty shillings I had such a leg, and so sweet a breath to sing, as the fool has.]
29-31 [Now, a song. / Come on. there is sixpence for you. Let’s have a song.]
35-8 [Would you have a love-song, or a song of good life?/ A love-song, a love-song/ Ay, ay. I care not for good life.]
38-43, 46-51 [25].Sings O MISTRESS MINE! …What is love? ’Tis not hereafter… 344
(L170): based on anon. folk song known to Morley and Byrd; see especially Seng p.96, and LS209-210 and G7 xx 193. See also Vincent Duckles New light on O Mistress Mine. Renaissance News vii (1954) 98-100 uNA(1973) 181/ CW103-4/ C209/ FU383/ K9/ HH27/ GR202-3/ FV6:1/ V323/ VH9/ PS194/PS rev. 2005 p.99/ MoS 178-9/ K9/ Km44/ N 14; ۞BoEs1a/ ۞BroS3/ ۞CwM 14/ ۞Ec 1/ ۞Eg 13/ ۞Sf 11/ ۞U27; S/A+k DX11; 1599 MORLEY with bc M19; ۞Am 1/ ۞BaL22/ ۞BaS 12/ ۞DeC3/ ۞Eg 13/ ۞Eh 1/ ۞Ge28/ ۞Lg 11/ ۞MgM22/ ۞MgE 4/ ۞NeE9/ ۞St3/ Wb14; voice, lute & pandora ۞MsE ii 27; bc ۞MsE ii 28. cf. Seng 98-9 on reservations as to its possible use here [Gooch 17758] HS6; SATB or voice + 3 recorders: MA6; rS/A/T + g RD22 (with words); melody and text PS99; uBYRD Variations on ‘O Mistress mine’ kF66/ MB xxviii 83/ BY31/ CW105; ۞ChF3; ۞MgM23/ ۞Mo v 1/ ۞Ph 19; cf notes NB145; rSATTB OL235; rAA/TT Fs3; rSS/AA HR1; adaptation + rSATB CM244-6; gRZ i 4; opening statement C209/ CW103; uRenaissance News 7 (1954), pp. 98-100: 1603 CAMPION ‘ Long have mine eyes gazed with delight’ (setting of the popular tune) EL (ii 11) LS7: 4; two conjectural versions fitting Shakespeare’s song text with difficulties described DO286-8 with melody and verse; as lute song ۞DO i 47. ۞DO ii 47. Auden analyses the moral of the song (AL155; ALd 520-2)
44-5 [Excellent good, i’ faith./ Good, good.]
52-5 [A mellifluous voice, as I am true knight./ A contagious breath./ Very sweet and contagious, i’ faith./ To hear by the nose, it is dulcet in contagion.]
56-68 [But shall we make the welkin dance indeed? Shall we rouse the night-owl in a *catch that will draw three souls out of one weaver?/ Shall we do that? ] 345
DO336-8 ‘The Mad merry pranks of Robin Goodfellow’ (‘From Oberon in Fairyland’) set to ‘As at noon Dulcina rested’ (22d)
[I am a dog at a catch…/ Let our catch be, ‘Thou knave.’/…it begins, ‘Hold thy peace’/
I shall never begin if I hold my peace./ Good, i’faith. Come begin.] They sing the catch
(68) [26]. HOLD THY PEACE, THOU KNAVE. CM243 sung by Toby, Feste and Andrew. Seng suggests both a) and b) are suitable here; DO200-2 discusses the three versions and their interpretation 346
a) V119/ N&192/ PS 100/ AS (1975) 182-3 ۞Dart: [Gooch 17191] 1609 RAVENSCROFT catch à 3 Rd10/ G110/ N&76, 192/ K11/ FV6: 2/ CM247-8/ HH28/ NPS195/ MO-S 182 i/ K11/ L173/ ‘version 2’ DO 201; ۞DO i 33; ‘version 3’ setting à 4 DO 202; ۞DO ii 27 ii
b) AS (1975) 184: earlier version c1580 collected by Thomas Lant [Gooch 17687] Jill Vlasto ‘An Elizabethan anthology of rounds’ MQ xl (1954) 223-31: ‘version 1’; DO200; ۞DO ii 27 i
