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DDD The English Song Series • 13 8.557222 BRITTEN Folk Song Arrangements • 2 Philip Langridge • • BBC Singers Northern Sinfonia • • Simon Joly 557222bk Britten US 31/7/05 12:51 pm Page 2

Benjamin Britten (1913–1976) Folk Song Arrangements • 2

Eight Folk Song Arrangements 18:43 0 King Herod and the Cock 2:05 for High Voice and Harp ! The Twelve Apostles 6:10 1 Lord! I married me a wife 1:16 @ The Bitter Withy 5:08 2 She’s like the swallow 2:43 3 Lemady 1:26 Philip Langridge, Tenor 4 Bonny at morn 3:16 The Wenhaston Boys Choir 5 Bugeilio’r Gwenith Gwyn 2:20 Christopher Barnett, Conductor 6 Dafydd y Garreg Wen 3:04 David Owen Norris, Piano 7 The False Knight upon the Road 3:40 Recorded in Snape Maltings Concert Hall 8 Bird Scarer’s Song 0:56 from 21st to 22nd January, 1995

Philip Langridge, Tenor • Osian Ellis, Harp Recorded at St Giles Cripplegate, , UK Orchestral Arrangements 30:32 from 20th to 25th February and from # Le roi s’en va-t’en chasses [TA] 2:13 20th to 21st March, 1995 $ Fileuse [TA] 1:38 % Eho! Eho! [TA] 1:49 ^ La belle est un jardin d’amour [TA] 2:29 9 The Holly and the Ivy 3:18 & Quand j’étais chez mon père [TA] 1:52 * The Salley Gardens (string orchestration) [TA]2:49 Margaret Feaviour, Soprano ( Little Sir William [PL] 2:52 Judith Harris, Mezzo-Soprano ) The Bonny Earl o’ Moray [PL] 2:38 Vernon Kirk, Tenor • Graham Titus, Baritone ¡ O can ye sew cushions? [PL] 2:14 BBC Singers • Simon Joly ™ Oliver Cromwell [PL] 0:40 Recorded at St Paul’s Knightsbirdge, London, UK £ The Plough Boy [PL] 1:58 on 9th June, 1995 ¢ O Waly, Waly [PL] 3:22 ∞ Come you not from Newcastle? [PL] 1:11 § The Salley Gardens [PL] 2:43 (orchestration for strings, bassoon and harp)

Philip Langridge, Tenor [PL] Thomas Allen, Baritone [TA] Northern Sinfonia • Steuart Bedford Recorded at All Saints Church, Gosforth, Newcastle on March 31st, 1995

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Benjamin Britten (1913–1976) Folk Song Arrangements • 2 Benjamin Britten occupies an unrivalled position in opening of Sadler’s Wells and the staging of Britten’s English music of the twentieth century and a place of the opera started a new era in English opera. greatest importance in the wider musical world. While The was founded and a series of Elgar was in some ways part of late nineteenth-century chamber operas followed, with larger scale works that German romantic tradition, Britten avoided the trap established Britten as a composer of the highest stature, offered by musical nationalism and the insular debt to a position recognised shortly before his early death by folk-music of his older compatriots, while profiting from his elevation to the peerage, the first English composer that tradition in a much wider European context. He may ever to be so honoured. be seen as following in part a path mapped out by It was in some sense a certain nostalgia that lay Mahler. He possessed a special gift for word-setting and behind Britten’s many folk-song arrangements. He had a vocal writing, a facility that Purcell had shown and that particular gift for bringing out the qualities implicit in a was the foundation of a remarkable series of operas that melody and text, something displayed to admirable brought English opera for the first time into international effect in his version of The Beggar’s Opera. The first set repertoire. Tonal in his musical language, he knew well of songs from the British Isles was published in 1943, how to use inventively, imaginatively, and, above all, and further sets were published in the following years. musically, techniques that in other hands often seemed The last set of arrangements were made in the last arid. His work owed much to the friendship and constant summer of Britten’s life. His health had deteriorated and companionship of the singer , for whom a heart operation in 1973, during which he had a slight Britten wrote many of his principal operatic rôles and stroke, prevented any further piano performance. In whose qualities of voice and intelligence clearly had a 1973 he had summoned all his strength towards the marked effect on his vocal writing. completion of his last opera, , with its Born in the East Anglian seaside town of Lowestoft perceived final great operatic rôle for Peter Pears, that of in 1913, Britten showed early gifts as a composer, Aschenbach. With his encouragement Pears had studying with Frank Bridge before a less fruitful time at collaborated with the pianist Murray Perahia in the Royal College of Music in London. His association continuing recitals, and in 1975 he wrote his fifth with the poet W.H.Auden, with whom he undertook canticle, The Death of St Narcissus, for Pears and the various collaborations, was in part behind his departure harpist Osian Ellis. with Pears in 1939 for the United States, where The last Eight Folk Song Arrangements, for high opportunities seemed plentiful, away from the petty voice and harp, were also written for Peter Pears and jealousies and inhibitions of his own country. The Osian Ellis. Lord! I married me a wife is taken from outbreak of war brought its own difficulties. Britten and English Folk Songs from the Southern Appalachians, Pears were firmly pacifist in their views, but were collected by Cecil Sharp. The very simple tune is set off equally horrified at the excesses of National Socialism by the characteristic sonorities of the harp, which and sufferings that the war brought. Britten’s nostalgia punctuate the repeated opening words and the for his native country and region led to their return to consequences of marriage, in the words ‘wife’, ‘life’ and England in 1942, when they rejected the easy option of ‘work’. She’s like a swallow comes from Folk Songs nominal military service as musicians in uniform in from Newfoundland, collected by Maud Karpeles, and is favour of overt pacifism, but were able to give concerts presented with a flowing accompaniment, and Lemady, and recitals, often in difficult circumstances, offering taken down from a singer in Whitby, is at first given the encouragement to those who heard them. The re- sparest of accompaniments, filling out in texture as the 3 8.557222 557222bk Britten US 31/7/05 12:51 pm Page 4

