Tag: Thomas D’Urfey

Folk songs: 15. Dulcina

Pubblicato da Claudio Capriolo2 commenti

 
Anonimo (sec. XVII): As at noon Dulcina rested, ballad su testo attribuito erroneamente a sir Walter Raleigh (1554? - 1618). Ellen Hargis, soprano; Paul O’Dette, cittern; The King’s Noyse, dir. David Douglass.

As att noone Dulcina rested
  In her sweete & shadie bower;
Came a sheppard, & requested
  In her lap to sleepe an houre.
    But from her looke
    A wound hee tooke
  Soe deepe, that for a farther boone
    The Nimphe hee pray’d,
    Whereto she say’d,
  Forgoe mee nowe, come to mee soone.

But in vaine shee did conjure him
  For to leave her presence soe,
Havinge a Thousand meanes t’alure him,
  & but one to lett him goe.
    Where lipps delighte,
    & eyes invite,
  & cheeks as fresh as rose in June,
    Persuade to staie,
    What boots to saye
  Forgoe mee nowe, come to mee soone.

Hee demaunds what time or leisure
  Can there be more fitt then nowe:
She saies, night gives love that pleasure,
  Which the day cannot alowe.
    The sunns clere light
    Shyneth more bright
  Quoth hee more fairer then the moone
    For her to praise
    Hee love, shee saies,
  Forgoe mee nowe, come to mee soone.

With greife of heart this shepheard hasted
  Up the mountaine to his flocks,
Then hee tooke a reed and piped
  Th’echo sounded through the rocks,
    Thus did hee plaie
    & wishe the day
  Were spent, & night were come ere noone,
    For silent night
    Is loves delight
  Ile goe to faire Dulcina soone.

Beauties Darling faire Dulcina
  Like to Venus for her love
Spent the day away in passion
  Mourninge like the Turtle Dove,
    Melodiouslie,
    Notes lowe & highe
  Shee farbled forth this dolefull tune,
    O come againe,
    Sweete sheppard swaine,
  Thou canst not be with mee to soone.

When as Thetis in her pallace
  Had receiv’d the prince of light
Came in Coridon the shepheard,
  To his love and hearts delight.
    The Pan did plaie
    The wood Nimphes they
  Did skip & daunce to heare the tune,
    Hymen did saie
    T’was holidaie,
  Forgoe mee nowe, come to mee soone.

Sweete, hee say’d, as I did promise
  I am nowe return’d againe,
Longe delaie you knowe breeds daunger
  & to lov’rs breedeth paine.
    The Nimph say’d then
    Above all men
  Still welcome shepheard morne & noone,
    The shepheard praies,
    Dulcina saies,
  Shepheard, I doubt y’are come to soone.

Come you nowe to overthrowe mee,
  Out alas I am betray’d,
Deare, is this the love you shewe mee
  To betraie a silly maide.
    Helpe, helpe, ay mee,
    I dare not speake
  I dare not crie, my heart will breake.
    What, all alone?
    Nay, then I finde
  Men are to stronge for woemen kinde.

O sillie foole, whie doubt I tellinge
  When I doubted not to truste.
If my bellie fall a swellinge
  There’s noe helpe but out it must.
    Ay mee, the greife,
    Ay mee, the shame,
  When I shall beare the common name.
    Yet att the worst
    Of my disgrace
  I am not first, nor shal be laste.

La prima menzione di As at noon Dulcina rested risale al 1690, mentre la prima pubblicazione nota è del 1707 e si deve a Thomas D’Urfey, che l’inserì nella sua monumentale silloge intitolata Wit and Mirth, or Pills to Purge Melancholy (1698-1720). La musica è caratterizzata da un brusco cambio di ritmo e andamento al 5° verso della strofe: a una prima parte fluente, in ritmo binario, fa seguito una seconda parte saltellante, in ritmo ternario. Questo particolare induce a pensare che la musica fosse in origine destinata alla danza e che il brano con molta probabilità facesse parte di un masque, un genere di rappresentazione teatrale che andava molto in voga in Inghilterra ai tempi di Giacomo I.
Ebbe vita propria come composizione soltanto strumentale, mantenendo perlopiù il titolo di Dulcina derivatole dal testo dello pseudo-Raleigh. Purtuttavia, in precedenza William Brade (un inglese attivo a Amburgo: l’abbiamo già incontrato, per esempio qui) l’aveva rielaborato a cinque parti strumentali e pubblicato con il titolo di Turkische Intrada; qui è interpretato dai Musicians of the Globe diretti da Philip Pickett:


Folk songs: 9. Over the hills and far away

Pubblicato da Claudio Capriolo11 commenti

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:

  1. la melodia di Over the hills and far away eseguita da un violino solista

  2. l’Air XVI interpretato da Paul Elliott (tenore) e Patrizia Kwella (soprano) [0:37]

  3. Over the hills and far away, versione tratta da un manoscritto americano del 1780 circa contenente melodie di country dances [1:35]

  4. 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.

