English Folk-Songs and Dances Author(S): Hubert Fitchew Source: the Musical Times, Vol
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English Folk-Songs and Dances Author(s): Hubert Fitchew Source: The Musical Times, Vol. 62, No. 942 (Aug. 1, 1921), pp. 560+566 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/910008 Accessed: 24-06-2016 20:20 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times This content downloaded from 137.99.31.134 on Fri, 24 Jun 2016 20:20:30 UTC All use subject to http://about.jstor.org/terms 560 THE MUSICAL TIMES-AUGUST I 1921 ENGLISH FOLK-SONGS AND DANCES But since, in the four changes of programme, there FESTIVAL AT THE KING'S THEATRE, HAMMERSMITH were embraced over five-and-thirty country dances, For me, and, I suppose, for many others, who are a score and more of Morris dances, and half-a-dozen indebted to the English Folk-Dance Society for first Morris jigs, criticism must remain general rather than sight of its intriguing figures, the words 'country exhaustive. The point I would make is that there dances' will always call up memories of a chain of was not one but had its individual charm. The very youths and maidens-young England incarnate-- names of some-' Gathering Peascods,' ' Jenny Pluck flung with inimitable grace, after the manner of a Pears,' 'The Oaken Leaves '-are sufficiently indica- Wedgwood frieze, across the dead black background tive of their origin at half-forgotten seasonal festivals of a stage. Purists might claim that they would where the recurring yearly miracles of birth, fruition, have appeared truer to type, and to the simile, had and death all along the countryside stood as proto- the background been the ethereal blue of summer types of those other eternal mysteries of human skies, but these joyful and anonymous young persons, mating, which on ultimate analysis will be found to lie clad in a kind of homely uniform-the girls wearing at the root of all the arts of expression. The ingenuity butcher-blue high-waisted frocks, with a slight girdle and variety of the ' evolutions,' to borrow a naval term, of carmine, white stockings, and black shoes with are as captivating as their apparent simplicity. carmine bows, the men in soft white flannels, set off That their success as a spectacle depended on with gaily coloured braces and rosettes-in treading the expertness of the dancers was revealed when a out their ordered intricacies on a green drugget, company of children, among a group of singing- imparted such a convincing illusion to the sward games, performed one or two of the same dances. that one might almost smell the sweet fragrance of To cast the slightest aspersion on these fairy bruised grass. Mr. Cecil J. Sharp's essay in mummers, whose artless enjoyment in their task propaganda work for London suffered nothing from exercised its customary irresistible fascination, would confinement within walls. be the height of boorishness and is very far from my Many have recognised that he has performed a intention, but it was seen that the symmetry of a great service to all Englishmen who value their figure demanded nicety to a matter of inches in birthright, and particularly to musicians, in devoting the position of individual performers. his life to the rescue from threatened oblivion of The presentation of the Ampleforth Sword-Dance many traditional tunes and measures, of which no Play marked perhaps the culmination of interest. It record existed on paper. But few can have had any must be left for those who have had the opportunity conception that the subjects of his labours were such for studying folk-lore to discuss in detail the gems of beauty until they heard and saw them at the symbolism and significance of folk-plays. Doubtless Festival held at the King's Theatre, Hammersmith, they are parables of life and love. To the lay from July 4 to 9. His objects were in the fullest sense witness, the admirable fooling and inconsequent jests philanthropic, the motive solely a desire that people of this one made an immediate appeal by reason at large should share in the jolly and vital things he of appearing ineradicably English. Antagonism had found. between King and elderly clown, rivals for the hand I use the word 'vital' advisedly, because after of woman, is typified by the fumbling of the Clown attending the performances I felt that it best with his lines. ' Say it again and say it right !' says described their leading characteristic. These relics the King, with a terrifying scowl and flourish of his of an England still 'merrie ' contain the essence of drawn sword. Anon Clown 'calls on' six