The Music of JohnGay's The Beggar'sOpera
E,ditedand Arrangedfrom Eighteenth-Century Sources by JERE,MYBARLO\T
MusicDepartment OXFORD UNIVERSITYPRE,SS Oxford and New York To Martin Best
()xford Llttir.'arsit1,Press, \X/alt ()rfrtrd is tt Irtda nttrk rtf ()xlbrd Llnit'crsit)' prcss @ ()xiord Unit'crsi4,Prcss 1990 1.\lJN0- t9-.i.i6.i06 2 Pcrntissiotrto pcrfornt 7fii511tork or dny pLtrt oi it drdnrtttit'tlly, or tba completc u'rtrk itr conccrt f lxlo 1t,trtof tbis publictttiott ntay ltc reprotluced, st A ptpcrbttck edition is dlso trtuilablc, cortttriuingi con(lense(luersiort of thc prcf'LtccLmd cditrtriol mcthod ltrouidcd bcra. All perfornting rrttttaritrl,including librctti, is ,tudiltblc for birc f'r Preface V Abbreviati This edition recreatesthe way in which the music of John Television/RM Arts co-production of The Beggar's OperA."' Gay's The Beggar's Operd was arranged during the half The orchestraplayed on baroque instruments and Pepusch's century or so following its first performance rn 1,728.Gay basseswere used in most of the songs,along with the simple used existirtg tunes for his songs in the opera, and in the introductions and codas just mentioned. But it was considered original production thesesongs were given accompaniments that unison violins and continuo in every song would sound by the composerJohannChristoph Pepusch(b. 1,567, Berlin; too bare, so second violins and violas provided harmonic d.1.752, London, where he had settled by 1.70a).No full filling much of the time, while orchestral colour was varied scoresurvives, so a reconstruction has to be basedmainly on with the use of other instruments. The result demonstrated the evidenceof three sources.The most important of these that Pepusch's basseswere effective, and also showed that is the third edition (1.729) of the opera, which includes the difference in texture between the songs with just unison the music of the songs, with Pepusch's bassesand fully violins and continuo accompaniment and those with four- scored overture. But the edition presents the songs in an part scoring was not always significant, becausethe light incompleteform, printing them without instrumental intro- tone quality of the baroque strings caused the non-contra- ductions and codas, ind with scarcely any indications of puntal inner parts to disappear into the background. scoring (seep. 66). An appropriate method of completing The need,then, becameapparent for a generallyavailable the arrangementscan be found in two manuscripts of music edition of the music f.rom The Beggar's ()pera based on for other ballad operas, one a score for The Deuil to Pay 18th-century practice.The simple methods of this arrange- (Royal College of Music MS 2232) and the other a set of ment have the advantage, just as they did in the 18th orchestral parts for Damon and Pbillida, The Deuil to Pay, century, of being adaptableto bands of widely differing size, andThe Lottery (British Library MS RM.21.c.43-5). Both constitution, and ability. The following score can be used sourcesprobably date from the 1740s, but are otherwise for rehearsing,conducting, and as the basisof a harpsichord unconnected. They appear to have been used in actual continuo realization. Orchestral parts are available on hire; performances and have in common an almost invariable so too is the text, taken from John Gay's Dramatic Works,, formula for arranging the songs: introductions and codas Vol. II, edited by John Fuller, Oxford, 1983. Fuller's Intro- simply copy the opening and closing bars of each song and duction in Vol. I contains much information on the conception scoring is for unison violins and continuo throughout. In- and original production of The Beggar's Opera, and places dications that these were standard procedures in The Beggar's the work in the context of Gay's dramatic output as a whole. Opera too come from other early editions of the work and The librarians and staff of the following libraries have from comments at the time and later on performances. been most helpful in providing me with relevant material for In the late 1,8thcentury, when such arrangements began this edition: the British Library, the Vaughan \Tilliams to sound old-fashioned, the tradition arose of re-arranging Memorial Library, Cecil Sharp House, the Royal College of and re-harmonizing the songs to suit the tastesof successive Music Library, the Royal Academy of Music Library, the generations. It could be said, in fact, that this process really University of Nottingham Library, the University of Sheffield beganwith the first production; even then, the tunes selected Library, and the Library of Trinity College, Cambridge. I by Gay had to be arranged and given new basses by would like to thank lan Caddy, David Johnson, and Iain Pepusch. In the previous OUP edition of The Beggar's Mackintosh for help over various points. Finally, I must Opera,1,954, the editor and arranger E. J. Dent wrote that expressmy gratitude to John Eliot Gardiner, who asked me 'any attempt to reproduce the original harmony and in- to arrange the music for the television production mentioned strumentation of 1,728would have been both impracticable above; that arrangement was the starting point for this and ineffective'. Today, taste has changed, and with so edition, and provided concrete evidence that the L8th-century much interest in historical performing practices, it seems methods actually work. natural to try out the original methods. *' Directed by Jonathan Miller, with the English Birroque Soloistsdirected by I first had the