50 Shakespeare Songs for High Voice

33332O26O7681J-Jcftn*NYPUBLICLIBRARY THEBRANCHLIBRARIES.^.^3 3333081194553SONS BOOKTHE MUSICIANS LIBRARYVOLUMES ISSUEDFIFTYMASTERSONGSEditedby HenryT. FinckIIJOHANNESBRAHMS:FORTYSONGSEditedby"JamesHunekerIIIFREDERICCHOPINFORTYPIANOCOMPOSITIONSEditedbyJamesHunekerIVROBERTFRANZ:-FIFTY SONGSEditedbyWilliam FosterApthorpFRANZ LISZTTWENTYORIGINALPIANOCOMPOSITIONSEditedbyAugustSpanuthVIFRANZ LISZTTWENTYPIANOTRANSCRIPTIONSEditedbyAugustSpanuthVIIFRANZ LISZTTENHUNGARIAN RHAPSODIESEditedby AugustSpanuthandJohnOrthVIIIROBERTSCHUMANN:FIFTYSONGSEditedbyW.J.HendersonIXWAGNER LYRICS FORSOPRANOEditedbyCarlArmbrusterWAGNER LYRICS FORTENOREditedbyCarlArmbrusterXIMODERNFRENCH SONGS, VOL. IBEMBERGTOFRANCKEditedby PhilipHaleXIIMODERNFRENCHSONGS,VOL. IIGEORGESTOWIDOREditedby PhilipHaleXIIISONGSBYTHIRTYAMERICANSEditedby Rupert HughesXIVFRANZSCHUBERT:FIFTY SONGSEditedbyHenryT. FinctXVSELECTIONSFROMTHEMUSICDRAMASOFRICHARDWAGNERArrangedforthepianobyOttoSingerXVIROBERTSCHUMANNFIFTYPIANOCOMPOSITIONSEditedbyXaverSchamaenkaXVIITWENTY-FOURNEGROMELODIESTranscribedforthepianobyS.Coleridge-TaylorXVIIISEVENTYSCOTTISHSONGSEditedwithaccompaniments byHelenHopekirkXIXGEORGEFRIDERICHANDELVOL. I,SONGSANDAIRS FORHIGHVOICEEditedbyEbenezerProutXXGEORGEFRIDERIC HANDELVOL. II,SONGSANDAIRS FORLOWVOICEEditedbyEbenezerProutXXIFIFTYSHAKSPERESONGSEditedbyCharles VincentXXIIEARLY ITALIAN PIANOMUSICEditedbyM.EspositoTheSongVolumes,excepting ix,x,xixandxx,areissuedin editionsforHighandLo-tu Voice.Priceof eachvolume,paper,clothback, $1.50;full cloth,gilt, $2.50.Prices includepostageFIFTY SHAKSPERESONGSFIFTYSHAKSPERESONGSEDITED BYCHARLESVINCENT(MUS.DOC. OXON.)FOR HIGH VOICETHEMUSICIANS (S^-LIBRARYBOSTON: OLIVERDITSON COMPANYNEW YORK: CHAS.H.DITSON&CO. CHICAGO:LYON&HEALYPHILADELPHIA:J.E.DITSON&CO.[PRICE: PAPER, $1.50; CLOTH,$2.50]COPYRIGHT, 1906,BYOLIVERDITSON COMPANYINTERNATIONALCOPYRIGHTSECUREDTHENEWPUBLIC LI8,00ASTCrD. B.UPDIKE,THEMERRYMOUNTPRESS,BOSTONCONTENTSPART I : SONGSMENTIONEDBYSHAKSPERE IN HIS PLAYSFarewell,dear lovePego'RamsayGreen-SleevesHeigh-ho! for a husbandHeart'sEaseLighto' LoveThreemerrymen beweRobertJonesUnknownUnknownUnknownUnknownUnknownUnknownPARTII : SONGSPOSSIBLY SUNGIN THEORIGINALPERFORMANCESUnknownUnknownThomasMarley (circa 1557-1604)RobertJohnson (circa 1590)RobertJohnson (circa 1590)TheWillowSongOmistress mineIt wasa loverand his lassWherethe beesucksFull fathom fivethyfather liesLawnas whiteas drivensnowTake,Otake thoselips away{JohnWilson(1594-1673)or\[RobertJohnson (circa 1590)/JohnWilson(1594-1673)I3579ii'31922242628332PARTIII: SETTINGSCOMPOSEDSINCE SHAKSPERE'STIMETOTHEMIDDLEOFTHENINETEENTHCENTURYComeuntotheseyellowsandsWherethe beesucksTheWillowSongComeuntotheseyellowsandsFull fathomfivethyfather liesWhoisSylvia?Wherethe beesucksWhendaisiespiedand violets blueWhenicicleshangbythe wallNomoredams I'll makefor fishShenever told her loveWhenthat I wasa littletiny boySighnomore,ladiesNowthehungrylion roarsIfmusic bethe food oflove, playonOverhill,overdaleBidmediscourseTheWillowSongHark,hark ! the larkWhoisSylvia?Hark,hark! the larkPARTIV: RECENTSETTINGSWhenthat I wasa littleboyAutolycus' SongSighnomore,ladiesFearnomorethe heat o' thesunWhoisSylvia?Blow,blow,thou winterwindJohnBanister(1630-1679)PelharnHumfrey(1647-1674)PelhamHumfrey(1647-1674)HenryPurcell(1658-1695)HenryPurcell(1658-1695)RichardLeveridge(1670-1758)ThomasAugustineArne(1710-1778)ThomasAugustineArne(1710-1778)ThomasAugustineArne(1710-1778)John ChristopherSmith(1712-1795)FranzJosephHaydn(1732-1809)JosephVernon(1738-1782)R.J.S.Stevens(1757-1831)WilliamLinley (1767-1835)JohnCharlesClifton (1781-1841)ThomasSimpson.Cw>.k,(1782-1.848)SirHenryRoiu'ie'y'Bhhp (ff86-i'8'^)Gioachino Rossini(1792-1868)FranzSchubert(i 797-1$;jfi)FranzSchubert(fjq?--l8z8]KarlFriedrich Curxhmann(1805-1841)RobertSchumann(1810-1856)JamesGreenhill(1840- )SirArthurSeymourSullivan(1842-1900)Sir C. HubertH.Parry(1848- )MonkGould(i^- )WilliamArmsFisher(1861- )3335374042454952566164676973778290971011031051091 1 1116120I24I29vi CONTENTSPAGESighnomore,ladies WilliamArmsFisher(1861- ) 131It wasaloverand his lass GerardBarton(1861- )134Orpheuswith his lute CarlBusch(1862- ) 136Underthegreenwoodtree CarlBusch(1862- ) 139Andletmethe canakin clinkHarvey WorthingtonLoomis(1865- )142Crabbedageandyouth HarveyWorMngtonLoomis(1865- )144Orpheuswith his lute CharlesFonteyn Manney(1872- ) 147It wasa loverand his lass H.Clough-Leighter(1874- )15Omistressmine S.Coleridge-Taylor (1875- )154INDEXAnd let methe canalcin clink(Othello)Autolycus' Song(AWintersTale)Bidmediscourse(VenusandAdonis)Blow, blow,thouwinterwind(AsYou LikeIt)Comeuntotheseyellowsands(The Tempest)Comeunto theseyellowsands(The Tempest)Crabbedageandyouth(ThePassionatePilgrim)Farewell,dearloveFearnomorethe heat o' thesun(Cymbeline)Full fathom fivethyfather lies(The Tempest)Full fathom fivethyfather lies(The Tempest)Green-SleevesHark,hark! the lark(Cymbeline)Hark,hark! the lark(Cymbeline)Heart'sEaseHeigh-ho! for a husbandIfmusic be the food oflove, playon(Twelfth Night)It wasaloverand his lass(AsYou LikeIt)It wasa loverand his lass(AsYou LikeIt)It wasa loverand his lass(AsYouLikeIt)Lawnas whiteas drivensnow(AWinter'sTale)Lighto' LoveNomoredamsI'll makefor fish(The Tempest)Nowthehungrylion roars(AMidsummerNight's Dream)Omistress mine(Twelfth Night)Omistress mine(Twelfth Night)Orpheuswith his lute(HenrytheEighth)Orpheuswith his lute(HenrytheEighth)Overhill,overdale(AMidsummerNight'sDream)Pego'RamsayShenever told her love(Twelfth Night)Sighnomore,ladies(MuchAdoAboutNothing)Sighnomore,ladies(MuchAdoAboutNothing)Sighnomore,ladies(MuchAdoAboutNothing)Take,Otake thoselips away(Measure for Measure)TheWillowSong(Othello)TheWillowSong(Othello)TheWillowSong(Othello)ThreemerrymenbeweUnderthegreenwoodtree(AsYoit LikeIt)Whendaisiespiedand violets blue(Love'sLabor'sLost)Whenicicleshangbythe wall(Love'sLabor'sLost)Whenthat I wasa littletiny boy (Twelfth Night)Whenthat I wasa littleboy (Twelfth Night)Wherethe beesucks(The Tempest)Wherethe bee sucks(The Tempest)Wherethe bee sucks(The Tempest)WhoisSylvia? (TheTwoGentlemenofVerona)WhoisSylvia? (TheTwoGentlemenof Verona)WhoisSylvia? (TheTwoGentlemenof Verona)HARVEYWORTHINGTONLOOMISJAMESGREENHILLSIR HENRYROWLEYBISHOPWILLIAMARMSFISHERJOHNBANISTERHENRYPURCELLHARVEYWORTHINGTONLOOMISROBERTJONESSIRC. HUBERTH.PARRYROBERTJOHNSONHENRYPURCELLUNKNOWNFRANZSCHUBERTKARLFRIEDRICHCURSCHMANNUNKNOWNUNKNOWNJOHNCHARLESCLIFTONTHOMASMORLEYGERARDBARTONH.CLOUGH-LEIGHTERJOHNWILSONORROBERTJOHNSON (?)UNKNOWNJOHNCHRISTOPHERSMITHWILLIAMLINLEYUNKNOWNS. COLERIDGE-TAYLORCARLBUSCHCHARLESFONTEYNMANNEYTHOMASSIMPSONCOOKUNKNOWNFRANZJOSEPHHAYDNR.J.S. STEVENSSIRARTHURSEYMOURSULLIVANWILLIAMARMSFISHERJOHNWILSONUNKNOWNPELHAMHUMFREYGIOACHINOROSSINIUNKNOWNCARLBUSCHTHOMASAUGUSTINEARNETHOMASAUGUSTINEARNEJOSEPHVERNONROBERTSCHUMANNROBERTJOHNSONPELHAMHUMFREYTHOMASAUGUSTINEARNERICHARDLEVERIDGEFRANZSCHUBERTMONKGOULDPAGE142II I90I2g3340144i12028423101105977724134150301 1617322154136H78236469116'3132193797'313952566710926354945103124THEPUBLICLIBRARYASTOR, LENOXANDTILDENFOUNDATIONS.FROMTHECHANDOS PORTRAIT INTHENATIONALGALLERY,LONDONAS ETCHED BY LEOPOLD FLAMENGPubliihtdandCafjrighltd h FriitcriiiKifftl &Co.,Nrui