c) another tune for the catch (GB-Ckc MS K C I 32) VA 3
69 Enter Maria. [What a caterwauling do you keep here!]
73 [PEG-A-RAMSEY] (allusion only) (GB-Cu Dd ix 33) C273/ MA32/ VH2; Ravenscroft 1609 C273/ G105/ C218-220/ CW248-9/ N&182/ WN65/ K10: (BA17, p.26); ۞St26/ ۞U10; 8-bar lute tune SB365; l/t LSoc C41: 4; kSA399; tune SB366; rSS + k MA16; 1612 BULL Bonny Peg of Ramsey (MP f122 kF30/ MB ixx 75/ SA399; tune SB366; 1610 COBBOLD ‘Little Peg of Ramsey’ fragments of the tune occur in the quodlibet of popular tunes of the time ‘New Fashions’ 1610 S+ tr-v A+ a-v T+ t/b-v B+t/b viols MB xxii 71, bars 48-60; melody and words DO 303; ۞DO ii 50 i; ۞Tv2 ii
73-4 [27].[‘THREE MERRY MEN BE WE],’ used as Sir Toby’s signature tune 347
allusion to catch (*‘Hey, down a down’) 348
a) catch à 3 V3488/ AS (1973) 185/ C216/ CW197/ G79/ K11 ii/ NP196/ VH7/ N20-21/ N& 182/ L174/ NA185/ PS101/; à 4: CM347-8/ K11 HILTON ‘The wise men were but seven…Three merry men…’; DO395-6; ۞DO i 59
b) CW273/ C391: a Robin Hood and Little John: ballad tune (CS125) in ‘a round of three country dances in one’ the SAB voices having separate words: top line opens ‘Sing after fellows’ and the tenor ‘Robin Hood, Robin Hood, said to Little John, Rp74/ VA3; COBBOLD ‘Robin Hood and Little John’ from the quodlibet of popular tunes of the time ‘New Fashions’ S+tr-v A+a-v T+t/b-v B+t/b-v MB xxii 71, bars 282-295; melody & text DO 339-341; ۞DO ii 58; for bandora ‘Robin Hood’ (kCB-Cu D 9 33 f81v) SB 396; lute (CH f53) CHr42/ FS5; ۞EsU8; as ‘Country dance no l’: à 4 CM300-303; lute: (DY42, p.104); duple time 1559 (LO f5) WM19
c) CM247 ii Song fragment
75 Tilly-vally—‘lady’! Allusion to words in next line FV 6:3 349
75-6 [28]. ‘There dwelt a man in Babylon, lady, lady’ 350
SB263 notes that several ballads shared a ‘Lady, lady’ refrain
a) uSB263/ LH45-8: c1570 ‘Ballad of Constant Susanna’ to ‘King Solomon’ MB i (f 123) cittern pieces no 8, ballad ‘Was not good King Solomon’ DO 245-7 ‘The Pangs of love’ (9 verses); ۞DO ii 35; kDB13 Alman; Phalèse (lute). Attaignant 1569; cittern 1570) as dance ‘Guerre, guerre, gay’; uAS (1973) 186 underlaid by Sternfeld after lute piece in DLg/ WY 12; kDB13; BroS 27/ ۞Gt15; uDO384-7 melody and text (19 verses); ۞DO i 57; N&182-3 first verse with tune
b) uK23/ N21-22: 1580 set to ‘Greensleeves’ lute tune (in triple time) (178)
c) DO387-9 set to tune of ‘O Man in desperation’ 1567 melody and text; ۞DO ii 65
d) K13-15
e) CM 247 iii Catch a 3
81 [29]. ‘O’ the twelfth day of December’– (? Opening line of ‘Musleborowe field,’ tune lost. (B278) could be sung to any ballad tune 351
a) uCM247=8: 4 Catch à 3 (source of tune untraced)
b) AS (1975) 48 suggests Sir Toby misquotes first line of familiar carol ‘On the Twelfth day of Christmas’ as ‘On the twelfth day of December’, a comic error
c) DO293-6 set to ‘Wigmore’s galliard’ ۞DO ii 48; version in EIRE-Dtc 408/2 c1605 (247a)
d) CM248 i Song fragment
86-90 [ye squeak out your coziers’ catches without any mitigation or remorse of voice?…/ We did keep time, sir, in our catches.]