song proceeds. The fourth song Bonny at morn, taken part of the recital repertoire of Pears and Britten. The from the collection Northumbrian Minstrelsie, uses orchestrated songs include a hunting-song, with the characteristic fragments of canon. It is followed by two necessary suggestions of the hunting-horns, a spinning- Welsh folk-songs, Bugeilio’r Gwenith Gwyn, the song, Fileuse, with apt accompanying figuration, a opening words of which Osian Ellis gives in an English pastoral love-song, a shepherd idyll, and a sad tale from singing version as I was lonely and forlorn, with its harp a shepherd-boy, with a haunting refrain. Orchestral arpeggio accompaniment, and Dafydd y Garreg Wen arrangements of five of the eight songs were made by (David of the White Rock), where Britten again finds Britten, with five of them first performed in Chicago in scope for canon. The False Knight upon the road is a 1948 by the French baritone Martial Singher, the son-in- further song from Cecil Sharp’s English Folk Songs law of Fritz Busch, who conducted the performance with from the Southern Appalachians, edited, as before, by the Chicago Symphony Orchestra. A sixth orchestration, Maud Karpeles. It repeats its melody and of La noël passée, was probably made in 1953. accompaniment in its seven verses and repeated Four of the songs from the first published volume of answers. The set ends with the lively Bird Scarer’s 1943 were orchestrated by the composer for a Song, collected by Cecil Sharp in Somerset in 1904, performance given in London in December 1942 by graphically illustrated by the harp. Peter Pears with the New London Orchestra, conducted Britten’s unaccompanied arrangement of The Holly by Alex Sherman. These were a version of The Salley and the Ivy was made in 1957 for June Gordon and the Gardens, an Irish song, with folk-style words by Haddo House Choral Society. King Herod and the Cock W.B.Yeats, two orchestrations of which exist from this and The Twelve Apostles are arrangements made in 1962 period, one with strings and the other with bassoon, harp for the London Boy Singers, the first dramatically and strings, both included here. The second of the set, realised, and the second brought to life by its Little Sir William, is a ballad, its words slightly modified imaginative use of the piano. The Bitter Withy, which in publication to avoid the traditional anti-semitism of was left unfinished, was written for the same singers, the text. The poignant Scottish lament for The Bonny tenor soloist and boys’ choir, also with solo voices. It is Earl o’ Moray is followed by a second Scottish tune, O recorded as Britten left it, breaking off in the seventh can ye sew cushions?, a lullaby, presumably verse. orchestrated during the same period. The orchestrations The volume of arrangements of French songs, the from the first book end with the lively Suffolk nursery- second collection, was published in 1946 and dedicated rhyme Oliver Cromwell. The orchestral arrangements of to Britten’s young friends Arnold and Humphrey Gyde, The Plough Boy, O Waly, Waly and Come you not from the latter his godson, the children of the singer Sophie Newcastle, from the third published collection, were Wyss, who gave the first performances of Les made in the 1950s. Illuminations and recorded five of the French folk-song arrangements with the composer in 1943. The arrangements were made at Snape in 1942 and formed Keith Anderson

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Philip Langridge

Philip Langridge was born in Kent and studied at the in London. He is one of the world’s most distinguished singers, whose musical and dramatic qualities ensure that he is in constant demand throughout Europe, the United States and Japan. In recognition of these qualities, he was made a Commander of the British Empire in the Queen’s Birthday Honours of 1994. He has also received a number of other awards, including the prestigious Olivier Award for Osud, the Singer of the Year Award from the Royal Philharmonic Society and The Worshipful Company of Musicians’ Santay Award. He was awarded the NFMS/ Prize 2001 for his outstanding contribution to British Music. His remarkable versatility and command of a wide variety of styles is reflected in his extensive discography, ranging from the early classical period to the present day. These recordings have gained him two Grammy Awards (Moses und Aron, and Peter Grimes), the Gramophone Award () and a Classic CD Award (The Turn of the Screw). On video he can be seen in Peter Grimes, , Idomeneo, La Clemenza di Tito, From the House of the Dead, Wozzeck, Oberon, JenÛfa and Oedipus Rex, which won the Classical Music Award. International festivals and opera houses with which he is particularly closely associated include Salzburg, the Metropolitan Opera New York, La Scala, Milan, Bayerische Staatsoper, Munich, the Royal Opera House Covent Garden, Glyndebourne, Edinburgh, and the English National Opera.

Sir Thomas Allen

Thomas Allen is an established star of all the great opera houses. He has been particularly acclaimed for his Billy Budd, Pelléas, Eugene Onegin, Ulisse and Beckmesser, as well as the great Mozart rôles of Count Almaviva, Don Alfonso, Papageno and Don Giovanni. Equally renowned on the concert platform, he appears regularly in recital and has sung with the world’s most prestigious orchestras and conductors. His many honours include the title of Bayerischer Kammersänger awarded by the Bavarian State Opera in Munich and of Prince Consort Professor of the Royal College of Music. In the 1999 Queen’s Birthday Honours he was made a Knight Bachelor.

Osian Ellis

Osian Ellis has performed to lavish acclaim all over the world. His numerous recordings of harp music, , chamber music, and songs with harp have received many awards. Many new works have been written for him, including concertos by , , Jorgen Jersild, and , with solo and chamber music by Benjamin Britten, , and William Schuman. Osian Ellis worked closely with Benjamin Britten from 1959 until the latter’s death in 1976, and appeared in many first performances and recordings of his works. Britten wrote for him the exquisite Harp Suite in 1969, and, when Britten could no longer play the piano, following an unsuccessful heart operation in 1973, Osian Ellis joined Peter Pears to give recitals in Europe and America. Canticle V was the first work that Britten wrote for them in 1974.

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BBC Singers

The BBC Singers, Britain’s only full-time professional chamber choir, is internationally recognised as one of the world’s great vocal ensembles. Renowned for their commitment to contemporary music, the BBC Singers have commissioned and recorded works by many of the most important composers of our time, but with a repertoire wider than that of any similar ensemble, the BBC Singers also perform and record music from the fifteenth century to the present day, broadcasting regularly on BBC Radio 3 and BBC Television. The group works regularly with the BBC’s own orchestras, and also with many other specialist ensembles. With a tradition dating back some eighty years, the BBC Singers continue to explore the farthest reaches of the choral repertoire, from the masterpieces of the past to the most challenging of recent commissions, and, with an increasing outreach and education programme, the group continues to play a major rôle both in the life of the BBC and in the wider musical community.

Northern Sinfonia

Northern Sinfonia is one of Europe’s foremost chamber orchestras. With its Music Director Thomas Zehetmair Northern Sinfonia ranges across the Western Classical Music repertoire from early baroque through the classical and romantic periods, to commissioned new work. The orchestra was founded in 1958 and as it approaches its fiftieth anniversary year is embarking on a brand new era in its development, making The Sage Gateshead its new home in December 2004. This new £70 million Norman Foster building will become central to the orchestra’s extensive classical music programme. The flexibility of this world-class orchestra extends to self-directed performances and chamber music as well as concerts at different times of day and in different venues from tiny Northumberland churches to the Concertgebouw in Amsterdam. With The Sage Gateshead as its home Northern Sinfonia will continue to travel, serving the whole of the North of England and further afield throughout the United Kingdom as well as internationally. Apart from its Music Director, Thomas Zehetmair, Northern Sinfonia works with distinguished visiting musicians including Franz Brüggen, , Thierry Fischer, Lesley Garrett, Evelyn Glennie, , Heinz Holliger, Kiri Te Kanawa, Sir Roger Norrington and Heinrich Schiff. Recordings and broadcasts form an integral part of the orchestra’s work. Northern Sinfonia has won Classic CD awards for Best Recording and Living Composer. The orchestra’s wide-ranging Learning and Participation programme features participatory projects for people of all ages and abilities, and community performances. Northern Sinfonia also has an associated award-winning youth orchestra, Young Sinfonia and is joined for both performance and recording by the Northern Sinfonia Chorus.