YirkMUSICTOSHAKSPERE'SSONGSFEWsubjectscouldpresent greaterattrac-ence,theology,politicsandart,amongthelattertions to a student ofEnglishsongthana thegreatimmortal dramatist andpoet,Shak-surveyof themusiccomposedtotheverseswrit-spere, whosegeniushassetdownforall timethetenbythegreatestof bards,WilliamShakspere,1thoughtsand emotions of this wonderful andembracingas it does aperiodfrom the endofstirring period.the sixteenthcenturyto thepresenttime. Al- TheconditionofEnglishmusicalso reflectedmosteverymusicianofabilitysinceShakspere'sthebrillianceof thetimes,ashasbeenwellstatedtime hasset someofhisverses;thereforea col-byHullah in thefollowing passage:"In thelectionofthismusic,arrangedinchronologicalsixteenthcenturywenotonlysangandplayedorder,mustillustrate in averypracticalmanner as muchand as wellas ourneighbours,butwethegrbwthofstyle,theimprovementsin har-sangandplayedourownmusic. It is noexag-moniccombinations, thefreedom introduced intogerationtosaythat theEnglishhold,and;iremelodicpassages,andthegradual development recognizedasholding,averyhigh place anj >ngwhich has takenplacein musicgenerally,from thecomposers oftheperiod.Tallis,Farrant, Lyrdthe time when it wasyetin itsinfancyto the andBevin,in 'the servicehighand anthempresentadvanced state ofthe art.clear;' Morley,Ward,WilbyeandWeelkesinIt is desirable in as fewwords aspossibleto themadrigal;Bull,inperformanceas well asshow the condition ofEngland, historicallyas incomposition; Dowland,'the friendofShaks-wellasmusically,at the timewhenthepoetwaspere,'in thepart song; and,last andgreatestproducingandperforminghisplays.Then Queenin allstyles,Orlando Gibbons these are allElizabeth wason thethrone,andherlongand namestowhich theEnglishmusicianmayrefermemorablereignwasnearingits close(shedied withconfidence andwithpride,as fit tobe asso-in1603).Owingtotheintroductionof theprint-ciated with those ofPalestrina,De Lattreanding-press,thatgreatlever toeducation,adesire Marenzio. . . . Ourinsularposition,which hasforknowledgeofeverykind hadsprung upfavouredus in somanythings,has favouredusamongthe morecultured classes ofthepeople,in theindividualityofourmusic,and left ourEnglishships, commandedbysuchadventurouscomposersofearliertimesmoreto their ownre-andgallantsailorsasDrakeandHawkins,were sourcesthanthoseofanyothercountry.Indeed,adding toourpossessions over theseas,andopen-acomparisonofdatesshowsus to be rather theingupnewoutlets forambition and fame. Pa-precursorsthan the followersof othernations."triotismhadbeengreatlystimulatedbythescat-Duringthe Elizabethanreign,themadrigalianteringofthatgreatfleetsentbySpaintoconquer periodattained itshighest development,andthelittle island.Thereformation ofreligionhadthoughitwasnotthemusicofthepeople,sotobeenaccomplished;and the results freedomspeak,it showedtherefinement,activity, inge-ofthoughtand more liberal education werenuityandtaste ofa raceofmusicians, theoutcomeaidingin thegeneral development.This active oftheperiod,whoprovedtheirabilityto corn-epoch broughtto the frontgreatleaders in sci-pete successfullywith the best of other nations.1Thisspellingofthegreatpoet'snameis takenfromtheonlyunquestionablygenuinesignaturesofhis thatwepossess,thethreeon hiswill,andthetwo onhisB/ackfriarsconveyanceandmortgage.Noneofthesesignatureshaveaneafterthek\fourhaveno aafterthefirstc;thefifthhas the overlineopen-tofta(oru)which is theusualcontractionfor ra,butmustherehavebeen meantforre.Thea ande hadtheir frenchsounds,whichexplaintheforms"Shaxper,"t3c.(NewShakspere Society Proceedings.)MUSIC TO SHAKSPERE'S SONGSIt isprobablethatShaksperewrote someofthesongsin hisplaystomusicwhichwasalreadyin existence andpopularat thetime,asmanypoets have donesince, notablyBurns and ThomasMoore. Asearchbythe editor ontheselines, how-ever,has notbeen fruitful. Unlesssomeimpor-tant evidence isforthcoming,fromoneplaceoranother,it isunlikelythatwecan everarrive atadefiniteconclusion;forwiththedestructionofthe GlobeTheatrebyfire in1613mostoftheperformingMSS.,includingthemusic,wereburnt. This disastrouscircumstance, however,addszest to the student'sresearch,andwemayyethopeto recoversomeofthe clueswhich,ifcarefully followed,will lead to much more in-teresting knowledgeon thesubjectthanwe atpresent possess.Onlyinavery few casescan wefeelcertainthatwepossessthe exacl music thatwasperformedintheplays during Shakspere'stime. Thesesongsaregivenin PartII,though exception maybetakentoNo.14," Take,Otakethoselipsaway."TothesongsincludedinPart 11mightbe addedthe airssungbyOphelia(Hamlet],to befoundinChappell'sMusica!Magazine,No.47,andinothercolleclions;fortheyaregenerallyconsid-ered to be theoriginals.Withregardto No.14,if it be theoriginalmusicalsetting of thewords,itisimprobablethatJohnWilsoncomposedit: hemighthave beentheboywhosangit,probablyhewas,inwhichcasethemusicmighthavebeenbyRobertJohnson,or some other theatre musician. Dr.John Wilsonhas beenidentified withthe"JackieWilson" whosangin theplays. (Seenote toNo.13.)Onegood groundfor thesuppositionthat"JackieWilson" is onewith Dr.JohnWilson,vocalist andcomposer,is the fact that at a laterdate(1653)JohnWilsonpublishedin his bookentitled SelettAyresthesong"Take,O takethoselipsaway,"andin1660,inCheerfulAyresand BalladsfirstComposedforOneSingleVoice andsince Setfor'ThreeVoicesheincludedthefollowingsongs by Shakspere,withwhichJackieWilsonwouldhavebecomefamiliarduringhis connec-tion with the theatre:"Fromthe fair LavinianShore;""Full fathom five"(R. Johnson);"Wherethe beesucks"(R.Johnson); "Whenlovewithunconfinedwings," and "Lawnas whiteas driven snow"(R. Johnson?).ThesesongsWilsonmusthavehadaspeciallikingfor,other-wise he would not have included them in hisbooks,andhadhenotdoneso,in allprobabilitytheywould have been lost.Anexaminationof themusicperformedintheplaysinShakspere'stimeshowsus that it musthavebeensimpleandmelodious,ratherthandif-ficult andcontrapuntal;an additional reason insupportofthis viewbeing,that in allprobabil-itythe aftors themselveswouldsingthesongs,andboys,with treblevoices, always performedthefemaleparts.Evenif wehaveanydoubtas tothecharacterof themusicperformedin theplays, wecanhavenoneastowhatthemusicof theperiodwaslike,at least thatportionofitwhichwaswellknowntoShakspere;for hehasreferredtoa considerablenumberofsongs,&c.,intheseveralplays,manyof whichtheeditorhasbeenabletoexamine,andnodoubtmorecanbefoundifdiligentsearchbemade.Theseareall of thesimpleandmelodiouscharacter, andassofewareaccessibletothepub-lic, orevenpublishedatallinmoderncollections,seven havebeenselected,from alargenumber,andprintedas Part I of this collection. It isthought thattheywillnotonlyproveinteresting,buthistoricallyvaluable to all loversofmusic,andmoreespeciallyto students ofthesongsofourancestors. Anadditional reason for includ-ingthesesongsis thatthey givethe reader agoodidea ofthe class ofmusicinvogueat thetime theplayswerewritten,and enable him totracethedevelopmentswhich follow.Tomakeanythinglikeacompletecollectionofthe music whichhasbeen writtentoShakspere'sverseswouldbeimpossible;attentionhasthere-forebeenchieflyconfinedtosongswhichoccurintheplays.There are someexamplesofShakspere'sversesset tomusicduringhis lifetimewhicharenowobtainable; theyarenot, however,oftheMUSIC TO SHAKSPERE'S SONGS XIkindrequiredforthisvolume.Amongsuchmaybe