Henry Purcell (1659 - 1695): Young Collin, cleaving of a beam, catch a 3 voci Z 291. The City Waites.
Young Collin, cleaving of a beam,
At ev’ry thumping blow cry’d «Hem!»
And told his wife, who the cause would know,
That hem made the wedge much further go.
Plump Joan, when at night to bed they came,
And both were playing at that same,
Cry’d: «Hem, prithee Collin do,
If ever thou lov’st me, dear, hem now.»
He laughing answer’d: «No, no, no,
Some work will split with half a blow;
Besides now I bore:
I hem when I cleave, but now I bore.»
Libera traduzione: c’è un giovane, Collin, impegnato a spaccare un grosso ceppo di legno; a ogni colpo che dà con la mazza esclama hem! A Joan, la mogliettina cicciottella (plump) che gli chiede perché quell’hem!, risponde che hem! serve a far andare il cuneo molto più a fondo.
La notte dopo, a letto, mentre fanno un gioco assai simile, Joan grida: «Oh, Collin, tipregotipregotiprego, se mi ami fa’ hem! adesso.»
Collin ridendo risponde: «Nononò, per certi lavori basta un colpetto: faccio hem! quando devo darci dentro davvero, ma adesso è routine.»
C’è un gioco di parole intraducibile con cleave e bore : entrambi i verbi significano, fra l’altro, “penetrare”, ma cleave vale anche “spaccare”, mentre bore sta per “annoiarsi”.
Oggi parliamo di un brano tradizionale le cui origini risalgono al XVII secolo, se non a un’epoca precedente, famosissimo tanto nelle isole britanniche quanto nel Nordamerica. Come sempre succede alle melodie molto celebri, anche a questa sono stati adattati più testi diversi; è stata inoltre rielaborata in composizioni destinate a accompagnare danze popolari.
1. Tom, Tom, the Piper’s Son
Canzoncina infantile tradizionale; il testo cita il titolo Over the hills and far away, segno che una melodia così chiamata sicuramente preesisteva a questa canzone. Qui è interpretata da Vivien Ellis, Tim Laycock e The Broadside Band:
Tom, he was a piper’s son,
He learnt to play when he was young,
And all the tune that he could play
Was Over the hills and far away.
Over the hills and a great way off,
The wind shall blow my top-knot off.
Tom with his pipe made such a noise,
That he pleased both the girls and boys,
They all stopped to hear him play Over the hills and far away.
[Tom with his pipe did play with such skill
That those who heard him could never keep still;
As soon as he played they began for to dance,
Even the pigs on their hind legs would after him prance.]
As Dolly was milking her cow one day,
Tom took his pipe and began to play;
So Dolly and the cow danced The Cheshire Round
Till the pail was broken and the milk ran on the ground [down].
He met old Dame Trot with a basket of eggs,
He used his pipe and she used her legs;
She danced about till the eggs were all broke,
She began for to fret, but he laughed at the joke.
Tom saw a cross fellow was beating an ass,
Heavy laden with pots, pans, dishes, and glass;
He took out his pipe and he played them a tune,
And the poor donkey’s load was lightened full soon.
Over the hills and a great way off,
The wind shall blow my top-knot off.
2. The distracted Jockey’s Lamentations
Da Wit and Mirth: Or Pills to Purge Melancholy (1698-1720) di Thomas D’Urfey; il testo doveva forse essere inserito nella commedia di D’Urfey The Campaigners (1698). Ascoltiamolo nell’interpretazione dei City Waites diretti da Lucie Skeaping:
Questo è il testo pubblicato nel V volume (1619) della silloge di D’Urfey:
Jocky met with Jenny fair
Aft by the dawning of the day;
But Jockey now is fu’ of care
Since Jenny staw his heart away.
Altho’ she promis’d to be true
She proven has, alake! unkind
Which gars poor Jockey aften rue
That e’er he loo’d a fickle mind.
‘Tis o’er the hills and far away
‘Tis o’er the hills and far away
‘Tis o’er the hills and far away
The wind has blown my Plad (sic) away.