opportunity to do this in 1983, for the BBC John Eliot Girrdiner. ABBRE,VIATIONSAND SELECTEDBIBLIOGRAPHY Comprehensive bibliographies can be found in Gagey, Day and Murrie Cyrus L. Day and EleanoreB. Murrie, Handley-Taylor, Lewis, and Schultz,although the publication EnglishSong-Books, 1551-1702: A tsibliograpbywith a dates of these works should be noted. Throughout the First-Linelndex of Songs,1,940. edition, London is the place of publication unlessotherwise Dearing John Gay, Poetry and Prose, ed. Vinton A. stated. Dearing,with the assistanceof CharlesE. Beckwith,2 vols.,Oxford, 1974. BL The British Library. Dent The Beggar'sOpera, ed. and arr. Edward J. Dent, BL parts A set of manuscript orchestral parts for three Oxford, 1,954(music only; vocalscore). ballad operas, Damon and I'}hillida, The Deuil to I'ay, and Fiske,Englisb TheatreMusic in the Eighteenth The Lottery,, preceded by parts f<>rThe Musick in Macbetb, Fiske Roger 1,973;second edition, 7986.The most The Coronation Anthem in Henry 8tb, and Theodosius Century,Oxford, usedin preparingthis edition. (British Library, Royal Music Library, RM.21.c.43-5). importantsecondary source great informationon theperformance All the works in this manuscript have one part each for It containsa dealof The Beggar's and other balladoperas through- violin L, violin 2, and basso. In addition there is a viola of Opera part and a tympano part inTbeodosius, and a vocal score/ out the 1Sthcentury. continuo part on two staves for the ballad operas. The Fuller Jobn Gay,Dramatic'Works, ed. John Fuller, 2 vols., parts, probably dating from the 1740s, are in the same Oxford, 1,983(without music).Fuller's lntroduction hand throughout; the copyistsigns himself E. R. Simpson. includesmuch information on the conceptionof The Beggar'sOpera, and placesthe work in the contextof BO The tseggar's (see Opera Sources,p. 101). Gay'sdramatic output as a whole.He alsogives a list of 'The Bronson Bertrand H. Bronson, Beggar's Opera', in 20th-centurypublished musical arrangements (Il, 374). Studiesin the Comic,University of California Publications Gagey Edmond M. Gagey, Ballad Opera, New York, in English, VIII, 2, Berkeley and Los Angeles, 794'1,1,97 - 1937;reissued New York and London, 1968. 23 1. Reprinted rn Restoration Drama: Modern b,ssaysirr Goberman A facsimileof thethird edition<>f The Beggar's Criticism, ed. Loftis, New York, 1966, 298-327. John Opera,with commentariesby Louis Kronenbergerand Calmus Zwei ()pern-tsurleskcnaus der Rokokozeit ITete- Max Gobermanon the literaryand musicalbackground, mdque and The tseggar's Operal, ed. Georgy Calmus, Larchmont,New York, 1,961,.Goberman's commentary Berlin, 1912; with an extensiveIrrtroduction. The music puts Gay'ssong texts side by sidewith the first versesof of Tbe Beggar's Opera is taken from the third edition, the originalwords. with an editorial realization the basses.The text has a of Guerinot and Jilg Contexts I: The Beggar'sOpera, eds. German translation. J. V. Guerinotand Rodney D. Jilg,Hamden, 1976. Source Chappell tWilliam Chappell, Popular Music of the Olden readingson the 18th-centurybackground and response. Time; a Collection of Ancient Songs,Ballads, and Dance Handley-Taylor Geoffrey Handley-Taylor and Frank 'John Tunes lllustratiue of the National Music of England. The GranvilleBarker, Gay and the Ballad Opera' in Whole of tbe Airs harmonised by G. A. Macfarren 11855- Hinrichsen'sNinth MusicBook,ed. M. Hinrichsen,19 5 6, el. 26-56. The book is a miscellanydevoted entirely to The Beggar'sOpera, and includesa bibliographygiving details, DM The Dancing Master,a collectionof country dance not foundelsewhere, of numerousminor articlesln news- tunesand dance instructions published in eighteeneditions papersand periodicals. between1651 and c.1.728(called The EnglishDancing Masterfor the first editi<>nonly); the original publisher Kidson Frank Kidson, The Beggar's()pera, lts I'redeces- wasJohn Playford. His sonHenry Playfordpubliphed the sorsand Successors,Cambridge, 1922. eighthto twelfth editions(1,690-1703) and John Young Lewis The Beggar's()pera, ed. PeterElfed Lewis, Edin- the remainingsix (I706-c.1.728).New dancesare added burgh, 1973 (without music);a meticulousedition, with andold onesdeleted as the editionsprogress. Young als vlll THE, EVIDE,NCE,OF THE SOIJRCES Tbe Beggar's OperA was first performed on 29 January despitetheir musical limitations, do sometimesclarify prob- 1.728,atthe Theatre Royal, Lincoln's Inn Fields,London. Its lems in the third edition. For example, in Airs 10, 32, and unprecedented success resulted in the first edition being 48, there are placeswhere the tune does not fit the bass.The published just over a fortnight later, on 14 February. Lewis tune makes reasonablesense at each of theseplaces, so one 'lt (p. 24) writes of the text: was presumably set from a assumesthat the bass must be at fault. However, since the manuscript given to John Watts by Gay and therefore version of each of these tunes in the first two editions also carriesconsiderable authority'. Musically it is lessimportant, makes senseand fits the bass perfectly in the third edition, containing as it does just the tunes to the songs,unadapted the conclusion must be that it is the tune and not the bassin to the words and placed at the end of the volume.2 The the third edition which is incorrect. second edition followed at the beginning of April. Here the Although the third edition is much more informative tunes (unaltered from the first edition3) are placed in the musically than the first two editions, it