98, 100, [30]. ‘FAREWELL DEAR HEART, SINCE I MUST NEEDS BE GONE.’ 352
102-3, 105-8 a) CM248 ii Toby and Feste’s skit on N&70, 183: 1600 JONES ‘Farewell, Dear love’ MB liii 17/ EL ii 4: 12/ CM248/ L175/ NP108/ VH1/OS Appendix/ G115/AS (1975) 187; melody & words N&183/ PS 102; ۞Am7/ ۞BroS28/ ۞CamS13/ ۞DO i 17/ ۞MgE 10/ ۞MgM9/ ۞Ph22/ ۞St 10; voice & consort WA ii; ۞Gt28; rSATB+g. David Greer CM247:5; rAA/T Z15 (there attributed to Robert Johnson); tune and words DO 138-9; discusses this CDw 213-9 (806)
b) uFV6: 5-8 the repartee is set to unidentified traditional (?) snatches of tune. GPc vii 27 suggests interval here
iv LS 123 Lindley stresses how music is essential to this scene
1-13 [Give me some music…but that piece of song, That old and antique song we heard last night; Methought it did relieve my passion much, More than light airs and recollected terms. Of these most brisk and giddy-paced times: Come; but one verse./ He is not here, so please your lordship, that should sing it./… Seek him out, and play the tune the while].
14 (-42) Music plays. LF176-7 the household consort 353
a) CM336-9 King’s morisco (after a ballad tune) bars 3-6 rSATB + g; kF247/ RV22/; 2gFe7; b-v+k MB ix 96; as a masque dance ‘The Maypole’ RE 180 vi; à 2 attrib. COPERARIO (LM70: 35v, 86v) SA123; rS + k DD1; lute, as ‘The Morris’ (US-NYp Drexel 5809, p.156) kMP58; also lute/t (BO 27r 88) as ‘Joane to the May powle’; with text C301-3; BRADE consort à 5 as ‘3 mal Der Satyrn Tanz’ (BN18) SA272; ۞BaS 22/ ۞KnM6/ Wt 14; rSSATB CJ5
b) (B278) the song 354 below played through instrumentally first
c) ۞Sf 12 DOWLAND ‘The Rt. Hon. Robert Earl of Essex, his galliard’ for lute (BA 34 pp. 36-7) D42a/; ۞Aw i 5/ ۞BreD1/ ۞CamE13/ ۞FG i 3/ ۞Md4/ ۞OD iv 8/ ۞RoC3; gDb2; à 5 DA12/ DAb 10; viols and lute ۞CmD vii 17; vi 23/ ۞Wb 16; rSSA Z17 rA+lute ۞EmH26; bc Morley Consort lessons M6; ۞Aw i 5; ۞BaW11/ ۞BreF19/ ۞BroA24a / ۞CamQ2/ ۞CmD xi 13/۞DH1/ ۞DoH22/ ۞Ld 14/ ۞MgM26/ ۞Sf 12; steps DH20-22. As lute song ‘Can she excuse my wrongs with virtue’s cloak’ EL (i 5) LS 1:5/ Df5/ GR86-7; ۞BoD3/ ۞BreE15/ ۞BroL 1/ ۞CamP 10/ ۞CmD i 5/ ۞DeE1/ ۞HL 10/۞RoC 12/ ۞U1/ ۞Wb4; rSSA Z17; as lute piece with that title D42; ۞BroL1/ ۞Ld iv 2/ / ۞OD ii 16; it was also used as a motif for a virginal piece ‘Can shee’ attributed to MARCHANT F188; rSSAT Fq 1; ۞CmD v 7; and in Fitzwilliam and Tisdale Virginal Books ۞CmD v 7, 13; VALLET Galliarde du Compte Essex, lute VS i 32; EYCK ‘Excuse moy’ ۞Wb4
19-21 [How dost thou like this tune? It gives a very echo to the seat Where love is throned.]
