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Callino Casturame - The Broadside Band - Jeremy Barlow - Popular Tunes In 17th Century England

05.02.2020 8 By Faull


1992
Label: Harmonia Mundi - HMA 1901039 • Series: Musique DAbord • Format: CD Reissue • Country: France • Genre: Classical • Style: Baroque
Download Callino Casturame - The Broadside Band - Jeremy Barlow - Popular Tunes In 17th Century England

Much from the previous Callino Casturame - The Broadside Band - Jeremy Barlow - Popular Tunes In 17th Century England remained in the repertoire, while the change in style from renaissance to baroque inspired the development of new material.

It is sometimes wrongly assumed that the Puritans opposed and stifled all music-making; in fact, they only banned elaborate church music, and this meant that more energy was devoted to secular composition.

The popularity of a given melody can be partly gauged from its use in broadside ballads of the period. These poems, printed on a single sheet of paper broadside or broadsheet and sold in the street, were sung to familiar airs which were always named at the head of each sheet.

Original sources of the tunes vary in sophistication from simple unaccompanied versions as in the English Dancing Master to elaborate settings by major composers of the day. The two extremes are contrasted in St. These sources, however, only represent a small fraction of the ways in which the tunes were played, since much depended on the essential art of extemporisation. Musicians knew the repertoire through and through, and would not have needed a written score to enjoy playing together.

London Tonedeaf - The Horrendous Acts Of Violence - The Horrendous Acts Of Violence Each of these tunes is named after a well-known part of London.

The first version of St. This piece is by John Cocoper alias Giovanni Coperario c. He adopted the Italian version of his name after studying in Italy. Country dance tiunes Four very popular tunes, all to be found in a variety of sources, anid all except Newcastle specified in several broadside ballads. Ballad tunes mentioned by Shakespeare The plays of Shakespeare and his contemporaries contain many allusions to ballad tunes of the day. The meaning of Callino casturame has been much discussed and is thought probably to be the English corruption of an Irish phrase starting with the word cailin equals colleen or girl.

In Henry V Pistol uises the phrase in reply to a French soldier whose words he has not understood. The La Paloma - André Rieu - Romantic Paradise are extemporised. Across the Channel Several popular tunes in 1 7th century England were of continental origin, and likewise quite a few tunes became well known abroad. Chi pasta is a tune particularly associated with the cittern; the many English settings Addicted - Kelly Clarkson - Breakaway (CD, Album, Album) around and after derive from a song Chi passa per questa strada by Filippo Azzaiuolo, originally published in La folia is based on one of several harmonic sequences or grounds which spread like wildfire through Europe from Italy in the first half of the 16th century.

The Branle or Brawl was a Callino Casturame - The Broadside Band - Jeremy Barlow - Popular Tunes In 17th Century England century dance of French origin which spread to England. We sometimes forget that popular tunes had a far longer life then than they now do. The top three ballad tunes According to research done by Claude M. Simpson in his scholarly book the British Broadside Ballad and its Music, these are the tunes most often specified on ballad sheets before 1 All three are in a minor key or more strictly, the Dorian mode and derive from the Italian harmonic grounds mentioned above.

Although Greensleeves is known today in one standardised version, many different accounts of the melody existed in the 1 7th century. This one was found in a Scottish music book dating from about 1 Fortune my foe achieved popularity as the tune associated with ballads reporting executions and survives in numerous instrumental settings.

Here it is extemporised as a set of variations for the lute. First comes an anonymous setting of the theme from the Fitzwilliam Virginal Book and then an extemporised version by the whole band.

Across the border This last section goes beyond the borders of England and the 1 7th century to explore the way a tune can change and develop over the years. It is surprising to discover that, despite their different national styles, several English and Scottish melodies have a common origin. The 1 7th century English tune The clean contrary way develops, with typical Scottish embellishments, into Gilderoy.

Gilderoy in turn, with further embellishments and transposition into the major mode a common procedure in the late 17th and early 18th centuries becomes Gilliecrankie, played here in a fine setting for violin and continuo by William MacGibb on Meanwhile in England The clean contrary way is seen to be related to several other traditional tunes, including The miller of the Dee.

We hear this first in typical 18th century garb, set by Arne in the ballad opera Love in a Villageand secondly as collected by Vaughan Williams from a folk singer in Sussex early this century. How strange that this last version, passed down aurally over many generations, bears a much closer resemblance than any of the printed tunes to The clean contrary way.

Jeremy Barlow.


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