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Simon Joly

Simon Joly is a conductor and chorus master most renowned for his work as Associate Conductor from 1981 to 1988 and subsequently, from 1989 to 1995, as Principal Conductor of the BBC Singers, with whom he conducted an enormous repertoire of choral music both a cappella and accompanied on radio, CD, and in concert. He has given premières of works by many distinguished contemporary composers, including Berio, Tavener, Maxwell Davies, Bedford, and Knussen. He conducted the BBC Singers at in performances ranging from Palestrina to Stravinsky’s Les Noces, Steve Reich’s The Desert Music and Giles Swayne’s Cry. Other major twentieth-century performances include Birtwistle’s ‘..agm..’, and Henze’s Novae de infinito Laudes and The Raft of the Medusa (with the BBC Symphony Orchestra). With the BBC Singers he gave many performances of Messiaen’s Cinq Rechants and performed Berio’s Coro with them and the at La Scala, Milan. He has also worked with the French, Dutch and West German Radio Choirs. The Simon Joly Chorale may be heard on recordings by Robert Craft of works by Schoenberg and Stravinsky, issued by Naxos.

Steuart Bedford

Steuart Bedford is recognised as one of today’s leading experts on the works of Benjamin Britten. As a result of his former collaboration with the composer, he has conducted Britten’s operas throughout the world, including the world première of Death in Venice in 1973, which was followed by the first recording of the work. From 1974 to 1998 he was one of the Artistic Directors of the eventually becoming Joint Artistic Director with . Steuart Bedford has an extensive operatic repertoire and has worked with many of the world’s greatest opera companies including English National Opera, the Royal Opera Covent Garden, Metropolitan Opera, Opera North, Scottish Opera, Opéra de , Brussels Opera, Monte Carlo Opera, Lausanne Opera, San Diego Opera, Santa Fe Opera Festival, Canadian Opera Company, Vancouver Opera, and the Teatro Colón in Buenos Aires. He is also highly regarded for his interpretations of the works of Mozart, with acclaimed performances at the Garsington Opera and elsewhere. Although opera commitments dominate much of his time, Steuart Bedford conducts concert engagements, both in Britain and abroad, and has toured Australia, New Zealand, South America and Scandinavia. He has worked with the English Chamber Orchestra (with whom he has toured all over the world), the Scottish Chamber Orchestra, the Philharmonia, Royal Philharmonic, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Northern Sinfonia, City of London Sinfonia, Teatro Colón, Gurzenich Orchestra, Orchestre National de Bordeaux Aquitaine, Orchestre Philharmonique de Montpellier, Dortmund Philharmonic and the BBC Orchestras.

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Benjamin Britten (1913–1976) Folk Song Arrangements • 2 Benjamin Britten nimmt nicht allein innerhalb der sah, in einer Zeit, in der musikalisches Können und englischen Musikgeschichte des 20. Jahrhunderts eine Genie nicht selten suspekt schienen. Der Ausbruch des konkurrenzlose Stellung ein. Auch sein Platz in der zweiten Weltkrieges tat ein Übriges dazu. Sowohl Musikwelt insgesamt ist von größter Bedeutung. War Britten als auch Pears waren strenge Pazifisten, zugleich Elgar in gewisser Hinsicht noch Teil der deutschen aber auch schockiert von den Auswüchsen des romantischen Tradition des ausgehenden 19. Nationalsozialismus und den Leiden, die dieser Krieg Jahrhunderts, so vermied Britten es, dem von seinen nach sich zog. Brittens Sehnsucht nach seinem älteren Landsmännern gepflegten musikalischen Heimatland und seinen Wurzeln führte schließlich 1942 Nationalismus oder der insularen Verpflichtung zur Rückkehr nach England. Dort blieben Britten und gegenüber der Volksmusik anheim zu fallen, profitierte Pears ihrem Pazifismus treu und weigerten sich etwa, in einem weiteren europäischen Kontext andererseits ihren Militärdienst formal als Musiker in Uniform jedoch durchaus von dieser Tradition. Sein besonderes abzuleisten. Immerhin gestattete man Ihnen dennoch, Talent bei der Vertonung von Texten und Vokalmusik auch weiterhin Konzerte zu geben, um andere zu im allgemeinen erinnert an die Leichtigkeit, die Purcell ermutigen, auch wenn diese Auftritte oft unter in diesem Zusammenhang gezeigt hatte, und bildete die schwierigen Umständen stattfanden. Die Wieder- Grundlage einer bemerkenswerten Reihe von Opern, die eröffnung des Sadler’s Wells Theatre mit Brittens Oper der englischen Oper erstmals auch international Peter Grimes läutete dann eine neue Ära der englischen Anerkennung brachten. In seiner der Tonalität Oper ein. Es kam zur Gründung der English Opera verpflichteten musikalischen Sprache verstand er es sehr Group, die sowohl eine Reihe von Kammeropern als genau, originelle, phantasievolle und dabei vor allem auch größer besetzte Werke Brittens zur Aufführung stets musikalische Techniken einzusetzen, die in brachte und diesen als Komponisten ersten Ranges anderen Händen oftmals nüchtern wirkten. Viel etablierte, eine Einschätzung, die mit Brittens Erhebung verdankt sein Werk nicht zuletzt auch der Freundschaft in den Adelsstand kurz vor seinem Tod eine späte, aber und lange währenden Partnerschaft mit dem Tenor Peter eindrückliche Bestätigung fand, war diese Ehre doch Pears, für den Britten viele wichtige Rollen in seinen noch keinem englischen Komponisten vor ihm zuteil Opern schuf und dessen vokale Qualitäten und geworden. Intelligenz deutliche Spuren im Vokalstil Brittens In gewisser Hinsicht steht hinter den vielen hinterlassen haben. Volkslied-Arrangements Brittens so etwas wie Britten wurde 1913 im an der ostenglischen Küste Nostalgie. Britten besaß eine besondere Gabe, was das gelegenen Lowestoft geboren und zeigte schon recht Herausarbeiten der einer Melodie oder einem Text früh kompositorisches Talent. Er studierte bei Frank innewohnenden Qualitäten anging, eine Gabe, die er Bridge, noch ehe er sein weniger glückliches Studium eindrücklich bereits mit seiner Fassung der Beggar’s am Royal College of Music in London aufnahm. Seine Opera unter Beweis gestellt hatte. Die erste Sammlung Zusammenarbeit mit dem Dichter W. H. Auden, die in mit Liedern von den britischen Inseln veröffentlichte verschiedenen Werken ihren Niederschlag fand, stand Britten 1943, wobei sich weitere Sammlungen in den zu einem gewissen Teil auch hinter der Amerikareise folgenden Jahren anschließen sollten. Die letzte von Britten und Pears, die 1939 ihren Anfang nahm. Sammlung solcher Arrangements entstand in Brittens Amerika schien künstlerisch bessere Möglichkeiten zu letztem Sommer. Sein Gesundheitszustand hatte sich bieten als England, wo sich Britten mit engstirnigen verschlechtert, und seine Herzoperation von 1973, in Eifersüchteleien und Hindernissen aller Art konfrontiert deren Verlauf er einen schwachen Infarkt erlitten hatte, 8.557222 8 557222bk Britten US 31/7/05 12:51 pm Page 9