42-9 [O fellow, come, the song we had last night… it is old and plain. The spinsters…And the free maids that weave their thread with bones, Do use to chant it…/ Are you ready sir?/ I prithee, sing]
50-65 Music. [31]. Sings. Come away, come away death,… Auden alludes to the sophisticated treatment of a folk theme (AL156-7) cfG7 xx 193 354
a) uL178: John H. Long adaptation of ‘Heart’s ease’ lute piece (CH) (281a)
b) (B278) Dulcina tune C142-3 (189)
c) (B278) 1591 ‘Was ever man so lost in love’ C171-2,
d) (B278) ‘In sad and ashy weeds’ C201-2
e) uCM343 When griping grief (282)
f) uCM249-51* adapted from ‘Go from my window’ + rSATB; 1587 lute (BB16/
FD f17/ PI f29v/CH f3/ Th f35 etc. cf SB p.258) SB162; tLSoc C20: t/k PO 1/ RN 17/ SL10; ۞Eh6 i/ ۞EsU14/ ۞U9/ ۞Wb1/ ۞Wt 11; l f(BO 10r 30) ROBINSON RS14/ N86; ۞W15; gNR29/ SG16; tune CW146-7/ C140-2/ K86/ MK24; ۞BroP 25/ ۞YF16; rSS/AA/T BE4; DO176; ۞CwL 12; ۞DO ii 21; as ‘The New Exchange’ in 6/4 time cf SB p259) E8/ Eb68/ RE37 viii; Adson’s sarabande to the tune of ‘The New Exchange’ kSCt v 13; ۞BroP26; ‘3 hautboys’ (rAAA/viola) CM409; BYRD MB xxviii 79; ۞Mo iv 3; bc ALISON M12; ۞BaW6/ ۞BreF 13/ ۞DoH18/ ۞MgM27/ ۞Wb3; kMORLEY F9 or John MUNDY F42/ HM177; ۞Wb3; tune Mk24; à 3 CM409/ BULL MB ixx 123; l/tk RS14; arr. b.c. DOWLAND BB16/ D64; ۞BreW10/ ۞CmD ix 26/ ۞Ld iii 222/ ۞Mf 17/ ۞N 16/ ۞OD i 20/ ۞Ta6/۞Th4; PILKINGTON lute PL ۞To 16; consort à 6 viols AATTBB GIBBONS MB xlviii 40 (opening 15 bars) Oriel OC505; ۞Tv7; Pavan & galliard à 5 HAUSSMANN LPM EML 225
g) u۞Sf 13 LAUDER My Lord of Marche paven à 4, MB xv 83/ PS108; arr. van Kempen as a lute song; ۞NeE8/ ۞Se18
h) uDO97-98 ‘King Solomon’ tune; as lute song ۞DO i 10/ ۞Ph20 (350a)
66-8 (giving money) [There’s for thy pains./ No pains, sir. I take pleasure in singing, sir]
III i 0 Enter…with {pipe and} tabor; cf Edmondson p. 126
a) CM318 Kemp’s jig: bars 3-10 (70a) 355
b) CM320 [attrib. Richard FARNABY] Nobody’s jigg (or ‘Fleet Street’ or ‘My Lady Winwood’s Maggot’) bars 3-10 rSATB+g; kF149/ MB xxiv 56/ SCt viii 2; rSA Fb6; tune E5/ Eb232/ RE23 i/ SC8/ Sc iv 24; ۞Wn1 i/ ۞YF17 ii; à 4 CM320-321
1-3 [Save thee, friend, and thy music. Dost thou live by the tabor?/ No, sir, I live by the church.]