still giveslittle clue as text, above, but separately from, the words to the songs. to how the accompaniments to the songs were performed. Pepusch'soverture, scored for two oboes and strings on four The only hints about scoring (apart from in the overture) are staves,is included in all but the first issue of this edition. found in three songs with instrumental sections indicated The larger format third edition (quarto insteadof octavo) between the singing (Airs 31., 46,8 69); in each case the did not appear until 17 29.4 It was published in conjunction melody has'violins' or'vio.' above it. Further confirmation with a matching first edition of Polly,-sGay's sequel to The that the instrumental accompaniment to the songsin ballad Beggar's Opera, which had created much public interest operasdid usually consistjust of unison violins and continuo through being banned from the stage.6The third edition comes from the two MS sources of ballad opera music contains many musical changes from the second edition. referredto above and first brought to light by Fiske (p. 116). The overture and the music for the songs are placed at the In the BL orchestral parts, the two violin parts remain in end of the volume. The score of the overture is expanded unison throughout the three ballad operas,but are independ- from four to six staves, with the two oboes given separate ent in the other theatre music which makes up the manuscript. stavesfrom the first and second violins. Most importantly, The unison violins in the ballad operas always follow the the songs now have Pepusch's basses(unfigured), and the vocal lines of the songs themselves,and the introductions words of the songs are placed between the treble and bass and codas copy the opening and closing bars of the songs. staves(see p. 56). The inclusion of the text necessitateda Sometimes an introduction alters the opening phrase of a more precise matching between the words and the tunes, song slightly, by turning a half close into a full close. and this caused many slight melodic adjustments, a few In the RCM score of The Deuil to Pay, most of the syllabic elisions, and alterations to slurs and beams. Some seventeensongs are written on two staves without any misprints were introduced too, both in the music and in the instrumental indications; presumably the top line in the music text, as well as apparent revisions of opinion over introductions and codas is played by violins, and presumably, how the tunes should go.7 Other musical changes in the as in the BL parts, the violins would continue playing third edition include different keys for severalsongs (mostly, throughout the song, doubling the tune. In most of the but not entirely, to give Polly and Lucy a higher tessitura) songs,the introductions and codas follow the same method 'Repeats' and further alterations to repeatsigns (see below). as in the BL parts. But in four songs the RCM score It can be seenin the Commentary that the first two editions, demonstrates,in various ways',greater musical complexity 'My than the BL parts. Air 8, the song and chorus little t Seep. l0l for detailsof the re-engravingof the music plateswithin the run of Spirits now appear'' has four-part strings throughout, with rhe 6rst edition. Musical alterationsin the re-engravedplates consist of numerous rpprrently meaninglcssalterations to repeatdots, correctionsto key signaturesin the first violins following the vocal line. The chorus is in .\irs 3ll and 48, and corrections to time signatures in Airs 6l and 5li (see unison. The instrumental coda does not copy the end of the Con-rn-rentary). t song. In fact, the whole arrangement is closely related to There are further alterations to rcpcat dots in this edition, br"rtno other notational changes. the version published c.1770 in William Boyce's edition of t Not to be confusedwith the following other'third editions': (1) a pir.rte the music for Macbeth, attrrbuted to Matthew Locke, but editionforgingJohn Watts's imprint, 1728,(2) a Dublin edition,1728, and (3) nn edition published by Watts in 1733, but based on the second edition (one of a actually by Richard Leveridge, dating from 1702.ro The :eriesof similar editions going through to the seventhin 175 4). SeeLewis, p. 140. RCM scoreincludes one fully developedaria (following Air t Although the two volumes are matching in size and format, Pol/y was 8) neither found in the BL parts nor mentioned in the published privately by Gay himself (seep. viii). n ''With lt was banned by Walpole's Lord Chamberlain, as an act of revengeagainst published play text, and that is early horn salute the rhe thinly veiled attacks in Tbe Beggar's ()pera on corruption in Walpolc's mc)rn', scored for four-part strings and obbligato horn, and q()vernnlent. - taken from E. Galliard's The Royal Chace, 1,736.rr The Presumablythe tunes in the first two editions are the versionsthat Gay gave J. ro Pepusch,and the alterationsin the third edition, misprints apart, are the result first violin does not follow the vocal line and the whole oi Pepusch'sarrangements. It is likely that Gay was musically literate; Joseph arrangement is very similar to published versions of the Spence,1699_1758,in his anecdotesconcerning literary figuresof the time, wrote 'Gay that could play the flute meaning the recorder] and was therefore Iprobably n enabledto adapt so happily some of the airs in the Beggar'sOpera'. (Quoted by SeeCommentary. ' 'Tlre Schultz,p. 157, from the first published edition of Spence'sAnecdotes, ()bserua- E,ntitledin the play text Spirit's Song