verunmöglichte weitere Auftritte als Pianist. So Harfe in ihrer Begleitung den Text sehr bildlich konzentrierte er 1973 all’ seine Kräfte auf die illustriert. Vollendung seiner letzten Oper, Death in Venice, in der Brittens unbegleitetes Arrangement von The Holly auch die letzte große Partie für Peter Pears angelegt war, and the Ivy entstand 1957 für June Gordon und die nämlich die des Aschenbach. Von Britten ermuntert, Haddo House Choral Society. King Herod and the Cock bestritt Pears die weiteren Liederabende mit dem und The Twelve Apostles schrieb Britten 1962 für die Pianisten Murray Perahia, und 1975 komponierte er sein London Boy Singers, wobei das erste dramatisch fünftes Canticle, The Death of St Narcissus, für Pears umgesetzt wird, das zweite dagegen durch die und den Harfenisten Osian Ellis. phantasievolle Verwendung des Klaviers belebt wird. Auch die letzten acht Volkslied-Arrangements, für Auch das unvollendet gebliebene The Bitter Withy hohe Stimme und Harfe, entstanden für Peter Pears und schrieb Britten für dieses Ensemble, für Solo-Tenor und Osian Ellis. Lord! I married me a wife entstammt dabei Knabenstimmen also, die auch solistisch hervortreten. den von Cecil Sharp zusammengetragenen English Folk Die Aufnahme hält sich an die von Britten überlieferte Songs from the Southern Appalachians. Das einfache Form, weshalb der Satz in der siebten Strophe abbricht. Stück ist bestimmt von der charakteristischen Die Sammlung französischer Volkslieder, Brittens Klanglichkeit der Harfe, mit der die sich zweite, wurde 1946 veröffentlicht und ist Brittens wiederholenden Anfangsworte und die Folgen der jungen Freunden Arnold und Humphrey Gyde Heirat mit den Worten ‚wife’, ‚life’ und ‚work’ gewidmet, den Kindern der Sängerin Sophie Wyss, die durchsetzt werden. She’s like a swallow ist den von die ersten Aufführungen von Les Illuminations Maud Karpeles gesammelten Folk Songs from gesungen und gemeinsam mit dem Komponisten 1943 Newfoundland entnommen und zeichnet sich durch die fünf der französischen Volkslied-Arrangements fließende Begleitung der Harfe aus. Lemady wurde von aufgenommen hatte. Diese Arrangements entstanden einem Sänger in Whitby aufgezeichnet und wird 1942 in Snape und waren Teil des Lieder-Repertoires anfänglich in der denkbar einfachsten Form begleitet, von Pears und Britten. Die orchestrierten Lieder was dann mit Fortschreiten des Liedes allerdings beinhalten ein Jagd-Lied – natürlich mit den obligaten ausgreifender wird. Das vierte Lied, Bonny at morn, das Jagdhörnern –, ein Spinn-Lied, Fileuse, das von einer der Sammlung Northumbrian Minstrelsie entstammt, dem Inhalt entsprechenden Begleitfigur geprägt ist, ein greift auf typische Kanon-Fragmente zurück. Es pastorales Liebeslied, ein Hirten-Idyll und die traurige schließen sich zwei walisische Volkslieder an: Geschichte eines Hirtenjungen, mit einem eingängigen, Bugeilio’r Gwenith Gwyn, mit einer aus Arpeggios oft wiederkehrenden Refrain. Von den ursprünglichen bestehenden Begleitung, zu dem Osian Ellis mit I was acht Liedern wurden lediglich fünf von Britten lonely and forlorn eine englische Textversion orchestriert. Sie erklangen erstmals in Chicago mit dem beigesteuert hat, und Dafydd y Garreg Wen (David of französischen Bariton Martial Singher, dem the White Rock), bei dem Britten wiederum kanonische Schwiegersohn von Fritz Busch, der in dieser Techniken bemüht. The False Knight upon the road Aufführung auch das Chicago Symphony Orchestra entstammt erneut den von Cecil Sharp gesammelten leitete. Eine sechste Orchestrierung, La noël passée, English Folk Songs from the Southern Appalachians, die entstand vermutlich 1953. – wie im vorangegangenen Falle auch – von Maud Auch vier der ursprünglich in der ersten Sammlung Karpeles herausgegeben worden sind. Melodie und von 1943 veröffentlichten Lieder wurden von Britten Begleitung werden in den sieben Strophen und sich orchestriert, und zwar für ein Konzert von Peter Pears wiederkehrenden Antworten wiederholt. Am Ende der mit dem New London Orchestra unter Alex Sherman im Sammlung steht der lebendige Bird Scarer’s Song, den Dezember 1942. Dazu gehören etwa die Fassungen von Cecil Sharp 1904 in Somerset aufgelesen hat, wobei die The Salley Gardens, einem irischen Lied mit einem 9 8.557222 557222bk Britten US 31/7/05 12:51 pm Page 10

volksliedartigen Text von W. B. Yeats, wobei eben zwei orchestrierte Lied aus der ersten Sammlung von Orchestrierungen aus dieser Zeit überliefert sind: eine Volkslied-Arrangements ist dann Oliver Cromwell, ein nur mit Streichern und eine mit Streichern, Fagott und lebhaftes Kinderlied aus Suffolk. Die Orchester- Harfe. Das zweite Lied, Little Sir William, ist eine fassungen von The Plough Boy, O Waly, Waly und Ballade, deren Text für die Veröffentlichung ein wenig Come you not from Newcastle aus der dritten Volkslied- modifiziert wurde, um den traditionellen Anti- Sammlung Brittens entstanden in den 1950er Jahren. semitismus des Textes zu vermeiden. Der bitteren schottischen Klage um The Bonny Earl o’Moray schließt sich eine zweite schottische Weise, O can ye sew cushions?, an – ein Wiegenlied, das wahrscheinlich Keith Anderson zur gleichen Zeit orchestriert wurde. Das letzte Deutsche Fassung: Matthias Lehmann

Naxos Radio 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Accessible Anywhere, Anytime • Near-CD Quality www.naxosradio.com

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Eight Folk Song Arrangements The birds a-sweetly singing so pleasant and for High Voice and Harp so charming, Publisher: Faber Music Ltd. So early in the morning by the break of the day.

1 Lord! I married me a wife Arise, arise, go pluck your love a posy Words and Melody from “English Folk Of the prettiest flowers that grows in yonder green. Songs from the Southern Appalachians”, O yes I’ll arise and pluck lilies, pinks and roses collected by Cecil Sharp All for my dearest Lemady, the girl I adore.