mentioned threemadrigals byWeelkes setto verses out of The PassionatePilgrim:"Inblack mournI," "Myflocks feed not" and"Clearwellsspringnot."Whenweexaminethe musicwritten forper-formances of theplaysat aperiodsoon afterthedeathofShakspere,of whichwehaveplentyofdata,wefind it to beofanatural,melodiouscharacter. Asthiswouldbecomposedsomewhaton the lines ofthat which hadpreviouslybeensuccessfullyemployed,wemaywith reasoncon-clude that it wasthe folkstyleofmusic(ratherthantheinvolvedcontrapuntal)whichwasheardin theoriginalrepresentationsoftheplays.Thissubjecthas beendwelton ratherfully,as thereis an ideathat,owingto the thenpopularityofthemadrigal,themadrigal style (contrapuntal)mighthavebeenemployedintheearlyperform-ances.Theaccompanimentswereplayedbythemu-sicians whowereplacedin theupper gallery,situated abovewhatwenowcall thestagebox.Theband consisted ofabouteightor tenper-formers onhautboys, lutes, recorders(flageolets),cornets(notthemoderncornet),violsandorgans(akindofsmallportable organ).Thebandan-nounced thebeginningof theplay bythree"soundings"orflourishes;theyalsoplayedbe-tweentheads. Incidental musicwasrequiredofTheCoppicePinner,November5, 1905.them,likewisesoftmusicthrough whichspeakingcould beheard,called "still music."Asmostoftheexamplesin Parts I and II andsomefew in Part III existonlyasmelodies,orwithverycrudeaccompaniments,theeditorhasaddedapianoforte partin orderthat theworkmaybepracticalanduseful and notmerelyanantiquariancollection. Atthe sametime he hasendeavored to make theseaccompaniments some-what characteristic oftheperiodto which themelodiesbelong.Thecollection is divided into fourparts:PartI.SongsmentionedbyShaksperein thePlays.PartII.Songspossibly sungin theOriginalPerformances.PartIII.Settings composedsinceShakspere'stime to themiddleofthe NineteenthCentury.PartIV. RecentSettings.TheeditordesirestoexpresshisindebtednessandthankstoMr.J.Greenhillforsokindlyper-mittinghimtoexamineandmakeuseofhisex-tensive collection ofShaksperemusic. Mr. Green-hill was the musical direcloroftheNewShak-spere Society (now disbanded), and,togetherwith the Rev.W.A. Harrison and Mr. F.J.Furnivall,compiledAlltheSongsandPassagesinShaksperewhichhavebeen set to Music(Thub-ner).THEARMSOFSHAKSPERENOTESONTHESONGSPART I. SONGSMENTIONEDBYSHAKSPEREIN HIS PLAYSNo. I.Farewell,dear love.THISsongisquotedlinebylineinTwelfthNight, AdII,sceneiii, bySirTobyBelch:Malvolio.An'it wouldplease youtotakeleaveofher,she isvery willingto bidyoufarewell.Toby."Farewell,dearheart,forl mustneedsbegone."Maria.Nay,goodSirToby.Clown. "Hiseyesdoshowhisdaysarealmostdone."Mai. Is't even so?Toby."ButI will neverdie."Clo. SirToby,thereyoulie.Mai.This is muchcredit to^6u.Toby."Shall I bid himgoandsparenot?"Clo."Oh,no, no, no, no, youdare .i< *."ThelinesquotedareadaptedbyShaksperefromthefirstverseof theoldballad"Corydon'sFare-well toPhillis,"printedin1590.Themusic wascomposed by RobertJones, thelutenist,and is foundinBookI ofhisSongsandAyresset outfortheLute,publishedin 1601.The date ofRobertJones'birth isunknown,but hegraduatedatOxford,takinghis Mus.Bac.degreein1597. Manyofhiscompositionsexist inpublishedworksoftheperiod;hewasalso a contributor to TheTriumphs ofOriana.Thesong"Farewell,dear love"was at a laterdate introduced into AsYouLike It.No.2.PegoRamsay.MENTIONis alsomadeofthis ballad inTwelfthNight,ActII,scene iii. SirTobyBelchsays:Mylady's aCataian,we arepoliticians,Malvolio's a"Pego'Ramsay"and"Threemerrymen bewe."Theverses"BonnyPeggieRamsay"occur inWit andMirth,1719,andinallprobability theyare the words of the ballad alluded to in theplay.Theyexactlyfit theoldtuneofthat name.Thetune is foundin amanuscriptbookbyDr.Bull, fromthelate Dr.Kitchiner'slibrary,andisveryquaint.Thesubdominantchordconnect-ingtheparts(seemeasure8,&c.)givestheeffectof a kind ofround,theparts followingin analmost interminableway.It is the editor's ideathatthissong(andothersofasimilarcharacter)wassungwhen severalcountryfolkgatheredtogether,the burdenbeing repeatedover andoveragain,oneofthesingers jumpingin,so tospeak,with astronglead,"withaheytro-lo-del,"almostbefore thepreviousrefrainwasfin-ished.Hehasoften heard suchsongsinremotecountrydistrictssungin thisway.Afterthe re-frain "with ahey"has beenrepeatedfour orfivetimes,a chance isgivento the soloist togiveanotherverse;andsoon totheendoftheballad.No.3.Green-Sleeves.SHAKSPEREmentionsthistune twicein theMerryWives.In ActII,scenei,Mrs.Ford,inspeak-ingofFalstaff to Mrs.Page, says:"Iwouldhavesworn hisdispositionwould havegonetothetruthofhiswords;buttheydonomoread-hereandkeeppacethan the HundredthPsalmto the tune of'Green-Sleeves.'" This is an in-terestingquotation, showingthatShaksperecouldthinkof nomorerollickingtunetocontrastwiththesolemnityoftheHundredthPsalm.Thesecond mentionofthe tune is inActV,scenev,where FalstarTsays:Lettheskyrainpotatoes;Letit thunder to the tuneof"Green-sleeves."The tune is found in W. Ballet's LuteBook,and doubtlesswasverypopularat thetimetheplaywaswritten;though Chappellshows thatit musthavebeenatuneofHenryVIII'sreign.Theearliestmentionof theballad is tobefoundin the Stationers1RegisterforSeptember, 1580;the balladismucholderthanthis,however,andruns as follows:A newCourtly Sonet, of theLadyGreensleeues. TothenewtuneofGreensleeues.Greensleeueswasallmyioy,Greensleeueswasmydelight:Greensleeueswasmyhartofgold:AndwhobutLadle Greensleeues?LASmyloue, yedomewrong,to castemeoffdiscurteously:XIV NOTES ON THE SONGSAndI hauelougdyousolong,Delightinginyourcompanie.Greensleeueswasallmyioy,Greensleeueswasmydelight:Greensleeueswasmyheartofgold ;Andwhobut LadieGreensleeues?I haue been readie atyourhand,tograntwhateueryouwouldcraue.I haue bothwagedlife andland,yourloueandgoodwill for to haue.Greensleeueswasallmyioy,&c.Iboughtthee kercherstothy head,that werewroughtfine andgallantly:Ikeptthee both at boordandbed,Whichcostmypursewelfauouredly:Greensleeueswasalmyioie,&c.Iboughttheepeticotesofthebest,the cloth so fine as finemightbe:IgauetheeJewels forthy chest,and all thiscost Ispenton thee.Greensleeueswasallmyioie,&c.Thysmockofsilk,both faire andwhite,withgoldembroderedgorgeously:ThypeticoteofSendallright:and thus Iboughttheegladly.Greensleeueswasallmyioie,&c.Thygirdle'ofgoldsored,withpearlesbedeckedsumptuously:Thelike noother lasseshad,andyetthou wouldstnot loueme!Greensleeueswasallmyioy,&c.Thypurseandekethygay guilt kniues,thy pincase gallantto the eie :Nobetter woretheBurgessewiues;andyetthou wouldstnotloueme!Greensleeueswasallmyioy,&c.Thycrimsonstockingsall ofsilk,withgoldeallwroughtaboue the knee;Thypumpsas whiteaswasthemilk;andyetthou wouldstnot loueme!Greensleeueswasallmyioy,&c.Thygownwasofthegrassiezgreen,thysleeuesofSattenhangingby:1Girdle is either threesyllables,or anadjefiivelike"fne"2Grossie inoriginal.Whichmadethee beour harucstQueen,andyetthouwouldst not loueme!Greensleeueswasallmyioy,&c.Thygarters fringedwith thegolde,Andsilueraglets hangingby,Whichmadethee blithefor to beholde:Andyetthou wouldst notloueme!Greensleeues wasallmyioy,&c.Mygayest geldingI theegaue,Toride whereeuer likedthee;NoLadieeuer wassobraue;Andyetthouwouldstnot loueme!Greensleeueswasallmyioy,&c.Mymenwereclothed all ingreen,Andtheydid euer waiton thee:Al this wasgallantto beseen;andyetthou wouldstnot loueme!Greensleeueswasallmyioy,&c.Theyset theevp, theytooktheedowne,theyserued thee with humilitie;Thyfootemightnotoncetouch theground;andyetthouwouldstnot loueme!Greensleeueswasallmyioy,&c.Foreueriemorningwhenthourose,I sent thee daintiesorderly,Tochearethystomackfromall woes;andyetthouwouldstnot loueme!Greensleeueswasallmyioy,&c.Thoucouldst desire noearthly thing,But stil thou hadst itreadily:Thymusicke still toplayandsing:Andyetthou wouldstnot loueme!Greensleeueswasallmyioy,&c.Andwhodidpayfor all thisgeare,that thou didstspendwhenpleasedthee?EuenI thatamreiefted here;and thou disdainst to loueme.Greensleeueswasallmyioy,&c.Wel,I wilprayto Godonhie,that thoumyconstancie maist see:Andthatyetonce before Idie,thou wilt vouchsafeto loueme.Greensleeueswasallmyioy,&c.leftoutafterit.