in Macbeth'. r" rr tions and Characters,ed. J. W. Singer, 1820.) SeeFiske, pp. J6-li. SeeFiske, p. 116. ix ''Was original. Air 15, ever man possest',has a fully developed songsthemselves? Did the two oboists and the viola players sixteen-baroperatic instrumental introduction in the RCM take part only in the overture and then go home? There are score, compared with the usual four bars in the BL parts, no overtures in the RCM score and BL parts, yet the three and severalshclrt ritornelli in the song itself, also excluded other ballad opera overtureswhich do survive in score from from the BL parts. Otherwise the violin part of this song in the original librettos are all scored in four parts for the the RCM score (written on a separate stave) follows the standard two oboes and strings.l-t There are no bassesor 'Tell vocal line. Another extra song in the score, me no more indications of scoring in the songs of these ballad operas. of this' immediately precedesAir 6 and has a busy unison Evidencethat a unison and continuo accompanimentwas introduction mostly in semiquavers ('vivace e fortissimo'), used in the songs of Tbe Beggar's Opera too comes from the 'Arne' unrelated, apart from the first three notes, to the song itself. Preface to the next published vocal score after the Instrumental codas occur in all the songsin the RCM score, edition, the qarly 19th-century version by John Addison but are sometimesomitted in the three ballad operas in the (c.1766-1,844). Even though he was writing nearly a hundred BL parts, particularly after choruses and finales. Further years after the first performance, Addison demonstrates comparisons between the two versions of The Deuil to Pay apparent familiarity with 18th-century practices: revealmany differencesin the basses,repeat signs'and keys; 'Until the year 7777 the orchestralmusic consistedof merelythe the arrangementsare clearly unrelated. melodiesand a base,at which time Mr. Linley . . . composedsome But the two sourcesdo share the same basic methods of very ingeniousand effectiveaccompaniments;16 notwithstanding arranging songs;12the question is whether these methods which, the prejudicein favour of the former continuedtill within a rn'erealso applied to The Beggar's Opera. One source not few years. . . It is remarkable,that though this Opera has beenin mentioned by Fiske, which corroborates his findings as far such high estimation,there has never appeareda well-arranged as the introductions and codasare concerned,is the arrange- edition of the music; the best was that engravedon copper, and ment for flute (without bass) of the tunes from The Beggar's publishedwith the dialogue,in quarto, A.D. 1761 [Tonson's Oltera published in about 1777 and derived from the 1.769 reprint of the third editionl; that which has sinceappeared, pur- edition dubiously attributed to Thomas Arne.r3 Unlike the porting to have new basescomposed by Dr. Arne, is a gross imposition,and to receiveit ashis, would be to libel both his taste main'Arne' edition, the flute version includes, surprisingly, and judgment.' the top line of the introductions and codasto allthe songs;in every casethese copy exactly the opening and closing bars of Pepusch'sbasses continued to be popular in the late 18th each song, without even the occasional deviations found in century. Charles Burney, in his General History of Music, 'furnished the RCM score and BL parts. As in the BL parts, codas are L789, writes that Pepusch the wild, rude, and occasionally omitted,, as are a few introductions. often vulgar melodieswith basesso excellent that no sound Musical arrangers of thc many ballad opera productions contrapuntist will ever attempt to alter them'. My own copy throughout 18th-century Britain must usually have had just of the third edition shows signs, from handwritten amend- the published texts with only the tunes and occasionallythe ments,of having beenused for rehearsalsor performancesin bassesas a starting point for their arrangements.Most of the the late 18th or early 1,9th century. earliersources for ballad opera songslack introductions and Further indirect evidence on the way in which the songs codas too, and on the relatively rare occasionswhen intro- may originally have been accompanied comes from Pepusch's ductions do occur in song books with basses,the bassoften style and methods in some of his other music for the stage. anticipates either the tune or the bass of the song. Since Of the four all-sungworks listed by FiskerTwhich survive in ballad operashad orchestral accompaniment, it would have score, the masques Venus and Adonis, Apollo and Daphne been natural for the violins to anticipate the tune, and for andThe Death of Dido, do not provide much help; they are Pepuschto have usedthis method in the original production. composed in the conventional Italian operatic manner, with It can be shown that he did not, with one exception,la make developedintroductions to the arias and scoring normally in use of earlier printed sourcesof the songs. The arranger of three or four parts. The fourth work, the Dramatic Pastoral the RCM score for Tbe Deuil to Pay evidently did have Myrtillo,rs 1.71.5,is lighter and somewhat closer to The accessto sources other than the tunes printed with the text Beggar's Opera in style. Most of the vocal numbers, although for at least two of the four more elaborately treated songs light in character, are once again composed as arias, with and arias. some extensive introductions and ritornelli, and three- or The main problem with scoring the songsrnThe