Scotch Cap

Anonimo (XVII secolo): Scotch Cap (da John Playford, The English Dancing Master, Londra 16511, n. 99). The Baltimore Consort.
La melodia è nota anche con il titolo Edinburgh Castle.


Altri brani tratti dall’English Dancing Master già pubblicati in questo blog:

Folksongs: Blue Cap

Anonimo (XVII secolo): Blew-cap for me. Ellen Hargis, soprano; Paul O’Dette, cittern.
Il testo fu pubblicato per la prima volta intorno al 1634 con il titolo Blew cap for me. Or, A Scottish lasse her resolute chusing shee’l have bonny blew-cap, all other refusing. To a curious new Scottish tune called Blew-cap.

There lives a blithe Lasse in Faukeland towne,
   and shee had some suitors, I wot not how many;
But her resolution she had set down,
   that shee’d have a Blew-cap gif e’re she had any:
        An English man,
           when our good king was there,
        Came often unto her,
           and loved her deere:
        But still she replide, «Sir,
           I pray let me be,
        Gif ever I have a man,
           Blew-cap for me.»

A Frenchman, that largely was booted and spur’d,
   long lock’t, with a Ribon, long points and breeches,
Hee’s ready to kisse her at every word,
   and for further exercise his fingers itches:
        «You be pritty wench,
           Mistris, par ma foy;
        Be gar, me doe love you,
           then be not you coy.»
        But still she replide, «Sir,
           I pray let me be;
        Gif ever I have a man,
           Blew-cap for me.»

An Irishman, with a long skeane in his hose,
   did tinke to obtaine her it was no great matter;
Up stayres to her chamber so lightly he goes,
   that she ne’re heard him until he came at her.
        Quoth he, «I do love you,
           by fate and by trote,
        And if you will have me,
           experience shall shote.»
        But still she replide, «Sir,
           I pray let me be;
        Gif ever I have a man,
           Blew-cap for me.»

A Dainty spruce Spanyard, with haire black as jett,
   long cloak with round cape, a long Rapier and Ponyard;
Hee told her if that shee could Scotland forget,
   hee’d shew her the Vines as they grow in the Vineyard.
        «If thou wilt abandon
           this Country so cold,
        Ile shew thee faire Spaine,
           and much Indian gold.»
        But stil she replide, «Sir,
           I pray let me be;
        Gif ever I have a man,
           Blew-cap for me.»

A haughty high German of Hamborough towne,
   a proper tall gallant, with mighty mustachoes;
He weepes if the Lasse upon him doe but frowne,
   yet he’s a great Fencer that comes to ore-match us.
        But yet all his fine fencing
           could not get the Lasse;
        She deny’d him so oft,
           that he wearyed was;
        For still she replide, «Sir,
           I pray let me be;
        Gif ever I have a man,
           Blew-cap for me.»

At last came a Scottish-man (with a blew-cap),
   and he was the party for whom she had tarry’d;
To get this blithe bonny Lasse ‘twas his gude hap,–
   they gang’d to the Kirk, & were presently marry’d.
        I ken not weele whether
           it were Lord or Leard;
        They caude him some sike
           a like name as I heard;
        To chuse him from au
           she did gladly agree,–
        And still she cride, «Blew-cap,
           th’art welcome to mee.»

La melodia è presente nella prima edizione (1651) della raccolta The English Dancing Master, curata da John Playford, con il titolo Blew Cap (n. 2). Qui è eseguita dai City Waites diretti da Lucie Skeaping:


Folksongs: Cold and Raw

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 si indicava all’epoca 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!

(Non mi è chiaro perché, nella clip, la musica sia associata a immagini tratte da un ben noto videogioco. Ma tant’è: a volte, si sa, bisogna fare di necessità virtù.)


Playford 1651

L’imperatore della Luna non balla il valzer

Anonimo (Richard Motley, sec. XVII - XVIII): The Emperor of the Moon, country dance. Paul O’Dette, cittern; The King’s Noyse, dir. David Douglass.
Danza e melodia prendono il titolo dall’omonima farsa di Aphra Behn (1640 - 1689), rappresentata al Duke’s Theatre di Londra nel 1687. L’autore della musica è stato recentemente identificato in tal Richard Motley, musicista e maestro di danza attivo fra il 1688 circa e il 1710. Pubblicata per la prima volta in appendice al II volume dell’antologia Vinculum societatis, or The tie of good company being a choice collection of the newest songs now in use (1688), la composizione fu poi rielaborata da Henry Purcell per essere inserita nell’8a edizione (1690) della raccolta The English Dancing Master, curata da Henry Playford, figlio e erede di John.


Woodycock

Anonimo (XVII secolo): Woodycock, tratto dalla raccolta The English Dancing Master (1651, n. 15) di John Playford. Folger Consort.


Anonimo (XVII secolo): Divisions (variazioni) on Woodycock. Latitude 37 (Julia Fredersdorff, violino barocco; Laura Vaughan, viol; Donald Nicolson, clavicembalo); Genevieve Lacey, flauto dolce.


Giles Farnaby (c1563 - 1640): Wooddy-Cock (variazioni), dal Fitzwilliam Virginal Book (n. [CXLI]). Zsuzsa Pertis, clavicembalo.



Melodie itineranti – IV

Anonimo (XVII secolo): Parson’s Farewell, dalla raccolta The English Dancing Master di John Playford (Londra 16511, n. 6). Ernst Stolz, pardessus de viole, flauto dolce, clavicembalo, chitarra rinascimentale e violone.

Parson's Farewell


Anonimo (XVII secolo): Bourrée d’Avignonez, da Recueil de plusieurs vieux Airs faits aux Sacres, Couronnements, Mariages di André Danican Philidor l’Ainé (manoscritto datato 1690). Le Concert des Nations, dir. Jordi Savall.


Bourrée d'Avignonez