\NOTES ON THE SONGS XVGreensleeues,nowfarewel,adue!GodIpray,toprosperthee:ForIamstilthylouer true :Comeonceagaine,and loueme!Greensleeueswasallmyioy,&c.No.4. Heigh-ho!forahusband.THISsongis twice mentioned in Much AdoAboutNothing,ActII,scene i:Beatrice. Thusgoes everyone to the world butI,and I am sunburnt. Imaysit in a corner andcry"heigh-hofor ahusband!"ActIII,scene iv:Beatrice.Bymytroth,Iamexceedingill;heigh-ho!Margaret.Forahawk,ahorse,orahusband?Beatrice. Forthe letter thatbeginsthemall,H."Heigh-ho!for a husband" is an old ballad inThePepysianCollection.Chappell saysit is tobefoundin ACompleteCollectionof Old and NewEnglishandScotchSongswith NewTunesPrefixed.It also occurs in WitandMirth(1719),fromwhich it isgivenwith a fewslight alterations,madebytheRev. W.A.Harrison forperform-ance at oneofthemeetingsoftheNewShalc-spere Societyin1887.ThetuneistakenfromJohnGamble's manu-script Common-placeBook.JohnGambledied in1657.Theaccompanimentisspeciallyarrangedforthiscollectionbytheeditor.No.5.Heart's Ease.THIS tune is mentioned in Romeo andJuliet,ActIV,scene v:Peter.Musicians, Omusicians,"Heart'sease,Heart'sease." Oh!anyouwillhave melive, play"Heart'sease."First Musician.Why"Heart'sease"?Peter. Omusicians,becausemyheart itselfplays,"Myheart is full ofwoe."Oh!playmesomemerrydump,to comfortme.The tune is an oldone,much older than thewords,forinanoldplay,Misogonus,byThomasRychardes, producedabout1560 (themanu-scriptis dated1577),in the secondact occursthesong,withdirectionsthat it"besungto thetuneof'Heart's Ease.'"The tune is in amanuscriptvolume oflutemusic ofthe sixteenthcenturyin the PublicLibrary, Cambridge,D. d. ii n.No.6.Lighto Love.Iris notabsolutely certain that the verses are fromtheoriginalsong.TheyarebyLeonardGybson,andwerefirstprintedin 1570,inStuth'sAncientBallads andBroadsides.Therearethirteenversesinall,butonlythefirsttwoaregiven,beingper-hapssufficient for thepurposeofillustration.The tune is twice alluded tobyShakspere;inTheTwoGentlemenofVerona,ActI,scene ii:Julia.Someloveofyours,hathwrittoyouinrhyme.Lucetta. ThatImightsingit, madam,toatune.Givemeanote:yourladyshipcan set.Julia.Aslittlebysuchtoysasmaybepossible.Bestsingit to thetuneof"Lighto'love."MuchAdoAboutNothing,ActIII,scene iv:Beat. Iamoutofall othertune,methinks.Mar.Clapus into"Lighto'love;"thatgoeswith-outa burden : doyousing it,and I'll dance it.Beat.Yelighto'lovewithyour heels,&c.In theprefaceto theShakspereAlbum or War-wickshireGarland,"Lighto'love"isspokenofasShakspere'sfavorite tune.Theeditorhasfeltobligedto makesomelittlevariationintheaccompaniment onaccountofthefrequent repetitionsofthesamephrase.No.7.Threemerrymenbe ive.THISsongis mentioned inTwelfth Night bySirTobyBelch in thesameparagraphas thatin which"Pego'Ramsay"is referredto,ActII,scene iii.In thetragedyofRollo,DukeofNormandy,byJohnFletcher,thesongisexpandedasgivenin No.7, exceptfor theomission ofthesecondverse,which is left out in order to render thesongconsistentwith therefrain,forin Rollotheballad is for fourpersonstosing.Thesong appearsto be agrumble bycer-tain mencondemnedto behanged,whoin therefrainendeavortokeepuptheirspiritsbysing-inginajovialthoughsarcasticmannerthewords"Threemerrymenbewe."Thissongwasarranged byMr. Greenhill inaningeniouswayforoneofthemeetingsoftheNewShakspere Society,and he haskindly alloweduse to be made ofhismanuscript.TheeditorXVI NOTES ON THE SONGShas availed himselfofthispermissionto a con-siderableextent,asfaras the airs are concerned.VerseIis setto"FortunemyFoe,"foundinQueenElizabeth'sVirginalBook,alsoin W.Bal-let'smanuscriptLute Book. It is mentioned inTheMerry Wives,ActIII,sceneiii,and wassometimescalled "TheHangingTune."Chap-pellis ofopinionthat this is theoriginaltunefor the firstverse;andindeedsuch conclusionappearsto be mostprobable.TheRefrainaftereach verse is from amanuscript Common-placeBook in thehandwritingofJohnPlayford.Verse IIconsists oftwovery old tunes,"TheJolly Finder"and "TheFriar andtheNun."VerseIII issettothe well-known tune "Watkins' Ale"asarrangedbyByrdinQueenElizabeth'sVirginalBook.Thisfine tunemusthavebeenwellknownattheperiod;the refrain hascertainlydonedutymanytimessince,in oneform oranother.Theeditor is notawareofanycompletelistofthesongsto whichShakspererefers in theplays.Inaddition tothesevengivenherehehascollected thefollowing:"KingCophetua;" "TheSick Tune;""WhenArthurfirst;""Comeo'erthebourne,Bessie;""Death,rock metosleep;""Holdthypeace,thouknave;""TheredweltamaninBabylon, lady, lady;""Oh,the twelfthdayofDecember;""Jogon;""Whop!domenoharm, good man;""I loathethat I didlove"(threestanzasfromwhicharesungbythegrave-diggerinHamlet};"Dildos andfadings,"and"Canyounot hitit, mygoodman."For information about the variousEnglishcomposersofearlytimes,BritishMusicalBiogra-phy, byBrown&Stratton,is the most conciseand reliable.PART II. SONGSPOSSIBLYSUNGIN THEORIGINALPERFORMANCESTHESEsongs wereperformedduringShak-spere'slifetime,andprobablyunderhisdi-rection.No.8. TheWillowSong.FromOTHELLO,AftIV,scene iii.THEmusicofthissongisexceedinglyold. It istobefoundinThomasDallis'smanuscriptLute-Bookunderthe title "All agreenwillow."Thebook is dated15 83,and is nowin thelibraryofTrinityCollege,Dublin.Aversionofthesongis alsoto befound in the British Museum.Shakspere adaptedthe words from the oldsongto suitDesdemona,whosingsit while hermaid^Emilia isundressingher togotothebedin which Othellostranglesher.There can be no doubt that thissongwassungunderShakspere's direction,and is mostinterestingonthataccount.Apartfromthiscon-nection thesongitself is beautiful and full ofcharacter andfeeling.No.9.Mistress Mine.FromTWELFTHNIGHT,AfII,scene iii.THEmelodyof thissongisanonymous.Twoversionsexist,onearrangedbyMorleyin thefirstbookofConsortLessons, 1599;theotherar-ranged by Byrdin Queen ElizabethsVirginalBook,1611. Thesecondversion ofthemelodyhas beenselected,as itappearsto bethe betterofthe two. It is harmonizedbythe editor.Thesongis introduced as follows:Sir Andrew. Excellent !Why,this is the best fool-ing,whenall is done.Now,asong.SirToby.Comeon;there issixpenceforyou: let'shaveasong.SirAndrew.There'satestrilof metoo : if oneknightgiveaClown. Wouldyouhave alove-song,or asongofgoodlife ?SirToby.Alove-song,alove-song.SirAndrew.Ay,ay: I care not forgoodlife.Cloivnsings,"Omistressmine."At the end ofthefirst verseSir Andrewsays,"Ex-cellentgoodi'faith,"andSirTobyadds,"Good,good."ThentheClownsingsthe secondverse.No. 10. //wasa /overandhis lass.FromAsYouLIKEIT,A51V,scene