Beggar's four-part accompaniments. But the finale is a country dance- 'Now Opera is to reconcilethe four- and six-part writing for oboes like song in 618to the words all ye Swains and Lasses and stringsin Pepusch'soverture with the unison violins and put on your Airs and Graces,for this the Time, and Placeis continuo found in most of the songs in the RCM score and to Pipe and Dance and Play'. This song is in simple binary BL parts. Is it not likely that Pepuschwould have continued Ii 'l'be the part writing and instrumentation of the overture into the SeeFiske, p. 114. The overturesare to Cobler's Opera,1728, Penelope, .Wedding, 1728, and The 1729. The first two were the next ballad operas to be '- 'l'he Seeals The overture, tunes, and basses in the play text relating to the songshave been incorporated. The cuesto The overture, the tunes, and Pepusch'sunfigured bassesare the songs are taken from Fuller. In the number- taken ing of the airs, arabic numerals replaceroman. Full stops frorn the third editi.n. Major corrections and altera- '&c.' and have tions are shown in the music; lesserchanges, as well as been omitted from the ends of the original titles without comment differencesbetween the first three editions, are shown in the unlessnecessary. The use of italics for proper Commentary. In two songs, Airs 40 and 50, pepusch's names is not copied. One punctuation bassesere werk, and c.mpletc alternativcvcrsi.rn, ,i. given mark of possible musical consequence in the play from other sources. An alternative version of Air 23 is text is the dash. In Gay's dialogue it can signify a pause,an interjection, also provided,'becauserhe modality of the tune has been an aside,a sudden changeof thought, n-risintcrpreted. or the equivalent of a c xiv markings are what one would expec, and as Fiske (p. 119) should not be taken too fast,is a compound two in a bar and has pointed out, this might slrggesrthat Gay for-rndsome of shouldhave a 6/4 signature. 618is nor necessarilyfaster than the ternpi in Thc Beggar's Opera roo fasr. Clear dictiorr is 614;Air 25, 614,needs to betaken fasrer than Air 24,618; Air most importaltt and to achieveit many of the tunes need tcr 37, 618,sh..'rld go slower than Air 36, 614. The earliest 'Arne' be taken sl<>werthan they would in <>thercontexts such as edition to grve tempi is the cdition. Although the country dancing. indicationsare mostly appropriare,sorne of the late 18th- 'Andante Time signaturesin the 18th century can be a guidc to century terminokrgy, like Affettuoso' for Air 6, tempo, but arc not much help in The Beggar'sOpera.ln the inrplies a differcnt style of performance frorn 1728. first three editions c is used ir-rall the common time songs, although some clearly need a two in a bar ( signature or Dynamics 212:7 Neither is 3/4 (three in a bar) always usedippropriately in relation to 614 or 618(two in a bar). Airs 4 and 6, for The third edition givesdynanric markings only in rhe over- example,are clearly three in a bar, but Air 43, although it ture. In the violin and bassparts (but not the vocal score/ continuo part) of the balladoperas in the BL manuscript,the I sung parts of the song are marked piano and the codas Notc tl-rrrt rn tlre sccontl cclitiorr. thc f.irst rrrrt of tlte overtrrre hrts:r tlilrc rign:rtrrrc2;rhis rsr'lr.rrrgr'd tr,('in tht.tlrrr.l.,.lition.c,,ntirrrrrrrq rlt.rt rlrt.l,rttt,r,iqlt n-rarkedforte; the introductions are unmarked. Once again, hes ttt Ittrke do ior both tn,o end four irr e bar renrni in the thirrl eclition. rhe priority must be to hear the words clearly. DRAMATISPERSONAE The vocal rangesare given in Helmholtz notation; the editorial suggestionsfor voicetypes are basedon baroquepitch about a semitonelower than today.r For further detailson the rangesof the soloistsand the composition of the choruses,see p. xiii and also the Commentary for each chorus number (hardback edition only). Much doubling is possiblebetween the minor parts and extras; Mrs Peachumdoubled Mrs Trapes in the first production. lV{11N WOM F,N nF-ACHUMTenor, d-b' flat, or l3ass,A-f (seeAir I l) MRS PI:ACHUM Mezz CROOK-I;INGF,R'D JACK DOI,I,Y TRUI,I, WAT DR[,ARY Macheath'sGang; MRS VIXF.N Women of the Town; ROBIN OF I]AGSHOT Chorusin Airs l9 MRS SLAMMI.]KIN Drncers and Chorus NIMMING NEt) and 20 BI.,TTY DOXY in Air 22 HARRY PADINGTON SUKY TAWDRY BI.,N BUDGI., MOI,I,Y I]RAZF,N BhGGAIINon-singirrg FOUR WOMI.,N ANT) cHILDRF-NDirncers and Chorus in Air 69. and PLAYhRNon-singing Chorus in Air 5fl (off-stage). DRAWF,R,HARPF-R, Sr-.RVANT, JAILOR Non-singing I The Lrscof nroclernpitch (a' : 440 Ht., or sliglrtly higher) nrirkesrhe slrow THF-RhsT orr THF. IvncHr-nrH'Sl GANG Chorus in Airs 19 and 20 hltrder to cl.rst.Whcn ntodcrn insrnrrlents rrc Lrsed,it is recornnrcntleclth,rt the coNSTABLES,TURNKltys Non-singirrg stringsrtnd hrrrpsich The Comrnentary indicatesthe readingsof the third edition where a stave in this edition), the second note is a dotted minim changehas been made in this edition, and discussesrhe interpretation and the third note is omitted.' of unclear or incornplete information in the third edition. lt also 1,2.12ft1I 'ln lists rnusical alterations within the first three editions, although ). ) | | / -.unr' rhe music of the changesto repeat signs, slurs, or beams are not shown unlessthey first and secondeditions (bar 12 and treble stave in this relate to editorial decisions in this edition. Alterations made ro edition), the rhythrn is printed as shown.' punctuation, capitalization, and 'ln spelling in the first three editions 