Lord! I married me a wife! O Lemady, O Lemady what a lovely lass thou art She gave me trouble all my life! Thou the fairest creature that ever my eyes did see! Made me work! in the cold rain and snow. I’ll play you a tune all on the pipes of ivory So early in the morning by the break of the day. 2 She’s like the swallow Words and melody from “Folksongs 4 Bonny at morn from Newfoundland”collected by Maud Karpeles Words and Melody from “North Country Folk Songs” by W. G. Whittaker She’s like the swallow that flies so high, © J. Curwen & Sons Ltd. She’s like the river that never runs dry, Words reproduced with permission She’s like the sunshine on the lee shore, I love my love and love is no more. The sheep’s in the meadows, The kye’s in the corn, ’Twas out in the garden this fair maid did go, Thou’s ower lang in thy bed, A-picking the beautiful primerose, Bonny at morn. The more she pluck’d the more she pulled Until she got her aperon full. Canny at night, bonny at morn, Thou’s ower lang in thy bed, It’s out of those roses she made a bed, Bonny at morn. A stony pillow for her head. She laid her down, no word did say, The bird’s in the nest, Until this fair maid’s heart did break. The trout’s in the burn, Thou hinders thy mother She’s like the swallow that flies so high…. In many a turn.

3 Lemady Canny at night, bonny at morn… Words and Melody from “Folk song journal, Volume V.” Words and Melody We’re all laid idle © J. Curwen & Sons Ltd. Wi’ keeping the bairn, Reprinted with permission The lad winnot work And the lass winnot lairn. One midsummer’s morn as I were a-walking The fields and the meadows were Canny at night, bonny at morn… covered with green, 11 8.557222 557222bk Britten US 31/7/05 12:51 pm Page 12

5 Bugeilio’r Gwenith Gwyn Traditional Welsh Air. Published in 1844 in “Ancient National Airs of Gwent and Morgannwg”. English words by Osian Ellis. Reprinted with permission.

Mi sy’n fachgen ifanc ffôl I was lonely and forlorn Yn caru’n ôl ffansi; Among the meadows mourning; Myfi’n bugeilio’r gwenith gwyn, For I had wooed her oft and long, Ac arall yn ei fedi. Yet others reaped her loving. Pam na ddeui ar fy ôl Not to me this maid did come Rhyw ddydd ar ôl ei gilydd? To cure my painful yearning. Gwaith ‘rwy’n dy weld, y feinir fach Yet I had watched, the fields among, Yn lanach, lanach beunydd. Her beauty and her blooming.

Tra bo dwr y môr yn hallt While the seas do ebb and flow A thra bo ‘ngwallt yn tyfu, And the minutes do not falter A thra bo calon yn fy mron, And while my heart beats in my breast, Mi fyddai’n ffyddlon iti. My ’fliction ne’er will alter. Dywed imi’r gwir heb gêl, Ne’er shall I kiss her cheeks so fair, A rho dan sêl d’ateboin: Nor feel her arms embracing: P’run ai myfi, ai arall, Gwen, For I had watched the ripening wheat, Sydd orau gen dy gallon? Yet others reaped her loving.

6 Dafydd y Garreg Wen Melody by David Owen (1709-1739). Published in “Musical and Poetical Relicks of the Welsh Bards, 1784.” Welsh words by Ceiriog (John Ceiriog Hughes, 1832-1887); second verse added by Osian Ellis. English words by Thomas Oliphant (translated from a Welsh lyric by Talhaiarn). Published in Hullah’s “The Song Book”, Macmillan 1866. Reprinted with permission.

‘Cariwch,’ medd Dayfdd, ‘Fy nhelyn i mi, Life and its follies are fading away, Ceisiaf cyn marw roi tôn arni hi. Love hath departed, why then should I stay! Codwch fy nwylo I gyrraedd y tant; Cold is my pale cheek, and furrowed with care Duw a’ch bendithio, fy ngweddw a’m plant.’ Dim is my eyesight, and snow-white my hair.

‘Llifai’r alawon o’r tannau yn lli, Near me, in silence my harp lies unstrung, Melys oedd ceinciau fy nhelyn i mi, Weak are my fingers, and falt’ring my tongue! Nid oes a erys o’r afiaith a’r tân; Tuneful companion, we parted must be; Gwywodd yr awen, a thawodd y gân.’ Thou canst no longer bring comfort to me.

‘Neithiwr mi glywais lais angel fel hyn: Yet ere we serve, thy master would fain ‘Dafydd, tyrd adref, a chwarae trwy’r glyn.’ Swan-like expire in a last dying strain; Delyn fy mebyd! ffarwel i dy dant. And when above him the cypress bough wave Duw a’ch bendithio, fy ngweddw a’m plant.’ Spirits shall murmur over his grave.

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7 The False Knight upon the road said the knight in the road. Words and Melody from“English Folk Songs ‘Yes, and a good staff in my hands,’ collected from the Southern Appalachians”, said the child as he stood. collected by Cecil Sharp, edited by Maud Karpeles He stood and he stood and tis well because he stood. The knight met the child in the road. ‘Yes, and a good staff in my hands,’ ‘O where are you going to?’ said the child as he stood. said the knight in the road. ‘I am going to my school,’ ‘I wish you was in the sea,’ said the child as he stood. said the knight in the road. He stood and he stood and tis well ‘Yes, and a good boat under me,’ because he stood. said the child as he stood. ‘I am going to my school,’ He stood and he stood and tis well said the child as he stood. because he stood. ‘Yes, and a good boat under me,’ ‘O what are you going there for?’ said the child as he stood. said the knight in the road. ‘For to learn the Word of God,’ ‘I think I hear a bell,’ said the child as he stood. said the knight in the road. He stood and he stood and tis well ‘Yes, and it’s ringing you to hell,’ because he stood. said the child as he stood. For to learn the Word of God,’ He stood and he stood and tis well said the child as he stood. because he stood. ‘Yes, and it’s ringing you to hell,’ ‘O what have you got there?’ said the child as he stood. said the knight in the road. ‘I have got my bread and cheese,’ 8 Bird Scarer’s Song said the child as he stood. Words and Melody from “Folk Song He stood and he stood and tis well Journal, Volume II, No.6” (January 1905). because he stood. Noted by Cecil Sharp. The original title was ‘I have got my bread and cheese,’ “Bird Starver’s Cry” said the child as he stood. Shoo all ‘er birds you be so black, ‘O won’t you give me some?’ When I lay down to have a nap. said the knight in the road. Shoo arlo birds. ‘No, ne’er a bite nor crumb,’ Hi shoo all ‘er birds! said the child as he stood. He stood and he stood and tis well Out of master’s ground into Tom Tucker’s ground, because he stood. Out of Tom Tucker’s ground into ‘No, ne’er a bite nor crumb,’ Luke Cole’s ground said the child as he stood. Out of Luke Coles’s ground into Bill Veater’s ground. ‘ I wish you was on the sands,’ Shoo arlo birds. 13 8.557222 557222bk Britten US 31/7/05 12:51 pm Page 14

9 The Holly and the Ivy. The rising of the sun... Publisher: Boosey & Hawkes Music Publishers Ltd. The holly bears a bark The holly and the ivy As bitter as any gall, Are trees that’s both well known; And Mary bore sweet Jesus Christ Of all the trees that grows in the woods, For to redeem us all. The holly bears the crown. The rising of the sun... The rising of the sun, The running of the deer, The holly and the ivy The playing of the merry harp, Are trees that’s both well known; Sweet singing in the choir. Of all the trees that grows in the woods, The holly bears the crown. The holly bears a blossom, As white as any flower; The rising of the sun... And Mary bore sweet Jesus Christ To be our sweet Saviour. 0 King Herod and the Cock Publisher: Boosey & Hawkes Music Publishers Ltd. The rising of the sun... Melody and words collected by Cecil Sharp.