iii.THISsong,or ratherduet,for it should besung by twopages intheplay,wascomposed byThomasMorley, andispublished,asgivenhere,NOTES ON THE SONGS XVllinthefirstbookofAyresorLittleShortSongs,tosingandplaytothelute,in 1600. Anearlycopyinmanuscriptisinthe Advocates'Library, Edin-burgh. Theaccompaniment, arrangedbytheedi-torofthiscollection,is foundeduponMorley'sownbasspart,written for the"Bassviole."Itwill beobservedhoweasilythesonglendsitselfto duetsinging,andonecannotbut thinkthatsuchwastheoriginalintention.Themusicissungtotheclown(Touchstone)andAudrey,whom he is about tomarry,and is introducedinto theplayas follows:EntertwoPages.FirstPage.Wellmet,honestgentleman.Touchstone.Bymytroth,wellmet.Come,sit, sit,andasongSecondPage.Weare foryou: sit i' the middle.FirstPage.Shall weclapinto 'troundly,withouthawkingorspittingorsayingwearehoarse,whicharetheonly prologuesto a bad voice?SecondPage.I'faith,i'faith;and both in atune,liketwogipsiesona horse.Songfollows.ThomasMorleywasbornabout1557,anddied1604.In1591he wasorganistof St. Paul'sCathedral,andin1592Gentlemanof theChapelRoyal.Hestudied underByrd,and took hisMus.Bac.degreeat Oxfordin1588.Hiscom-positionsareof amelodiouscharacter,andmanyof hismadrigalsand"ballets" obtainedgreatpopularity.Hewroteanadmirable treatise en-titledAplaineandeasie introduction topracJicallmusicke,in form of adialoguein threeparts.Thisworkwastranslated into German.No. 1 1 . Wherethe bee sucks.FromTHETEMPEST,ARV,scene i.THISsongwascomposed byRobertJohnson,acomposerand lutenistwho flourished at theendofthesixteenthandbeginningof theseven-teenth centuries.Hegraduatedat Oxford Uni-versityas Mus.Bac. in 1597.In 1573-4hewasaretainerin thehouseholdofSirThomasKyt-son,ofHengrave Hall,Suffolk. He subse-quentlycametoLondon.Besidesmanybooksof"Ayres"for the"Luteand BassViole,"and aset ofmadrigalsinthree, four, five, six, seven,andeight parts,hecomposedmusic for thetheatres,includingasettingofthesongsin 'The'Tempest fromwhich theeditorhastakenthetwofollowingnumbers,viz."Wherethebeesucks"and"Full fathom five." At a laterperiodDr.JohnWilsonarrangedthese for three voices.Johnsonalso wrote music to the two dramasThe Witch and AMasqueoftheGipsies.TheeditorfeelsconvincedthatJohnson wrotemoremusictoShakspere'swords than is atpre-sentknown,andthinksthat careful searchmayresultindiscoveringotherinterestingsongscom-posedfor otherplays.Afterbeing promisedfreedom Arielsings"Wherethebee sucks"whileassistingProsperoto attire himself.No. 12. Fullfathomfivethy fatherlies.FromTHETEMPEST,AtI,scene ii.FORa sketch ofthecomposersee No. 1 1.Arielsingsthissongto tell Prince Ferdinandthathis fatherisdrowned,thoughasamatteroffad: he is alive andwell.No. i3.Lawnas whiteas drivensnow.FromTHEWINTER'STALE,Ac!IV,scene iv.THISsongis attributedtoJohnWilson,thoughsomethinkit isbyRobertJohnson.It is takenfrom Wilson'sCheerful AyresorBallads,firstcomposedforasingle 'voice,andsince setforthreevoices. In this bookof Wilson's aresomesongsbyJohnson,"Full fathom five"beingone ofthem;it is infactprintedunderJohnson'sname.Thecharacterofthemusicof"Lawnaswhite,"andNo.14,"Take, Otake,"has afamilylike-nesstoNos. 1 1 and 12.Specialinterest attachesto Dr.JohnWilson,as it isgenerallysupposedhewas,as aboy,asingerat the theatreandwasidenticalwiththe"JackieWilson"whosenameappearsintheFolioEditionof Much AdoinsteadofBalthaser,the characterrepresented.Ifthisconjecturebecorrecthewouldinallprobability,asAriel,singJohnson'ssettingof "Wherethebeesucks,"whichsongWilson afterwards in-cludedinthisbookof'Ayres,printedin Oxfordinxviii NOTES ON THE SONGS1659.SeveralofShakspere'ssongsappearin hisson,is considered to bebyDr.JohnWilson,collections.HenryLawes mentions him as a forparticularsof whomsee the detailsgivenin"great singer."thepreviousnotice.JohnWilsonwasborn in Kentin1594,was If Dr.JohnWilsonwasthe"JackieWilson"madeMus. Doc. Oxon. in1644,andwaspro-mentioned in the Folio Editionpreviouslyal-fessor at thatuniversity 1656-62.In 1662 he ludedto,thissongwould in allprobabilitybewasmadeaGentlemanof theChapelRoyalandsungbyhim. Mariana in theplayentersaccom-ChamberMusiciantoCharlesII.Hecomposed paniedbyaboywhosings"Take, Otakethosemanyairsandballads,besideschurchmusicandlips away."Mariana has been desertedbyherfantasias for viols. Hedied at Westminster in false loverAngelobecause herfortunewas lost.1673.Thesongistrulyasinger's songand isveryThesong"Lawn as white" issung byAu-beautiful,as infadare all theexamplesgivenintolycus disguisedas apedlar.thispart;andthey provethat the musicper-formedin theplaysduring Shakspere'slifewasNo.14. Take,Otake thoselips away.refinedandartistic in charader>From MEASUREFORMEASURE,AttIV,scene i.THISsong,thoughsomeattributeittoR.John-PART III. SETTINGSCOMPOSEDSINCE SHAKSPERE'STIMETOTHEMIDDLEOFTHENINETEENTHCENTURYTHISpartofthe work consists ofsongs1No. 16. Wherethe beesucks.composedafterShakspere'sdeath, andex-FromTHETEMPEST,AftV,scene I.Composedbytendingtothemiddleof thenineteenthcentury,PelhamHumfrey(1647-1674).pradicallyembracingaperiodof abouttwohun-HUMFREY wasoneoftheChildrenoftheChapeldredyears.Royal,reestablished after the Restoration. HeThere wouldbenodifficultyincollectingsev-showedmuchtalent forcompositionatanearlyeral hundredsettingscoveredbytheperiod,age,andin1664wassentbyCharlesII tostudyTheeditor,beinglimited, however, by space,in Paris under Lulli.Onhis return hewasap-hascontented himselfbyincluding twenty-onepointed"Masterof the Children" and Corn-only, seledingthose heconsidered to be mostposerto HisMajesty.Hedied at theearlyagecharacteristic andinteresting.oftwenty-seven,andwasburiedinWestminsterNo. i c. Come unto theseyellowsands.ji _ . . His works consistmostlyor churchmusic,from IHE 1EMPEST,Act1.scene it.Composedby..... -7_ odesandsongs.Hepossessed abilityor no or-fohnBanister(ib'io-ib'jQ)...,. .,.,....dinarytype,andtheadvantageshereceivedrromOHNBANISTER,acomposerandviolinist,was , . ,i /-.. . his three yearsstudyon the Continent are re-sentbyCharles II to France tostudy;on his ,,./.. .,.,, ,.,nectedin his owncompositionsandin theworksreturnhebecameleaderor the kings band.Her ,. .,TT~,. . ... or hispupil Henryrurcell.established a music school atWhiteinars,andA. .r,, c. .. Analteration in the textor thewordsofthisgaveconcertsrrom167210 1670.Hecomposed... . . ,.,'.songwill be noticed,music toDavenportsCirce, 1667. Later,to-gether with P.Humfrey,hecomposedmusicto No.17.The WillowSong.TheTempest,fromwhichthesong"Comeunto FromOTHELLO,AlIV,scene Hi.Composed bytheseyellowsands" is taken.HealsocomposedPelhamHumfrey(1647-1674).Lessonsfor Viols,songs,&c. SEE No. 16 for note aboutthecomposer.This1Thesongsin Parts IIIand//^arearrangedchronologically by composer.NOTES ON THE SONGS xixverybeautifuloldsongwaswrittenbyHumfreyagreatadvance,callingintoplaylargerorchestraltotheoriginalwords,seenotetoNo.8,but resourcesthanbefore.Thisoperawaspublishedthe editorfound aversion with theShaksperein1691,and in the dedication of it hesays,text,theonly variationbeinginthelasttwolines;"Musick andPoetryhave ever been acknow-he therefore feels no hesitationinincludingthisledgedsisters, and,walkinghand inhand,sup-songin the collection. It is found in Staffordporteach other. Aspoetryis theharmonyofSmith's MusicaAntiqua. words,so musick is thatofnotes;andaspoetryis a rise aboveproseandoratory,so is musickNo. 