3.1(>:Diuine" / means: the third edition music text, are shown only where departures have been made in this edition bar 1.6, the punctuation mark after Diuine is omitted, from the music rexr of the third edition, or where the changesaffect the source for the correction in this edition being the the meaning or underlay of the song texts. Both Lewis and Fuller play text of the first three editions.' examine thoroughly the textual alrerarions within the first three editions; most of the changesconcern details of punctuation. Overture Not in 1 or earliestissue of 2 12.secondissue onwards: printedon four staves, Abbreviations and symbols with no prefatorialinstrumental indications/3.instruments indicated: Obo. 1 Obo. 2 7,23t edition source(s) for examples cited, from either the Vio. 1 Vio. 2 TenoIsic] Bass /2.ts: 213.ts:C; the two in music or rhe music rext (only the third edition has a a bar tempo impliedby the ts in 2 makesit desirable music text as well as a play text) that quaversfollowing dotted crorchersshould sound l,2,3.text edition source(s)for examples cited from the play texr togetherwith semiquaversfollowing dotted quavers, tS tlme slgnature asfor exampleat theend of bar 2l2.3,S.Oboe2.7: not ks key signature differentiatedon the sharedstave from b of Yiolin 2 tr treble stave /3.11.Oboe2, Violin 2.2-3: slur om (includedin 2) b bass stave 12.20.Oboe1, Violin 1.over1: trill signom 13.23.Yiola: OITl omitted t. .. j ) | (correctin 2) 12,3.25:the Allegro absence of punctuatron sectionis basedon the tune of Air 47 (seep. 114) I Each comment is separated by an oblique stroke; the identifying 3.28.Oboe2, Violin 2.3-5: slurom (includedin2) I components within each cornrnent (i.e.edition source,bar number(s), 3.33.Bass.7-2:tie om (includedin 2) 12.40.Oboe2.7: om /3.45.Violin stave or lnstrument, note number(s) ) are separated by full stops 1.2: e" l2.50.top rwo sraves:Viol. u,ithour spacing.Textual corrigenda are given in italics; alterations soli. 13.50.Viola.2:sharp om (includedin 2) 13.57. are made from the play text in the first three editions, unless Oboes:Solo 13.57.Violins: Piano (om in 2) 13.57.Oboe otherwise indicated. Punctuation changesare shown in relation to 1.7: dot om 12.59:forte om 13.67.Yiolaand Bass:dots the precedingword. This means that any puncruarion mark ending om (includedin 2) a textual quotation belongs ro rhe quorarion itself and nor ro rhe Air 1 1,2,3.rs:312 13.4: Thro' 13.6:life. ll,2.8.tr 6.,q I t Commentary (the italic and non-italic forms of some punctuation ' )r I I L I * 17,2.10.tr.2:dotted minim, note 3 marks areeither identical or hard to distinguish).Musical examples orr from the first and second editions are given in the key of the third om 1r,2:2ft | ). ) I | rcu, Diuine^ edition. Air 2 ,tr" 13.15.b.3:crotcher, followed by crotchet Examples ?;lrt, 'ln Air 1 1,2,3.rs:312 I means: the musicof the first,second Air 3 !,2: repeatof tunein 1ststrain not writtenout, followed and third edirions,the time signarureis 312.' by doublebar with repeatdots 11,2.6.tr.1-3: ). )i 'The 3.text.4:Tbro'l means: third editionmuslc rexr 13.6,9,I4,75.b:rests om ll,2.7.tr.l: minim,note 2 om (bar4 of this edition)prints Thro'insteadof Tbrougb 13.7.b.2:doton 11,2.18.tr:as bar l4 11,2.79-20.tr asin thisedition, the source for thealteration being the play text in the firsr,second and third editions.' 'The 3.6:life. / means: third editionmusic text (bar6 of this edition), prints life with a full stop after it, the Air 4 3.7.rr:) )n.zs.a') ) 8.26: sourcefor the correctionin this edition (omissionof the U)rc.e.tr,il) pausesign om (includedin 1,2)13.27: She's^ full stop) being the play rexr in rhe first, secondand third editions.' Air 5 t,2: repeat of tune in 1st strain not written out, foflowed .ln by plain double bar 11,2.8(12),20(21).tr l,2.g.tr:ffi / means: themusic of the firstand secondeditions (bar 8 and treblestave in this ffi 12.16.tr:tie om ll,z.78.tr.4: minim, d edition),the n-rusicis printedas shown.' note J om 1,2.10.tr.2:dotted minim, note 3 om / means:'ln the Air 6 3.titfe:ber. (her?in 3.text;her, (tc. in l,2.text) l'1,,2: musicof thefirst and second editions (bar 10 andtreble repeatof tunein lst strainnot writtenout, followedby doublebar with repeardots ll,2,3.text.7:flower (flowr ' Or sometirnes,in ordcr to clistinguishclerrrly fronr a plrry text reacling: in 3.music;flow'r is editorial) 13.15,17,33,34:6 in- 1.2.3.rnusic steadof and 13.22:pluckt 13.30:shrinks" 103 'Arne'edition Air 7 1,2,3.ts: C 17,2:tunc written out once only, ending Air 16 1,2,3.ts:( . The rnarksthis song'Allegro'. with plrrin rlouble bar /1,2.rexr (but not 3.rexr or The tencler feelings expressed might suggesta skrwer 'Or"rr rnusic)errds: Pollr,'isa saclslur, Ecc.',indicating a tempo (four in a bar), but Pepusch's repctitive bass 'Anre' 'Da repeat of the song.The ed. has Capo' at end, works better at two in a bar 11,2.5-20: repear of strain with a pausesign rrrrc'lthe doLrblebar ar bar l5 (orn in 3) (bars 13- 20) om, followed by double bar with dots / '[)aughter'. 'Arne' indicating'finc' on The flute ed. has 1,2.tr: quaver upbeatsat endsof bars U(16)(f, ) and 26 ir four-bar instnrrnental coda (g') 17,2.20.tr.3:rninim, note 4 om Air u 1,2:in (iln /1.2: repc.rrof trrrrcin lsr strrrinnot \vrittcll Air 17 l,2.I0.tr: as bar 613.10,15.b.3:minim 13.20,27thee^ trut, f .aaaaaaaaaaaaal\\\ t..