smocked recreation and entertainment-indigenous melody, and gaitered sword-dancers, and while they thread a spontaneous, yet concerted movement, opportunities seemingly interminable maze, there is lovers' play for mimicry, and, best of all, for 'dressing up.' and rivalry in the background. Suddenly, at the Your shy English folk rarely give such proof of crossing of swords, Stranger steps from among the nationality as when the donning of mummers' dress audience, the 'cross' of swords is placed about his affords excuses for throwing overboard the stifling head,- and, at their drawing, he falls dead. The mannerisms of convention. It flashed across me dancers flee in panic, only to be again 'called on,' that the unique success achieved by Gilbert and and severally to deny having killed him. Dead he Sullivan was explained by the approximation of their remains, however, and, at the instance of King, all products to the ideal national recipe of folk-dance kneel to chant a requiem. Since it is Clown (who, and song. by the way, recognises Stranger as his son-' I 'got London fell under the spell of the Russian ballet. him this morning before I got my breakfast') that Instinctively we were drawn to pay tribute to an recites the versicles, it need cause no surprise that art-form of essential significance, albeit rooted in a they have not the remotest reference to the matter nationality widely different from our own. It rang in hand. The next protagonist to appear is Doctor. true, even to us foreign spectators. The art of An outlandish figure of fun, with straw hat, great the English Eolk-dancers rings as true, but its drooping moustache, and spectacles, he comes significance is bound up with our very origins. For lolloping in mounted on the shoulders of another two pins we would join in its half-remembered mummer, bearing a horse's head crudely cut out of ritual. Rather jolly it would be to take a hand in cardboard. His fee for reviving the dead man, he ' Goddesses.' Here are figures no whit less graceful, states, is '?19 19s. i id., a peck of ginger, and a bag after their own kind, and far more spontaneous than of oats for the horse.' He produces a box of gigantic those the Russians fitted to 'Papillons' with such pills. Neither pills nor passes affect the body at all, consummate artistry. And take the sword-dance, but the symbolic work with Clown's sword affords 'Earsdon (Rapper),' with its doggerel song 'calling him an opportunity for cunningly stabbing King in on' the six dancers who as 'Philistians' finally blind the leg. Many yards of bandage having been wound Samson with their crossed swords. Its simple with consummate ineptitude about the injured pantomime is as eloquent and primitive as anything member, attention returns to the corpse. Clown in the ballet version of 'Kikimora', the cat-ridden announces that he will resurrect him. Ribald jeers witch, which we had thought perhaps inimitable. (Continued on zare 566.) This content downloaded from 137.99.31.134 on Fri, 24 Jun 2016 20:20:30 UTC All use subject to http://about.jstor.org/terms 566 THE MUSICAL TIMES-AUGUST I 1921 (Continuedfrom fage 560.) spiteful implication of illicit profits-a suggestion from Doctor. Nevertheless, Clown, with portentous which, in this case, carries its own refutation with it. solemnity, draws the point of his sword from tip to One hardly likes to suspect fellow journalists, who toe down Stranger's middle-and up he leaps, are, we hope, honestly remunerated for honest work, rejuvenated. There is an obvious way of celebrating of making the suggestion in this sense. Such this happy event. Music sounds, accordingly, and amenities usually come from those who are them- dancing becomes general. selves aggressively prosperous, and to whom music Little has been said of the purely musical aspect is but a gracious appanage to a stately life, and such of the Festival. This showed throughout the fidelity insinuations deserve no notice. At the same time which enhances the value of Mr. Sharp's work, and they are sufficiently common to deserve mention in the rustic tone-colour was cleverly maintained in his this case. scoring for the small orchestra he conducted. It is not necessary to say more.than a few words Variety of a purely musical nature was imparted to about Mr. Goossens' second concert, at which 'Le the programme by the singing of madrigals and Sacre du Printemps' and 'The Eternal Rhythm' folk-songs and the famous round 'Summer is icumen were repeated, and the Wood-wind- Symphony, in in' by the Oriana Madrigal Society, under the memory of Debussy, was conspicuous by its absence.