Jockey was a bonny lad
And e’er was born in Scotland fair;
But now poor Jockey is run mad,
For Jenny causes his despair;
Jockey was a Piper’s son
And fell in love when he was young
But all the springs that he could play
Was, O’er the Hills, and far away.
He sung,”When first my Jenny’s face
I saw, she seem’d sae fu’ of grace
With meikle joy my heart was fill’d
That’s now, alas! with sorrow kill’d.
Oh! was she but as true as fair
‘Twad put an end to my despair.
Instead of that she is unkind
And wavers like the winter wind.
Ah! could she find the dismal wae
That for her sake I undergae
She couldna chuse but grant relief
And put an end to a’ my grief;
But, oh! she is as fause as fair
Which causes a’ my sighs and care;
And she triumphs in proud disdain
And takes a pleasure in my pain.
Hard was my hap, to fa’ in love
With ane that does so faithless prove!
Hard was my fate, to court a maid
That has my constant heart betray’d!
A thousand times to me she sware
She wad be true for evermair;
But, to my grief, alake! I say
She staw my heart and ran away.
Since that she will nae pity take
I maun gae wander for her sake
And, in ilk wood and gloomy grove
I’ll, sighing, sing,” Adieu to love.
Since she is fause whom I adore
I’ll never trust a woman more;
Frae a’ their charms I’ll flee away
And on my pipes I’ll sweetly play.”
O’er hills and dales and far away
O’er hills and dales and far away
O’er hills and dales and far away
The wind has blown my plad away.
3. Hark! now the drums beat up again
Canto di reclutamento risalente agli anni della guerra di successione spagnola (1701-14); il testo si trova, con qualche variante, nella commedia di George Farquhar The Recruiting Officer (1706).
Hark! now the drums beat up again
For all true soldier gentlemen,
Then let us list and march, I say,
Over the Hills and far away.
Over the hills and o’er the main
To Flanders, Portugal and Spain,
Queen Anne commands and we’ll obey,
Over the hills and far away.
All gentlemen that have a mind,
To serve the queen that’s good and kind,
Come list and enter into pay,
Then over the hills and far away.
No more from sound of drum retreat,
While Marlborough and Galway beat
The French and Spaniards every day,
When over the hills and far away.
Testo e musica sono stati rielaborati da John Tams per la serie televisiva Sharpe, protagonista Sean Bean, ambientata all’epoca delle guerre napoleoniche; in ogni episodio è cantata una strofe differente. Potete ascoltare la versione di Tams qui.
4. Were I Laid on Greenland’s Coast
Testo di John Gay per The Beggar’s Opera (Air XVI, cantato da Macheath e Polly) con musica adattata da Johann Christoph Pepusch (1728).
Tratto da un cd dedicato ai più celebri airs della Beggar’s Opera da The Broadside Band (dir. Jeremy Barlow), questo clip comprende:
la melodia di Over the hills and far away eseguita da un violino solista
l’Air XVI interpretato da Paul Elliott (tenore) e Patrizia Kwella (soprano) [0:37]
Over the hills and far away, versione tratta da un manoscritto americano del 1780 circa contenente melodie di country dances [1:35]
The wind has blown my plaid away, una versione per flauto tratta dal Drexel Manuscript (1ª metà del XVIII secolo) conservato nella New York Public Library [2:26]
Macheath:
Were I laid on Greenland’s Coast,
And in my Arms embrac’d my Lass;
Warm amidst eternal Frost,
Too soon the Half Year’s Night would pass.
Polly:
Were I sold on Indian Soil,
Soon as the burning Day was clos’d,
I could mock the sultry Toil
When on my Charmer’s Breast repos’d.
Macheath:
And I would love you all the Day,
Polly:
Every Night would kiss and play,
Macheath:
If with me you’d fondly stray
Polly:
Over the Hills and far away.
Vediamo ancora un interessante documento: l’Air XVI della Beggar’s Opera interpretato da Laurence Olivier e Dorothy Tutin nella versione cinematografica del lavoro di Gay, diretta da Peter Brook nel 1953.
la regina gioiosa 