The holly bears a colour There was a star in David’s land, As green as any tree; In David’s land appeared, And Mary bore sweet Jesus Christ And in King Herod’s chamber To set poor sinners free. So bright it did shine there.

The rising of the sun... The wise men soon espied it And told the king on high The holly bears a berry That a princely babe was born that night As red as any blood, No king shall e’er destroy. And Mary bore sweet Jesus Christ To do poor sinners good. ‘If this be the truth’ King Herod said, ‘That thou hast told to me, The rising of the sun... Then the roasted cock that stands in the dish Shall crow full senses three.’ The holly bears a prickle As sharp as any thorn; O the cock soon thrusten’d and feather’d well And Mary bore a sweet Jesus Christ By the work of God’s own hand, At Christmas day in the morn. And he did crow full senses three In the dish where he did stand.

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! The Twelve Apostles I’ll sing you eight, oh! Music Publisher: Faber Music Limited. Pray, what’s your eight, oh? The text is adapted from “The Ten Eight the eight arch-angels, Commandments” printed in English Folk Songs Seven… from the Southern Appalachians”. The tune is from “The Journal of the I’ll sing you nine, oh! Folk Song Society”. Pray, what’s your nine, oh? Nine the nine bright shiners, I’ll sing you one, oh! Eight…. Pray, what’s your one, oh? One is one and all alone and ever more shall be so. I’ll sing you ten, oh! One is one and all alone, ever more shall be so. Pray, what’s your ten, oh? Ten, the ten commandments, I’ll sing you two, oh! Nine… Pray, what’s you two, oh? Two, two the lily white boys clothed I’ll sing you elev’n, oh! all in green, oh, Pray, what’s your elev’n oh? One is one… Elev’n the elev’n went up to heav’n Ten… I’ll sing you three, oh! Pray, what’s your three, oh? I’ll sing you twelve, oh! Three, three the riders, Pray, what’s your twelve, oh? Two, two... Twelve the twelve apostles, Elev’n… I’ll sing you four, oh! Pray what’s your four, oh? @ The Bitter Withy Four the gospel preachers, Music Publisher: Boosey and Hawkes Music Three, three… Publishers Ltd. Edited by

I’ll sing you five, oh! Honour the leaves, the leaves of life Pray what’s your five, oh? Upon this blest holiday. Five the symbols at your door, Four… As it fell out on a Holy day The stars from heaven did fall, I’ll sing you six, oh! Sweet Jesus asked of His mother dear Pray, what’s your six, oh? If He could play at ball. Six are the small belaters, Five… Honour the leaves, the leaves of life Upon this blest holiday. I’ll sing you seven, oh! Pray, what’s your seven oh? To play at ball, my own dear Son, Seven the seven stars in the sky, It’s time You were going or gone, Six… 15 8.557222 557222bk Britten US 31/7/05 12:51 pm Page 16

But be sure let me hear no complaint of You, Honour the leaves, the leaves of life. At night when You come home. Sweet Jesus turned Himself round about, Honour the leaves, the leaves of life He did neither laugh nor smile, Upon this blest holiday. But the tears were trickling from His eyes Like water from the skies. Then down the street sweet Jesus went As far as the Holy well Honour the leaves upon this blest holiday. And then He saw as fine a chilereen As ever eyes beheld. ‘If I am but a poor maiden’s child Born in an oxen stall, Honour the leaves, the leaves of life I will let you know at the very later end Upon this blest holiday. That I am above you all.’

‘Well met, well met, you three jolly dons, Our Saviour built a bridge with the beams Well met, well met’, said He, of the sun, And it’s which, of you three jolly dons And it over it went He, Will play at the ball with me?’ And after followed the three jolly jerduns And drowned they were all three. Honour the leaves, the leaves of life Upon this blest holiday. Honour the leaves, the leaves of life.

‘O nay, that must not be, Then it’s upling call and downling call For we are lords’ and ladies’ sons, Their mothers they did whoop and call, And Thou art but a poor maiden’s child, Born in an oxen stall.’

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ORCHESTRAL ARRANGEMENTS

# Le roi s’en va-t’en chasse The King is gone a-hunting

Le roi s’en va-t’en chasse, The King is gone a-hunting Dans le bois des Bourbons Beneath the greenwood tree, Mon aimable bergère. My adorable maiden. Dans le bois des Bourbons Beneath the greenwood tree, bergère Nanon. Sweet maiden Marie.

Ne trouve rien en chasse, He’s caught no bird a-hunting, Ni cailles, ni pigeons, No pigeon catcheth he, Mon aimable bergère. My adorable maiden. Ni cailles, ni pigeons, No pigeon catcheth he, bergère Nanon. Sweet maiden Marie.

Rencontre une bergère But he’s found a shepherd maiden Qui dormait dans les joncs, Asleep beneath a tree, Mon aimable bergère. My adorable maiden. Qui dormait dans les joncs, Asleep beneath a tree, bergère Nanon. Sweet maiden Marie.

‘Voulez vous être reine, ‘And wilt thou be my queen-a, Dedans mes beaux donjons, And live in state with me, Mon aimable bergère. My adorable maiden. Dedans mes beaux donjons, And live in state with me, bergère Nanon. Sweet maiden Marie.’

‘Vous aurez des carrosses ‘Oh thou shalt have a carriage Et de l’or à foison, And gold in quantity, Mon aimable bergère. My adorable maiden. Et de l’or à foison, And gold in quantity, bergère Nanon. Sweet maiden Marie.’

‘Et cour de grandes dames, ‘At court I’ve stately ladies, De ducs et de barons, Two barons one grandee, Mon aimable bergère. My adorable maiden. De ducs et de barons, Two barons one grandee, bergère Nanon. Sweet maiden Marie.’

‘Merci, merci, beau Sire, ‘I thank you, Sir, most kindly, Mais j’aime un pauv’ garcon, I love a lad,’ said she,

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Qui aime sa bergère My adorable maiden. Mais j’aime un pauv’ garcon, ‘I love a lad,’ said she, Qui aime Nanon! ‘And he loves Marie!’

$ Fileuse Fileuse

Lorsque j’étais jeunette, When I was young and pretty, je gardais les moutons, I watched over my flock, Tirouli, Tiroula, Tirouli, Tiroulou Tirouli, Tiroula, Tirouli, Tiroulou, Tirouli, Tiroula, Tirouli, rouli, roule Tirouli, Tiroula, Tirouli, rouli, roule.