Folk songs: 3. Cold and raw

Pubblicato da Claudio Capriolo18 commenti

 
Anonimo (sec. XVII): Cold and raw ovvero The Maid who Sold her Barley o anche The Farmer’s Daughter, ballad di probabile origine scozzese. The Baltimore Consort.

Cold and raw the North did blow, bleak in a morning early;
All the trees were hid with snow, cover’d with winter fearly.
As I came riding o’er the slough, I met with a farmer’s daughter,
Rosie cheeks, and bonny brow, geud faith, made my mouth to water.

Down I vail’d my bonnet low, meaning to show my breeding,
She return’d a graceful bow, her visage far exceeding:
I ask’d her where she went so soon, and long’d to begin a parley:
She told me to the next market town, a purpose to sell her barley.

«In this purse, sweet soul!» said I, «twenty pound lies fairly,
Seek no farther one to buy, for I’se take all thy barley:
Twenty more shall purchase delight, thy person I love so dearly,
If thou wilt lig by me all night, and gang home in the morning early.»

«If forty pound would buy the globe, this thing I’s not do, sir;
Or were my friends as poor as Job, I’d never raise’em so, sir:
For shou’d you prove to-night my friend, we’se get a young kid together,
And you’d be gone e’r nine months end, & where shall I find the father?»

«Pray what would my parents say, if I should be so silly,
To give my maidenhead away, and lose my true love, Billy!
Oh this would bring me to disgrace, and therefore I say you nay, sir;
And if that you would me embrace, first marry, & then you may, sir!»

I told her I had wedded been, fourteen years and longer,
Else I’d chuse her for my queen, and tye the knot yet stronger.
She bid me then no farther roame, but manage my wedlock fairly,
And keep my purse for poor spouse at home, for some other should have her barley.

Then as swift as any roe, she rode away and left me;
After her I could not go, of joy she quite bereft me:
Thus I my self did disappoint, for she did leave me fairly,
My words knock’d all things out of joint, I lost both the maid and the barley.

Il testo è compreso nella monumentale silloge Wit and Mirth, or Pills to Purge Melancholy curata da Thomas D’Urfey, la cui 1a edizione risale al 1698; nel corso degli anni è stato associato a musiche diverse: la versione del Baltimore Consort adotta la melodia di Stingo, or The Oyle of Barley, un jig (danza) tratta dalla raccolta The English dancing master (16511, n. 10) di John Playford; stingo e oil of barley sono due modi di dire popolari con i quali all’epoca si indicava una birra forte a gradazione elevata. Ecco Stingo nell’interpretazione dei Musicians of Swanne Alley:

 
La melodia doveva essere assai popolare nel primo Settecento, tant’è vero che Pepusch la utilizzò per rivestire di musica l’aria «If any Wench Venus’s Girdle wear», cantata da Mrs Peachum nella 4a scena del I atto della Beggar’s Opera di John Gay (rappresentata per la 1a volta nel 1728). Qui è eseguita dall’ensemble The Broadside Band diretto da Jeremy Barlow, con Patrizia Kwella voce solista:

If any Wench Venus’s Girdle wear,
 Though she be never so ugly;
Lilies and Roses will quickly appear,
 And her Face look wond’rous smugly.

Beneath the left Ear so fit but a Cord,
 (A Rope so charming a Zone is!)
The Youth in his Cart hath the Air of a Lord,
 And we cry, There dies an Adonis!

All’aria di Mrs Peachum la Broadside Band fa seguire [a 1:17] una breve serie di variazioni per violino e basso continuo sulla medesima melodia, pubblicate con il titolo Up in the Morning Early dal compositore e violinista scozzese William McGibbon (1690 - 1756).

Playford 1651