18. Comeunto theseyellowsands. the exaltation ofpoetry.Bothmayexcelapart,FromTHETEMPEST,Aft/,scene ii.Composedbybut are most excellent whenjoined,for thenHenryPurcett(1658-1695). theyappearlikewitandbeautyin thesameper-THEwordsofthissongas setbyPurcellare al- son.Poetryandpaintinghave arrived toper-teredby Dryden.fectioninourowncountry;musickis still in itsThisgreatestand mostoriginalofEnglish nonage,aforwardchildwhichgiveshopeof whatcomposerswas(whenabout sixyears old)a itmaybe inEnglandwhenthemasterof it shallchorister of theChapel Royal,and is said to find moreencouragement. Beingfurther fromhave written anthemswhileyeta chorister. In thesun,weare oflatergrowththanourneigh-1675,when but seventeenyears old,he com- bourcountries,and must be content to shakeposedtheoperaofDidoandAeneas.In1676he off ourbarbarity by degrees."wrote the music toDryden'sAurenge-Zebe.In1691Purcell wrote the musictoKingArthurAcopyof the music toMacbeth,usually (amongst manyothers),andin1692to TheFairycredited to MathewLock,has beendiscovered Queen(an anonymous adaptionofShakspere'sin Purcell'shandwriting;themanuscriptisnow MidsummerNight'sDream)andSirCharlesSed-in thepossessionof Dr. W. H.Cummings. ley'sOdeforthe QueensBirthday;one oftheThoughPurcell would have beenveryyoungairs in thislast,viz."Mayher blestexampleat thetime,itappearsmorethanprobablethatchase,"has for its bass the air ofthe oldsonghewasthecomposerofthis music. Thewords "Coldand Raw."The reason for thiswas,thatnotbeingbyShakspere,extracts fromthework Arabella HuntandGoslingwere oncesingingare notincluded in this collection. toQueen Mary,with Purcell asaccompanist.In1678hewrotetheovertureandothermu- Afterhearingseveralcompositions byPurcellsictoShadwell'salterationofShakspere'sTimon andothers,theQueenaskedArabellaHunttoofAthens.sing"Cold and Raw."Purcell,nettled at find-In 1680he becameorganistofWestminsteringa commonballadpreferredto hismusic,de-Abbey,andforsixyearsgave upconnection with termined that theQueenshould hear itagaintheatres. In this interval itmaybepresumedwhenshe leastexpectedit,and headoptedthisthatmuchofhis churchmusicwascomposed. ingeniousmethodofeffectinghisobject.In 1682 he becameorganistof theChapelIn addition to thesettingsNos. 18 and19Royal.Purcellcomposedmusicto"Orpheuswith hisIn1690Purcellcomposednew music for lute" and"Floutem,"acatch for threevoices.Shadwell's version of'TheTempest.Twoofthe Anumberofspurious songsintroduced intosettingshave retaineduninterrupted possessiontheplaysat this time are setby Purcell,amongofthestagefrom his time till thisday,namely,thembeing"Kindfortunesmiles,""Drythosethose to "Full fathom five" and"Comeuntoeyes,""Wheredoes the blackfiend,"solo andtheseyellowsands." chorus"Inhell" and"GreatNeptune."In anopera composedduringthisyear,The Purcell died at his house in Dean'sYard,Prophetess,orthehistory ofDioclesian, Purcell madeWestminster,on November21,1695.XX NOTES ON THE SONGSNo.19.Fullfathom five thy fatherlies.From THETEMPEST,A51I,scene ii.Composedby HenryPurcell(1658-1695).[Forcommentsee notes to No.18.]No.20. WhoisSylvia?.FrtWzTHETwoGENTLEMENOpVERONA, AftIVscene ii.ComposedbyRichardLeveridge (1670-1758).RICHARDLEVERIDGE,a bass vocalist andcom-poser,sanginDrury LaneandQueen'stheatres,1705-12,and at Lincoln's Inn Fields andCo-ventGarden, 1713-30.Hecomposedmusic for the IslandPrincess,1699,Pyramus andThisby,1716,andacollectionofsongs,twovolumes,1727.Heis known asasong-writer,andbysome is credited with themuchdiscussedMacbethmusic,ontheauthorityofa notice in Rowe'seditionofShakspere.Hisbest-knownsongsare "All in the downs"and"RoastbeefofOldEngland."Theexamplein-cludedin this collectionwellillustrates thestyleofhis work. It has beenwronglyattributed toArne.Thesongoccurs in 'The 'Two GentlemenofVeronaunderthefollowingcircumstance:Julia, havingreached theEmperor's city,inman'sattire,is takenbyher host to hear herfaithlessloverProtheusserenadeSylvia,theloveofhis friendValentine,towhomhe has turnedtraitor,inorder that hemaywinSylviaforhim-self.No.21 . Wherethe bee sucks.FromTHETEMPEST,AftV,scene i.Composedby"ThomasAugustineArne(1710-1778).THOMASAUGUSTINE ARNEwas the son ofanupholsterer,andwas born inKingStreet,Co-ventGarden.HewaseducatedatEtonCollege,beingintended for thelegal profession,but hisnatural love for music led him tostudy pri-vately.Severalinterestingstoriesaretold ofhismanydifficulties andingeniousdevices to ob-tain lessons andopportunityforstudy.Hetook lessons on the violin fromFesting,andwouldoccasionallyborrow aliveryin ordertogainadmission tothe servants'galleryat theopera.Hemade suchprogressontheviolin asto be able to lead a chamberband at the houseof anamateur,whogaveprivateconcerts.Therehe wasaccidentallydiscoveredbyhisfatherplay-ingfirst violin. After fruitless efforts to inducehissontodevotehimself tothelegal profession,the fathergave uptheattempt. Beingfree topractise openly,Arnesoon, byhis skill on theviolin,charmedthewholefamily.In 1738heestablishedhisreputationasalyriccomposerbytheadmirablemannerinwhich hesetMilton'sComus.Inthisheintroducedalight,airy, original,andpleasing melody,whollydif-ferentfromthatofPurcell orHandel, whomallEnglishcomposershad hitherto eitherpillagedorimitated. Indeedthemelodyof Arneat thistime,andof hisVauxhallsongsafterwards, formsan era inEnglishmusic;it wassoeasy,natural,andagreeableto thewholekingdomthat ithadan effectuponthenationaltaste;andtill amoremodernItalianstyle wasintroducedinthepastic-cioEnglish operasofBickerstaff and Cumber-land,Arne'swasthestandardofallperfectionatourtheatres andpublicgardens. (See Burney'sHistory,vol.iv.)OnJuly 6, 1759,theUniversityofOxfordcreated ArneDoctorofMusic.Hecomposedagreatnumber ofadmirableworkschieflyfor the theatre.Dr.Arnewasthe first to introducewomen'svoices into oratorio choruses. This he did atCoventGardenTheatre,February26, 1773,inaperformanceofhisown, Judith.Thethreesongsintroduced into this collec-tion aregood examplesof his melodious andagreeable style.No.22. Whendaisiespied andviolets blue.From LOVE'S LABOR'sLOST,AftV,scene ii.Composed by Thomas Augustine Arne(171 o-17 7 8).[Forcommentsee note to No.21.]No.23.Whenicicleshangbythe wall.From LOVE'S LABOR'sLOST,AftV,scene ii.Composed by ThomasAugustineArne(17101778).