N’étais jamais seulette I never wandered lonely à songer par les monts, o’er the mountains and rocks, Tirouli, Tiroula, Tirouli, Tiroulou Tirouli, Tiroula, Tirouli, Tiroulou, Tirouli, Tiroula, Tirouli, rouli, roule Tirouli, Tiroula, Tirouli, rouli, roule.

Mais d’autres bergerettes avec moi devisaient But we did gossip blithely, maidens silly and gay. Tirouli, Tiroula, Tirouli, Tiroulou Tirouli, Tiroula, Tirouli, Tiroulou, Tirouli, Tiroula, Tirouli, rouli, roule Tirouli, Tiroula, Tirouli, rouli, roule.

Parfois de sa musette un berger With songs a shepherd laddie stole nous charmait. our young hearts away. Tirouli, Tiroula, Tirouli, Tiroulou Tirouli, Tiroula, Tirouli, Tiroulou, Tirouli, Tiroula, Tirouli, rouli, roule Tirouli, Tiroula, Tirouli, rouli, roule.

Il nous faisait des rondes, joli’ rondes d’amour He’d pipe a jolly ditty and of love sing a song. Tirouli, Tiroula, Tirouli, Tiroulou Tirouli, Tiroula, Tirouli, Tiroulou, Tirouli, Tiroula, Tirouli, rouli, roule Tirouli, Tiroula, Tirouli, rouli, roule.

Mais me voilà vieille, But now I’m old and ugly, reste seule toujours. and I’ve lain alone too long. Tirouli, Tiroula, Tirouli, Tiroulou Tirouli, Tiroula, Tirouli, Tiroulou, Tirouli, Tiroula, Tirouli, rouli, roule Tirouli, Tiroula, Tirouli, rouli, roule.

% Eho! Eho! Eho! Eho!

Eho! Eho! Eho! Eho! Eho! Eho! Les agneaux vont aux plaines. Keep your lambs in the valley. Eho! Eho! Eho! Eho! Eho! Eho! Et les loups vont aux bois. For the wolf’s in the wood.

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Tant qu’aux bords des fontaines The white lambs they do dally, Ou dans les frais ruisseaux, By the fountain and spring, Les blancs moutons s’y baignent, As they bathe and skip gladly, Y dansant au préau. All around in a ring.

Eho! Eho! Eho! … Eho! Eho! Eho! …

Mais queuqu’fois par vingtaine But perchance there are twenty, Y s’éloign’ des troupeaux, From the flock far will stray, Pour aller sous les chênes, As they search for new country, Aux herbages nouveaux. Where a young lamb may play.

Eho! Eho! Eho! … Eho! Eho! Eho! …

Et les ombres lointaines, But this perilous country Leurz’y cach’ leurs bourreaux, Is the home of the foe, Malgré leurs plaintes vaines, And the wolf he is hungry Les loups mang’ les agneaux. For this lamb white as snow.

Eho! Eho! Eho! … Eho! Eho! Eho! …

T’es mon agneau, ma reine Little lamb my sweet Chloe, Les grand’ vill’ c’est le bois, Do not stray far and wide, Par ainsi Madeleine, For the wolf’s in the city, T’en vas pas loin de moi! Just you stay by my side!

Eho! Eho! Eho! … Eho! Eho! Eho! …

^ La belle est au jardin d’amour Beauty in love’s garden

La belle est au jardin d’amour Beauty in love’s garden is bound, La belle est au jardin d’amour Beauty in love’s garden is bound. Il y’a un mois ou cinq semaines. Full thirty nights and many a morning. Laridondon, laridondaine. Hey derry down, hey down a-downing.

Son père la cherche partout, Father is searching all around, Son père la cherche partout, Father is searching all around. Son amoureux qui est en peine. And Colin weepeth for his darling. Laridondon, laridondaine. Hey derry down, hey down a-downing.

‘Berger, berger, n’as tu point vu, ‘Shepherd say where can she be found, Berger, berger, n’as tu point vu, Shepherd say where can she be found.

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Passer ici celle que j’aime?’ Hast thou not seen my dear a-passing?’ Laridondon, laridondaine. Hey derry down hey down a-downing. ‘Elle est là bas dans ce vallon, ‘She’s by the fountain down below, Elle est là bas dans ce vallon, She’s by the fountain down below. A un oiseau conte ses peines.’ And to her dove she is complaining.’ Laridondon, laridondaine. Hey derry down, hey down a-downing.

Le bel oiseau s’est envolé, The pretty bird hath ta’en her woe, Le bel oiseau s’est envolé, The pretty bird hath ta’en her woe, Et le chagrin bien loin emmène. And with its far away he’s flying. Laridondon, laridondaine. Hey derry down, hey down a-downing.

& Quand j’étais chez mon père Heigh ho, heigh hi!

Quand j’étais chez mon père Oh I lived with my daddy, Apprenti pastoureau, An apprentice was I, Il m’a mis dans la lande, Just a poor shepherd laddie Pour garder les troupiaux. To my sheep I did cry. Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais guère They weren’t very many, Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais beaux. They weren’t very spry.

Mais je n’en avais guère Oh they weren’t very many, Je n’avais qu’ trois agneaux; And the lambs they did die, Et le loup de la plaine For the wolf swallowed daily M’a mangé le plus biau. All the best and most spry. Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais guère They weren’t very many, Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais beaux. They weren’t very spry.

Il était si vorace O the wolf was so greedy N’a laissé que la piau, Only bones he let lie, N’a laissé que la queue, Only tails he did leave me, Pour mettre à mon chapeau ‘roun’ my hat for to tie. Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais guère They weren’t very many, Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais beaux. They weren’t very spry.

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Mais des os de la bête So a pipe I did make me Me fis un chalumiau Of the bones white and dry, Pour jouer à la fête For to sing and make merry A la fêt’ du hamiau. When the spring-time is nigh. Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais guère They weren’t very many, Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais beaux. They weren’t very spry.

Pour fair’ danser l’ village, Then the young and the pretty, Dessous le grand ormiau O, their skirts they let fly, Et les jeun’s et les vieilles And the old and the ugly Les pieds dans les sabiots. For to dance they did try. Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais guère They weren’t very many, Troupiaux, troupiaux, Heigh-ho, heigh-hi, Je n’en avais beaux. They weren’t very spry.

Translations by Iris Rogers © 1946 by Hawkes & Son (London) Ltd. Reproduced by Permission of Boosey & Hawkes Music Publishers Ltd.

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* The Salley Gardens Saying, ‘Little Sir William, if you are there, Irish Tune, words by W.B. Yeats Oh pity your mother’s weep’.