\\\\t\\\\ play the introduction to Air 22 when Macheath hears \, music; his reference and instructions to the harper /3.text.l4: llouteris (Fknueris in 1,2.rcxr;Fknuer's in should be cut. According to Fiske, 1 I ll, the harper 3.rnusic) was dropped from performances in the late 18th c. 104 Verse l_ Verse 2_ Air 22 1,2,3.rs:t tr,2: le^ 'll:s ll /3:lnllnnn AABAII L,2.text,3.music.8: Vice (uice in 3.text)13.10: Tn; . ll,2,3.text and music: the intended realization of the (Tribe; in 1,2.text; tribe; in 3.text) /3.l0: r',i. dance and the chorus is unclear. The harper enters, 13.| 0- I 1.b: Pepusch'sh.i.- +--ffi r-- having played the music heard by Macheath. The latter 'play then suggestsa dance and instructs the harper to weak; it needs either to be changed to avoid the c,'-- the French Tune that Mrs. Slammekin was so fond of'. secutive octaves, or turned into a proper unison ri.:- This presumably is Air 22; assuming that the stage the treble, as here. A unison suits the words b,etr.: direction is correctly placed in the text, the harper then 3.11: crys^ (crys- in 1,2.text1,cries- in 3.tert :r. usesthe tune to accompany the dance before Macheath quotation marks following are editorial) and the chorus sing it. In performanceswithout a harp, Air 31 3.text: Polly is indicated to sing the song 13.4:decre,.;' the orchestra can accompany the dance instead, con- 11,2,3.4.overtr.3, and in bar 9 over tr.7: uio: (t,tr,' - tinuing to play the introduction to the song (seeAir 21a 1,2) 11,2.5.tr.4:sharp om /3.11: met^ 11,2.13.rr.- above). The chorus is not indicated in L,2,3.music; in crotchet d', note 3 om 1,2,3.text, it is indicated only that the chorus should (think, sing the reprise of the opening of v.2.1 have assumed Air 32 1,2.text.3: think" in 3.text and music, 1.1 ' that the chorus should do the same in v.1 too. 13.24: text.4: ensue^(ensue, in 3.text and rnusic)/3.-5.tr.l: . which clasheswith the bass.The e' printed here com.. beauty,13.27.tr.1:the equivalentplace in v.2 has.[ , from 1,2. SeeAirs 10 and 48, for other instancesu h.:. but the curious slur on the grace-note might indicate a the melody in 1,2, but not in 3, 6ts the bassin 3 /3.5: rh. different interpretation here. This is the only grace- lengthened bar is editorial note in the scoresof 1,2,3 Air 33 I,2.6.tr.5: b'crotchet, note 5 om /1,2.8.tr.-i--t: Air 23 1,2,3.rs: C 11,2,3:the modality of the tune has been single crotchet 13.8: neglected: 11.,2.13-l-1.r:: misprinted or misinterpreted, forcing it into D major with a dominant close. According to the versions in Pills to Purge Melancholy, The Dancing Master, and other sources,it should be in A major throughout, but 13.13:wou'd 13.18: that with a mixolydian tendency caused by G naturals in Air 34 1,2: repeat of tune in lst strain not written or-r:. bars 12, 74, 16, and 18. To anyone familiar with followed by double bar with repeatdots. In 3, there :r. the other versions, the Pepusch arrangement sounds double bars at the end of bars 12 and 20, both u,ith r.- wrong, so I have included a second setting, using the usual version of the tune and altering the bass peat dots 13.6,14.b.2,3:B,G 13.7,15.tr.slur, 'Arne' ?' line where necessary. The ed. also corrects the modality 13.70,76,1.8.b:semibreves 11,2.12.tr.1: /3.text and music.13: consctrt^ (consorr, inE..t dotted minim, note 2 om 13.14: and lt,2,3.text. l3.text and music.28 bird^ (bird! in 1,2.text) '1.,2,3.ts 77,78,79: do you (d'you in 3.music) 11,2.79.rr.3: Air 35 and barring 614 11,2,3:tune written out oncc minim, note 4 om only, followed by double bar with repeatdots; the tert. 'But Air 24 L,2: upbeats to lst and 2nd strain om 1I,2.6.tr.4: of 1,2,3, and the music of 3, have tol de rol, &c.' e: crotchet, note 5 om ll ,2.12.tr.4: dotted crotchet, note 5 the end. The editorial continuation of the tol de rols r. based on the Addison ed., the earliest to print them rn full Air 25 1,2: in Al l,2,3.text: the opening line is repeated 11,2,3. 4.text (both times): pleasure, (pleasure: in 3.music) Air 36 1,2.8.tr.4,5:single minim 11,2.8.tr.6,7:single crotchet 11,2.tr.4:crotchet, note 5 om 13.70: refuse^ 1"1.,2.12.tr.5:placed before double bar. om in 3 /Although the music in 1,2,3 has a plain double Air 26 L,2: repeat of tune in 1st strain not written out, bar at the end, l,2,3.text and 3.musichave'l'm bubbled. followed by plain double bar 11,2.6(10).tr.1,2:dotted &c.' at the end, indicating a repeat crotchet, quaver 13.7,8,77,17.b.2:dotted minim, rest om /3.8: pill: 11,2.8(12).tr.1:crotchet 13.70: that l'1,,2. Air 37 1,2: repeat of tune in 1st strain not written out, followed plain (with /3.5: r3.n# 8.74:so 13.17:he by double bar dots in 1.1stengraving) ry cunning, 11,2.19.tr.4:crotchet; note .5on 13.20: own, Ak 27 r,z,3.tl' 8.6: in l'1,,2.70.tr.4:crotchet, note 5 om Air 3u 1.1stengraving.ks: one sharp (but seeLewis, 25-6,for 17,2.77.tr.2:crotchet d", note 3 om ll,2.l6.tr.7: copies in an intermediate state of correction) llr2,3.ts: crotchet C 11,2: the tune is printed once only, with a plain Air 28 1,2: in Em /3.5.b:minim and two quaverrests /3.7.b: double bar at the end 13.5: Flirt, /3.text.8: chatter, (chatter; crotchetrest /3.11.tr,b: extra barlinehalfway through in 1,2.text and 3.music) 13.76:Flirt.13.18 Jade! bar 11,2.17.tr.2:sharp om 13.20:Tipsey. 