[Forcommentsee note to No.21.]NOTES ON THE SONGS xxiNo.24.Nomoredams /'//makeforfish.thewords,"Andthere waslight," HaydnwasFromTHETEMPEST,AflII,scene ii.Composed quite overcome,andpointingupwardsexclaimed,by John ChristopherSmith(1712-1795)."It came from thence!" As theperformanceAPARTfrom the character ofthemusic ofthiswenton,hisagitationbecameextreme,andit wassong,some interest is attached to it asbeingthoughtbetter to takehimhomeafter the firstcomposedbyonewhoacted asHandel'saman-part.uensisduringthe blindness ofthegreatcom-OnMay 26, 1809,he called his servantsposer.Hisstyle,in most ofhiswork,bears around him for the lasttime,andhavingbeengreatresemblance tothat ofhismaster.Smith'scarried to thepiano, solemnly playedthe Em-father,aGerman,acted as Handel's treasurer.perorsHymnthree times over. Fivedaysafter-HecomposedtwoShaksperian operas,Thewards heexpired.Tempestand TheFairies,an altered version ofA MidsummerNight'sDream.SomeeditorshaveNo.26.WhenthatIwasa littletiny boy.mistaken Smith'smusicfor that ofPurcell's,TheEpilogueto TWELFTH NIGHT.ComposedbyLoderfand Dr.Clarke,to wit.JosephVernon(1738-1782).THISsongis said tobebyJosephVernon,whoNo.25.Shenevertoldher love. wasatenor vocalistbornatCoventry.HestudiedFrom TWELFTHNIGHT,AttII,scene iv. Com- under W.Savage,andappearedatDruryLaneposedbyFranzJoseph Haydn(1732-1809).Theatrein1751.THEsongis one ofa set ofsix,dedicated to He composedthemusictoTheWitches,apan-LadyCharlotteBertie,andcomposedin1795.tomime,severalsongsand other vocal works.FranzJoseph Haydn,the fatherofthesym-W.Linleyhas attributed thissongtoFielding,phonyand thequartet,wasborn atRohrau,a but Dr. Rimbaultprovesthat it wascomposedsmall Austrianvillage.Hisparents bothsang, andby Vernon,about1760.CharlesKnight says,thechildsoonbegantosingtheirsimplesongs."It is the mostphilosophicalclown'ssongonOnNewYear'sDay,1791,Haydncameto record."Chappellthinks that thesongis theLondon,wherehewassoontheobjectofevery originalmusic.Thecharacterof themelodysug-speciesofattention.geststhat itmightbe.Theculminating pointofhisreputation(notattained till he had reached oldage)was the No.27.Sighnomore,ladies.compositionof the Creation and the Seasons. From MUCH ADO ABOUTNOTHING,AftII,OftheCreationhesays:"NeverwasI sopious,scene Hi.Composed byR.J.S. Stevens(1757-I knelt downevery day,andprayedGod to1837).strengthenme inmywork."Thisoratoriowas THEsongissungbyBalthaser in theplay,andfirstperformedpubliclyin1799,andproducedin theShakspereFolio instead of"enter Baltha-anextraordinary impression.It waswith reluc- ser"appears"enterJackieWilson,"asingertancethathecomposedmusictotheSeasons,for oftheBurbage'sCompany,towhichShakspereheknewhispowerswerefailing,andthe strainbelonged. Dr.Rimbaultidentifiesthesinger withwastoogreat.Ashesaidafterwards,"TheSea- Dr.JohnWilson.(See previousnotes on thissonsgave methefinishingstroke." Hecomposed subject.)verylittle after this. RichardJohnSamuel Stevens was born inAfteralongseclusion,heappearedinpublicLondon. Hewas trained as a chorister in St.forthelast timeat aremarkableperformanceof Paul'sCathedral,underSavage,andbecameor-theCreation,at theUniversityofVienna,onganistoftheTempleChurch in1786,CharterMarch27,1808. Hewascarriedin hisarmchairHouse,1796,ProfessorofMusic,GreshamCol-to aplaceamongthe first ladiesofthe land.Atlege,1801. Hisdeath occurred in London.XX11 NOTES ON THE SONGSHischief workswereglees,of whichhecom-posedagreatnumber.Thesongincludedin thisbookwasoriginallycomposedasaglee,butit issogenerally sungintheplayarrangedas asongthat no collection ofShakspere's songswouldbecompletewithout its insertion.No.28.Nowthehungrylion roars.FromAMIDSUMMERNIGHT'SDREAM,A51V,scenei.Composed byWilliamLinley(1767-1835).WILLIAMLINLEY,sonof thecomposer ThomasLinley,wasbornatBath,andeducated atHar-row. He studied under Abel and his father.Later he wasappointedto apostin the EastIndiaCompany'sservicebyFox.ThisnotableamateurwroteShakspere'sDra-maticSongs,consistingofall thesongs,duetsandchoruses incharacter,as introduced in his dra-mas. ThesongNo. 28 is fromthatwork.Hecomposedtwooperas,glees,&c.,andalsowrotenovelsandotherliteraryworks.No.29.Ifmusic be thefoodoflove,playon.FromTWELFTHNIGHT,A5tI,scene i.ComposedbyJohnCharlesClifton (1781-1841).THE editor has endeavored to include charac-teristicsongsillustratingtheperiodduringwhichtheywerecomposed.Thissong,with itsharporpiano accompaniment,isgoodofitskind,andshowsatypeofsong muchinvoguefiftyorsixtyyearsago.Cliftonwasapianistandcomposerofability;hestudiedunder R.BellamyandCharlesWesley.HewroteanoperacalledEdwin, manysongs,glees,andatheoryofharmony,besides otherworks.No.30.Overhill,overdale.FromAMIDSUMMERNIGHT'SDREAM,AEiII,scene i.ComposedbyThomasSimpsonCook(1782-1848).THOMASCOOK,vocalistandcomposer, wasbornat Dublin. He studied under his father andGiordani. In1803he became conductor at atheatre in his nativecityand madehis debutasavocalistin Storace'sSiegeofBelgrade.In1813heappearedin Londonandwasappointedcon-ductoratDruryLaneTheatre.Hewrotemusictoanumberofplays,besidescomposingmasses,glees, songs,solfeggi,&c.Thewordsof"Overhill,overdale"werenotwrittenformusicintheplay, thoughtheyaregoodfor thepurpose. Asanexampleofa floridsopranosongit is excellent.No.31 . Bidmediscourse.SonnetfromVENUS ANDADONIS,Stanza xxiv.Composed bySirHenry Rowley Bishop (1786-1855).SIR HENRY BISHOPwas director ofthe musicatDruryLane Theatre in1810,and becameconductorin1825;musicaldirectorinVauxhallGardensin1830;Mus.Bac.Oxon.in1839.Hewasknightedin1842;Professor of Music atOxfordUniversity, 1848;Mus. Doc.Oxon.,Bishopwas a voluminouscomposer,and isnowchieflyrememberedbyhissongsandglees,and oneopera, Guy Mannering.Hecomposedmusic to a numberofShakspere's songs; per-hapshe set moreofthemthananyothercom-poser.This,andthepreviousnumber, showstheinfluenceofthe florid Italianschool,whichwassopopularatthe timethroughtheItalianoperas.Thoughthissongis not from theplays,itap-pearsas a solobyViola inBishop's operaticversionofTwelfth Night.No.32.'The WillowSong.FromOTHELLO,AftIV,scene Hi.Composed byGioachino Rossini(1792-1868).IT will be a matterofconsiderable interest tomanyto learn that RossinicomposedasongtoShakspere'swords,which can be rendered inEnglishaseffectivelyasin Italian.Thesong wascomposedfortheoperaOtel/o,intheyear1816,andis characteristicof thecomposer.Rossini was thegreatest, amongthemanygreat opera composers,ofthe first halfofthenineteenthcentury.No.33.Hark,hark! the lark.FromCYMBELINE,AtII,scene Hi.ComposedbyFranz Schubert(1797-1828).SCHUBERT,borninVienna,possessedwonderfulNOTES ON THE SONGSXXlllpowersasasong-writer;in theopinionofmany manyworksonlya smallproportionwaspub-heranks first in this branch ofthe musical art.licly performedduringhis life. Schumann wasHewas the onegreat composerwhosesongs,the first to force theworld tolisten to the trea-regardedasadepartmentofmusic, areabsolutelysurestheyhaddisregarded,hisown,full of dramaticfire,poetry,and Schubert setonlythreeofShakspere's songs,pathos,withaccompanimentsof the utmost "Come thou monarch ofthevine," "Who isforce, fitness,andvariety.Sylvia?"and"Hark,hark! the lark."ThelastSchubertlived ingreatpoverty."It is all but twoare included in this collection,impossibletoplaceone'sselfin theforlorncon-ditioninwhichhemusthaveresignedhimself toNo.34.WhoisSylvia?hisdeparture,andtorealize thedarknessoftheFrom THE TwoGENTLEMENOFVERONA,AftIF,valley oftheshadow of deaththroughwhichhisscene'ComposedbyFranzSc/iubert(ij*J1 ff#34Alittlequicker.sweetsprites,theAA /A/LU m* Mmm35WHERETHEBEESUCKSWILLIAMSHAKSPEREFrom "The Tempest"ActV,SceneIRatherquickPIANOPELHAMHUMFREY(1K47-1674)Editedandarranged byDr.CharlesVincentfo> > i=ac36r rP rMer-ri-ly, mer-ri-ly,shall I live now Un-dertheblos-somthathangson thebough.mil.f*. Hr *THEWILLOWSONG37(Composedin 1673)WILLIAMSHAKSPEREFrom "Othello" ActIV,Scene 3PELHAMHUMFREY(1647-1674)Editfd andarranged byDr.CharlesVincentSlowly andsadlyVOICEPIANOJ/L> r38fi*. FiP P^Come,all2*yefor sak-en,andJ:^mourn now withj j-*Tr/i^40COMEUNTOTHESEYELLOWSANDSWILLIAMSHAKSPEREFrom"TheTempesf'ActI,Scene2RatherquicklyPIANO8-HENRY PURCELL(1658-1695)Trr^P^r^r3j*t:417ET42FULLFATHOMFIVE THYFATHERLIESWILLIAMSHAKSPEREFrom"TheTempest,"ActI,Scene2HENRYPURCELL11658-1695)In moderatetimeVOICEPIANOfivethyfa-therlies;Fullfath- om fivethyfa-therm-lies;Ofhisbones are cor almade; Thosearepearlsthat werehiseyes;No-2EfeUiNaJiP^^84psMT^-i*^-*-^Tf> J"ifthingof him_thatdoth fade.Oliver DitsonCompany43Fullfath-omfivethyfa-therlies;FullTath-om fivethyfa-therlies;Ofhis bones are cor almade;Thosearepearlsthat werehiseyes;No-kthing-of him_thatdothfadeButdothsuf-fer,dothk**fP*essuf-fer a sea-changeIn -to somethingrich andstrange,ButdothML-1224-344T rsuf-fer,doth suf- fer a sea--changeIn -to somethingrich^1 [}J *J-rJJJ-[JSea-nymphshourly ringhisknell;Hark! nowI hear them, ding-dong, ding-dong,bell^Hark!now1 hearthem, ding-dong,ding-dong,bell.