108-9 [I had rather hear you to solicit that Than *music from the spheres.]
ii 0 CM347 Three merry men be we: catch (Hey, down a down) (348) 356
iii 0 CM290 DOWLAND King of Denmark’s galliard ‘The Battle Galliard’), viol consort ۞CmD x 8/ ۞DoL13/ ۞FD11/ ۞FG i 1/ ۞Go9:1/ ۞Ld i 6/ OD iii 1/۞Roc 16 / ۞Wt 1; gNR39/ Dt 10; viols & lute DA11/ CM290-293; ۞CmD vi 20; rA + lute ۞EmH28/ ۞Md 14; shawm and violin band ۞CamS12; also known as ‘Mr Mildmay’s galliard, lute f(BO 17v-18r 50) shawms + sackbut in bass 357
iv 0 CM322-3 Northumbrian dance tune rSATB 358
20-22 […this cross-gartering… ‘Please one and please all’.] DO314-6 ‘Please one and please all’ 17 verses set to the tune of ‘Tom Tinker’ melody and text; ۞DO ii 52 359 (366b)
33-4 [nightingales answer daws]
IV i 0 CM351 Heart’s-ease bars 2-5 (281a) 360
GPc vi 27 suggests interval here
ii 0 CM349 *Bergamaske bars 11-14 (215b) 361
73-4, 76 ,78, 80 [32]. sings ‘HEY ROBIN, JOLLY ROBIN…’ 362
a) (AS (1975) p.187/ N184/ L179: CORNYSH ‘A Robyn, gentle Robyn’ round à 3 (TTT) (GB-Lbl Royal App. RA49 f53v-54/ fBO 17v-18r) MB xviii 49/ DO47-48/ NP200-3/ WT56/ PS 103-5; ۞DO i 1/ ۞EsU9/ ۞Ge5/ ۞Ke4/ ۞Ln7/ ۞Sf 18; uK12 (as ‘Hey Robin, jolly Robin’); CM252-3 as solo song; rS/A/T + S/T+ S/T RB31; ۞Ec 11 ii
b) V266/ FV6:7/ K12 traditional tune
123-134 [33]. I am gone, sir… (L179: no evidence that this was sung (other than the words are for Feste the singer) S App.vii p189-191 363
a) CM254-5 BARTLET ‘Of all the birds’ Rd7 (154b)
b) V271/ FV6: 8/ N190/ FU271 (‘traditional tune’; ‘tune of old catch’)
c) uDO207 set to ‘Hunt’s up’ tune; song with cittern ۞DO i 35 (18)
iii 0 CM345 ‘Light o’ love’ 364 (236)
V i 0 CM340 ‘Lord Willoughbie’s welcome home (Rowland)’ bars 1-8 365 (203a)
34-5 [The *triplex, sir, is a good tripping *measure, or the bells of Saint Bernard, sir, may put you in mind—‘one, two, three’.] N55; ۞BroS20 *Passamezzo pavan 365A (1210-1221)
105-7 [if it be aught to the old tune…it is as fat and fulsome to mine ear As howling after music.]
197 [Then he’s a rogue, and a *passy-measures pavan…] [۞BroS20]
385-404 [34]. Sings. When that I was and a little tiny boy (‘The wind and the rain’) 366
St15/ V314-5/ C225/ FU314-5/ PS106/ AS(1975) 188/ L180-1/ CM256-60/ K17/ MK71/ FV6:9/ N18/ NP205. Lindley discusses its relevance here and historical judgement on its inclusion.
a) (authorised by stage tradition though possibly written by John VERNON 1772. Seng 124 defends its use; PS 106; ۞BroS39/ ۞CamP4/ ۞DeC15/ ۞DeS12/ ۞Ge 40/ ۞Ph 10/ ۞Sk9, school performance notes Sk30-33; rSS/AA HR6; rST SR22; gRZ ii 1
b) S468/ ۞BroS18 ‘Tom Tinker’ contemporary allusion to the ballad “‘Whilom I was’ to be sung to the tune of Tom Tinker” E88/ Eb 100/ SB468/ CW310-1/ MK310 rSA/S + xylophone Cm7; uDO448-50 melody and words; song with cittern ۞DO i 73
c) u۞Sf20 MORLEY Lavolto; arr.as a song by Claire van Kampen followed by the original Morley setting ۞Sf21 (363e)
closing with ۞Sf21 Millison’s jig E22/ Eb63/ RE39 ii; rSS/T Eh7; see also LS217 367


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