Down by the Salley gardens my love ‘How can I pity your weep, mother, and I did meet, And I so long in pain? She passed the Salley gardens with little For the little pen knife sticks close to snow-white feet. my heart She bid me take love easy, as the leaves And the School wife hath me slain. grow on the tree, But I being young and foolish with her did Go home, go home my mother dear not agree. And prepare my winding sheet, For tomorrow morning before 8 o’clock, In a field by the river my love and I You with my body shall meet. did stand, And on my leaning shoulder she laid her And lay my Prayer Book at my head, snow-white hand; And my grammar at my feet, She bid me take life easy as the grass grows That all the little schoolfellows as on the weirs, they pass by But I was young and foolish, and now am May read them for my sake.’ full of tears. ) The Bonny Earl o’ Moray ( Little Sir William Scottish Tune Somerset Folk Song Ye Hielands and ye Lowlands, Easter day was a holiday O where hae ye been? Of all days in the year, They hae slain the Earl o’ Moray, And all the little schoolfellows went out And laid him on the green. to play, But Sir William was not there. He was a braw gallant And he rade at the ring; Mamma went to the School wife house And the bonnie Earl o’ Moray And knockèd at the ring, He might hae been a King. Saying, ‘Little Sir William if you are there, Pray let your mother in’. O lang will his Lady Look frae the Castle Doune, The School wife open’d the door and said: Ere she see the Earl o’ Moray ‘He is not here today. Come soundin’ thru’ the toon. He is with the little schoolfellows out on the green. O wae tae ye, Huntley, Playing some pretty play’. And wherefore did ye sae? I bade ye bring him wi’ you Mamma went to the Boyne water And forbade ye him to slay. That is so wide and deep, 8.557222 22 557222bk Britten US 31/7/05 12:51 pm Page 23

He was a braw gallant The apples were ripe and ready to fall; And he played at the glove; Hee-haw – ready to fall; And the bonnie Earl o’ Moray There came an old woman to gather them all, He was the Queen’s love! Hee-haw – gather them all. Oliver rose and gave her a drop, O lang will his Lady Hee-haw – gave her a drop, Look frae the Castle Doune, Which made the old woman go hippety hop, Ere she see the Earl o’ Moray Hee-haw – hippety hop. Come soundin’ thru’ the toon. The saddle and bridle, they lie on the shelf, ¡ O can ye sew cushions? Hee-haw – lie on the shelf, Scottish Tune If you want any more you can sing it yourself Hee-haw – sing it yourself. O can ye sew cushions and can ye sew sheets And can ye sing ballulow when the bairn greets? And hie and baw, birdie, and hie and baw lamb, £ The Plough Boy And hee and baw birdie, my bonnie wee lamb. Tune by W. Shield

Hie-o wie-o what will I do wi’ ye? A flaxen-headed cowboy, as simple as may be, Black’s the life that I lead wi’ ye And next a merry plough-boy, I whistled o’er the lea; Many o’ you, little for to gi’ ye, But now a saucy footman, I strut in worsted lace, Hie-o wie-o what will I do wi’ ye? And soon I’ll be a butler, and whey my jolly face.

I’ve placed my cradle on yon hilly top When steward I’m promoted, And aye as the wind blew my cradle did rock. I’ll snip the trademen’s bill, O hush-a-by, babie, O baw lily loo, My master’s coffers empty, my pockets for to fill. And hee and baw birdie, my bonnie wee doo. When lolling in my chariot, so great a man I’ll be, You’ll forget the little plough-boy who Hie-o wie-o what will I do wi’ ye? whistled o’er the lea. Black’s the life that I lead wi’ ye Many o’ you, little for to gi’ ye, I’ll buy votes at elections, Hie-o wie-o what will I do wi’ ye? and when I’ve made the pelf, I’ll stand poll for the parliament, and then vote in myself. ™ Oliver Cromwell Whatever’s good for me, sir, I never will oppose: Nursery Rhyme from Suffolk When all my ayes are sold off, why then I sell my noes. Oliver Cromwell lay buried and dead Hee-haw – buried and dead, There grew an old apple tree over his head, Hee-haw – over his head.

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I’ll joke, harangue and paragraph, with speeches A ship there is, and she sails the sea, charm the ear, She’s loaded deep as deep can be, And when I’m tired on my legs, then I’ll But not so deep as the love I’m in; sit down a peer. I know not if I sink or swim. In court or city honour so great a man I’ll be, You’ll forget the little plough-boy who O, love is handsome and love is fine, whistled o’er the lea. And love’s a jewel while it is new, But when it is old, it groweth cold, ¢ O Waly, Waly And fades away like morning dew. From Somerset (Cecil Sharp) ∞ Come you not from Newcastle? The water is wide I cannot get o’er, Hullah’s Song-Book (English) And neither have I wings to fly. Give me a boat that will carry two, Come you not from Newcastle? And both shall row, my love and I. Come you not there away? O met you not my true love, O, down in the meadows the other day, Riding on a bonny bay? A-gath’ring flowers both fine and gay, A-gath’ring flowers both red and blue, Why should I not love my love? I little thought what love can do. Why should not my love love me? Why should I not speed after him, I leaned my back up against some oak, Since love to all is free? Thinking that he was a trusty tree; But first he bended, and then he broke; And so did my false love to me. § The Salley Gardens (Please see Track 18)

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CMYK NAXOS Benjamin Britten was throughout his life drawn to folk-song, possessing a special gift for word- setting and vocal writing. This second disc of the complete folk song arrangements focuses on the orchestral versions and the volumes for guitar and harp. This release and its companion (Naxos 8.557220-21), both previously available on Collins Classics, present all the known folk- 8.557222 songs and include ten world première recordings of arrangements published as recently as 2001. DDD 8.557222 Benjamin BRITTEN Playing Time BRITTEN: (1913–1976) 66:13 Folk Song Arrangements • 2

1-8 Eight Folk Song Arrangements 18:43 for High Voice and Harp Folk Song Arrangements •2 9 The Holly and the Ivy 3:18 0 King Herod and the Cock 2:05 ! The Twelve Apostles 6:10 Made inCanada Sung textsincluded Booklet notesinEnglish•KommentaraufDeutsch & @ The Bitter Withy 5:08 www.naxos.com 1995 LambourneProductionsLtd. Folk Song Arrangements • 2 • Arrangements Song Folk

#-§ Orchestral Arrangements 30:32 2005 NaxosRightsInternationalLtd.

Philip Langridge • Thomas Allen • BBC Singers Northern Sinfonia • Steuart Bedford • Simon Joly

BRITTEN: Producers: John H. West, Michael Emery (Track 9) • Engineers: Mike Hatch, Alan Driedger (Track 9) Booklet Notes: Keith Anderson • Publishers: Boosey and Hawkes Music Publishers Ltd. (Tracks 9, 10, 12-26) and Faber Music Ltd. (Tracks 1-8 and 11) • Originally released on Collins Classics in 1995 Please see page 2 of the booklet for the complete track and artist list, and recording details

Cover Picture: In a Field of Buttercups by Marianne Stokes (1855-1927) 8.557222 (Private Collection / Bridgeman Art Library) NAXOS RADIO 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality NAXOS