-_Harklnowlhear_them,hark! nowI hearthem,^setupre/L~WHOIS SYLVIA?45WILLIAMSHAKSPEREFrom 'The TwoGentlemenofVerona"ActIV,Scene2SlowlyandsustainedPIANORICHARDLEVERIDGEH67o-nr,8iEditedandarranged byDr.CharlesVincentWho isSylvia? What isshe,That all our swains com-heav'ns suchgracedid lend-her,That shemightadrmrrCopyrigrlit MCMVIbyOliverDitsonCompanyInternationalCopyright Secured ML-1225-446rl.i AJred be. be. Is shewith kind-ness.Love doth to hereyes_repair,Tohelphim_ of hisblindness;and being help'd.in-ha bits there.ML-1285-447AllegrettoThen toSylvia let ussing,ThatSylvia is. ex-She_ ex-eels _ eachmor talthing, Upon the dull earth dwell-ing:ToML-1225-448JW_'TWHERETHE BEE SUCKS49WILLIAMSHAKSPEREFrom "TheTempest'.'ActV,SemeITHOMASAUGUSTINEARNEfnio-ms)EditedandarrangedbyDr.CharlesVincentPIANO[#*=50On a bats back do^m^i^aAf-ter sun-set mer-ri-Iv,*^^^U5tF^fS^i^Pfiv n D r UP51^|Mer-ri-ly,mer-ri-lyshall I live now Un-der the blos-som thathangson thefL."j/n *52WHENDAISIES PIEDANDVIOLETSBLUE(THECUCKOOSONG)WILLIAMSHAKSPEREFrom"Love'sLaborsLost"ActVJScene 2THOMASAUGUSTINE ARNE(1710-1778)EditedbyUr.C/Kii'lex VincentAllegrettoPIANOPSPRING*y*MEJErMJJ^When dai-siespiedand vio-letsblue,Andsnow-dropsdeck'd in sil-verwhite,And cuc-koo-buds ofyel-lowhue,Dont.paintthe mead-ows with de-light,The^CopyrightMCMVI by OliverDitsonCompanyInternationalCopyrightSecured ML-1227-4P53cuc-koothen,on ev-Vy tree,Hailsthe sweetspring,hails the swTeetspring,rit. cresc./Lb P J 354-=*Whenshep-herdspipeon oat-enstraws, And mer-rylarks areiplough-men's clocks,When tur-tlespair,androoks,anddaws,And fields are scat-ter'djo'er withflocks The cuc-koothen, onev-'rytree,Hailsthesweetspring,ML-1227-455rail./O\cresc.hails thesweetspring,hails thesweetspring, andthussingshe, Cuc-koo, cuc-koo, cuc-koo,Pcuc-Koo, cuc-koo, Oh, pleas-ingsound,oh, pleas-ingsound, While1 Iech-o ah-swers fara-round,Whileech-o an-swers far a-round.r\3&HII~bff^56WHENICICLESHANGBYTHEWALL(THE OWL)WILLIAMSHAKSPEREFrom "LovesLabor'sLostJ' ActV,Scene2PocoAllegrettoPIANOTHOMASAUGUSTINEARNE'1710-1778)WINTERPWhen i-ci-cleshang bythewall,AndDick theshep-herd blows hisnail,AndOliver PitsonCompanyML-1228-BiTom bearslogsin to the And milk comes fro zenP&home inpail;When blood isnipp'drandPfetPP^?5859i^When loud_ the wind_dothblow,Andcough ingdrowns theP60JdBNOMOREDAMSI'LL MAKEFORFISH(CALIBAN'S SONG)61WILLIAMSHAKSPEREFrom'TheTempest','ActII,Scene2RatherquicklyPIANO^PiJOHNCHRISTOPHER SMITH(1713-1795)^Nomore dams I'll makeforfish;Norfetch firingAt requir-ing,Norscrapetrench-er,Nor wash'Pdish!'Ban, 'Ban,Ca-ca-liban,Has a new mas ter:geta newOliver Ditson CompanyML-1289-362No more dams_ 111 make forfish,No more dams 111 make forfish,Nor_fetch firing,At reqtiir-ing-,Norscrapetrench-er.Nor_wash/VhJ* \ *63r->r71rquir-ing-,Norscrapetrench-er,Nor_washdish, 'Ban, 'Ban,Ca-ca-li-rban,Has a new mas-ter;geta new man!'Ban, 'Ban,Ca-ca-li-P ./ZLZE/I ) I )J)64SHENEVERTOLDHERLOVEWILLIAMSHAKSPEREFromuTwelfthNight"ActII, Scene4LargoassaieconespressionePIANOFRANZJOSEPHHAYDN(1732-1809)Tr^^fShe nev-ertold herlove,she nev-ertold hei/^-ir 1JT^i*/ i v*^=mPI&Oliver DitsonCompany ML-1230-365love3>-1But let con-ceal-ment,like a worm^nitheT^J2>66il67WHENTHAT I WASALITTLETINYBOYWILLIAMSHAKSPERETheEpilogueto "TwelfthNight"VOICEPIANO^JOSEPHVERNONEdited and arranged byDr. CharlesVincent^ |Slowly.p68/V bSIGHNOMORE,LADIES69WILLIAMSHAKSPEREFrom"Much Ado-AboutNothing,"ActII, Scene 3AllegrettoR.J.S.STEVENS(1757-18:17)EditedandarrangedbyDr. CharlesVincentPVOICEpSighnomore,la-dies,Menwere de-ceiv-ers Menwere de-ceiv-erssea,and one. onshore;Toonethingcon-stant nev-er,To onethingcon-stant nev-er.i*CopyrightMCMVIbyOliver DitsonCompanyInternationalCopyrightSecured ML-1233-470Ji JnJThensighnotso,but let themgo,And beyoublithe andbon-ny,And beyoublithe_andibon-ny,Con-vert-ingallyourk.sounds ofwoe,Con-vert-ingallyour_sounds of_woeToHey non-ny,non-ny,Hey non-ny,non-ny, Heynon-ny,non-ny, Heynon -ny, non-ny.ML-1232-471rSingnomore dit -ties, la-dies,sing-noPT-trmore Ofdumpsso dull and heav-y,Ofdumpsso dull and heav-y;ThePfraud of men was e\Ner so. Since sum-mer first wasileav-y,Since summer_first wasleav-y.Thensighnotso,but let themPPML-1232-472And beyoublithe and_ bon-ny,And beyou_blithe_and_bon-ny,-Con-vert-ing_allyoursounds ofwoe,Con verting-allyour.soundsof_woe,ToHey non-ny, non-ny, Hey non-ny, non-ny,AHey non-ny,adlib.non-ny, Heynon-ny,non-ny.ML-1232-4NOWTHEHUNGRYLIONROARS73WILLIAMSHAKSPEREFrom "AMidsummerNight'sDream"ActV,SceneISlowlyand withenergyWILLIAMLINLEY(1767-1*35)KifitedbyDr.CharlesVincentNow the him-gryli onroars, And the wolf be -howls thePA.b F C^74Pwast-ed brandsdoglow,Whilst the screech-owl,screech-ingloud,_Puts therfPfwretch,that lies inwoe,In re-mem-brance of shroud.Now itOir^ r>75/^ppf^;Now thekingof ter ror_reignsO verr=*?Clty,o verfold;Fright-inghum-hie rus-ticswains,And the/lu ? J F m76dou ble-locks his nostrang-ermayhaverfrfTrich but usT less store.Vain,for soonal-migh-tyDeath Casts hisrP/t >IFMUSICBETHEFOODOFLOVE, PLAYON77WILLIAMSHAKSPEREFrom "TwelfthNight',' ActI, SceneIAndante* (withemphasis andexpression)JOHNCHARLESCLIFTON(1781-1S41)VOICEHARPorPIANOX k"78AT 379fe Sadlib.PJsound that breathestip-ona hank of vi o-lets,?I'I ^ *-collacocaS*^ , f */ f /125rrtempoIT rrlendher,That shemightad-mir-edA Ayr :tCJPiirIs shekind,as she is^mij.p3m -ML-1245-51261 3For beau-tylives_ with kind -ness.m-J 7-him of his blind-ness;And be-ing help'd,in-hab its\MI.-1245-5127a tempop^Syl-via let us ThatSyl-via ex-SEML-1245-5128rit.alfineten.the dull earth dwell-ingML-1245-5BLOW,BLOW,THOUWINTER WIND129WILLIAMSHAKSPEREFrom"AsYouLikeIt;'ActII,Scene7Andante(Original Kiy,C)WILLIAMARMSFISHER,Op.5,N'J4(issi- )PIANO1.Blow, blow,.blow,thouwin-terwind,.2.Freeze,- freeze, freeze,thoubit-terThouThouf 171130Allegro./ ^pocon't.fttempo"K^ ^K _ _ m-^^K r- ^ K|K _=gpF [?iv -ii-j=a^s|p=Heigh-ho!sing, heigh-ho!un-to thegreen_ hoi-ly: Heigh-ho!heigh-ho!^*t */-T9 rtt.bJ_^m 'ho!heigh-ho!Heigh-ho! heigh-ho!un- to_ the_greenhoi-ly:Mostateniuor\V_A. bSIGHNOMORE,LADIES(OriginalKey, F# minor}131WILLIAMSHAKSPEREFrom"MuchAdoAboutNothingj'ActII,Scene 3ConbrioVOICEPIANOWILLIAMARMSFISHKR,Op. 5,N95(1861- )'if1.Sighnomore,2.Sighnomore,la-dies,la-dies,sighsighnomore,no more,la-dies,la-dies,sighsighnomore,nomore,sighsighnomore,nomore,Used in thisvolumewiththepermissionofthepublishers.Copyright1897byLuckhardt& BelderML-1347- 3132a tempoTV IF M133/L r r / T134To RobertFultonIT WASALOVERANDHISLASSWILLIAMSHAKSPEREFrom"AsYouLikeIt','ActV,Scene3(Original Key, C}GERARDBARTON(1861- )VOICEPIANO