13.26:Oipsey. / Seep. 113, Air 34 (ec. power Air 29 1,2: repeatsof tune in 1stand 2nd strainsnot written Air 39 3.title: AIR XXX. How happy are, /3.3.text: (power pow'r out; plain doublebars (final double bar hasdots in 1st with apostrophe over letter e in 3.music; om and 2nd engravings of 1) ll,2.text.76: stronger. is editorial) 13.3: diuide, 13.4.b: semibreve, rest (stronger:in and music) 3.text 11,2.6.rr:ffi "" 13.6:hind, l1,2,3.rext. fr =4>-T- 'Oh, 7-10.therefrain is indicated: oh ray,oh Amborah- Air 30 oh, oh, ttc.' (seep. 113) 13.9.4thtime: Derry (derryis semibreve,note 2 editorial 13.7:sbou'd 13.7.b.3:AI editorial)/3.10.tr.5-8, .m .N 105 Air 40 1,2: in C /3: Pcpusch'shass is too static;it seemsto be openingbar. Purcell's7-6 suspension in bar t hasalso designedfor a two in a bar tempo rather than four tn a beenomitted, and the melodic alteration in 1,2,3.7.tr.4 bar. The bassin bars 17-1tJ soundsparticularly weak, of Purcell'se' to anf sharphas been retained 1"1.,2,3.74. and has been replacedwith that from bars 5-6. Version tr.2-3: b' e" 13.20,28:the petitereprise sign is found (ii) is a conflation clf three sources. The tune is from 3, in 1,2, but not in 3; the latter has repeatdots for the with a few'passing notes introduced fr<>m1,2, and also whole2nd strain13.27.tr.5: sharp (not in 1,2)13.22.tr. Orpheus from the version in William Thomson's 3-5: (correctin 1,2) 13.23.tr:slur over notes 3 Caletlonitts,2nd .d., 1733,1. The latter has a much U (correctin"l,,2) strongerbass which I have usedas far as possible,but as and 4 the tune varies considerably from that in 3, a few Air 42 3.title: South^Sea1"1..2.6.72.tr: tie om 13.6-7: alone changeshave had to be made 11,2.8,11,13.tr.1:crotchet, note 2 om 13.8:tumble^ The completetune in L,2: 11,2.72:double bar om 13.72:l^ 11,2.14.tr.3-4:d" quaver13.76: Varlet^ 13.17,21 is 1"1.,2.17-22: (bars23-6, whichrepeat 19-22, arenot writtenout in 1,2) Air 43 1,2.72.tr.2-3:single crotchet 13.19:Dice^box's 13.28: chap; Air 44 1,2.text.title:Lillibullero (Lillibulero in 3.text and music)ll,2: repeatof tunein 1ststrain not writtenout, Tune and bassin ()rpheus Caledonius,2nded., 1733: followed by double bar with repeatdots /3.8.b.1:e 11,2.8,71,13.tr.1:crotchet, note 2 om 13.8:tumble^ a pageturn occurshalf way throughbar 18; the new pagestarts with a wholebar, causingthe remainderof the songto be wronglybarred (correct in 1,2) 11,2.79. tr.4-5: singleminim 13.79: money. Air 45 1,2:in D; tunewritten out once only, with plain double bar at end 13.6:men. 11.2.6-7.tr: etc 13.8: Tho' /3. 10- I I .b: tie om 13.15uhen 13.17:Mate; 13.20: tuithin 13.21: \Yiry Air 46 L,2: tune written out once only, with plain double bar at end ll,2.text,3.music.5: Days (days in 3.text) i3.6: Douen 11,2.8.tr.7-8: single crotchet /3.8,20.b.2: dotted crotchet, rest om 13.'t2:Loue.13.l9-b.4:g 13.23 young^ 13.28.b.2: dotted minim /3: The music tert gives'fa la la fa &c.'in bar 7; the remaining'fa la' re- 'Vio.'indicating frains have no text, but instead violins. 'fa,la,la, The play text in L,2,3 however has 6 Air 47 1.2.7-8.tr: t3.9: broke^ 11,2.17,79.tr.4: dotted minim; note 5 om /3.15: Sporting 13.78:shall /1.text.8:side. (side,in 2,3.textand 3.music)/2.text Air 48 1.1stengraving and somecopies of 2nd engraving(see (2ndissue onwards), 3.text and music.15: wary (weary Lewis,27): ks om from staves3 and4 (bar10 onwards) in l.text and 1st issueof 2.text;see Lewis, 117) 11,2.4.tr.3:a' crotchet,note 4 om 13.5-5:brackets om Air 41 3: Pepusch'sbass is a simplifiedversion of Purcell's 13.5:sometimes^ 11,2.8: double bar with repeatdots original(unlike Air 6, wherePepusch composes a new (finaldouble bar alsohas dots) /3.8-9.tr: bassfor Purcell'stune) and soundsa little too bald; the versi editioncomes from 1.2; seeAirs 10 and 32 for other no earlier source has been found for the Acbilles horn- instanceswhere the melodyin 1,2, but not 3, fits the pipe, Pepusch's authorship cannot be proven. Thc '6{c.' 'Chains' bassin 3 13.72:dram, 13.73:and after has various possible inrplication. Air 49 I,2,3: the tessituraof thissong is highand conrains rhe including (1)dancersother than prisoners,(2) encunr only a" in the operafor Polly and Lucy; henceversion brances other than chains, and (3) further dancing or (li). SeeVocal ranges,p. xiii 13.77:tickling^13.72.b: sta€{ehusiness. doned minim 13.16.us,/3.18 pursue;(pursue. in 1.text; Air 5U For general comments on the realization and perforrn- pursue:in 2,3.text)13.18.tr.5: e" (9" in 1,2) ance of Airs 58-66, seepp. xi and xii ^ Air 50 3.text and music.tirle:Wou'd (\Yould in 1,2.text)/3: Air 59 3.music and text.19: friend (friend, in 1,2.text) this, togetherwith Air 40, is the least satisfactoryof 17,2.19.tr.6:tie to next bar om Pepusch'sharmonizations, so the originalversion by Air 60 3.title: Honre ll,2.25rrt 30-5 are raken JohnWilford hasbeen included too (seep. 114).How- ). )Jruo.r ever,Wilford's c" sharpin bar 7 givesa very different from bars 20-5 of Purcell'soriginal tune (seep. 115) feelto the openingof the song/3.5.b.1: dotted minim Air 61 1.I st engraving.ts: 314 13..\7:sink. 11,2..\7-9.rr' Air 5 1 1,2,3.ts:C /1,2: in E; threesharps in ks, D sharpenedin tune as required13.7: sorrow,13.12: Glass,13.74 the /3.18:then 13.78:drink^ 13.37 -9 .tr: Air 52 1.,2:in C 11,2.6,10.tr.4:dotted crorcher,note 5 om 13.6,8,70,13,17,78:commas instead of full srops The rest in 1,2 is effective dramatically 13.37 .b: instead n-F of note 1, d dotted crotcher followed by d crotchet, ll,2.7.rr:ffi+E# 13.9:look^ l3.ll: untied not^ (not- in 1r2.text;not,-in 3.text;not,is editorial) Air 62 1,2.44.tr.4-6:1. ) j 1"tr" bar 4-5.tr.l-3, 4-6) 11,2. l'1.,,2.77.rr.7:f' 13.78: breaks, 13.20,21: Slighted. 45.tr.7: minim, note 8 on 11,2.47.tr.3:minirn, note 4 '1.r2: Air 53 repeatof tune in 1st strain not written out, followed OlTl by doublebar with dots /l.text.70 me?- (me^- in 2,3. Air 53 1,2.52.tr.2:om /3.53.tr.3:d" (thee" substitutedis in textl me,^ in 3.music) 13.72:lYiues" 11,2.13.tr.2:a' 1,2 and is found in other sourcestoo) 13.56.tr.2: 13.14:Death^ 13.16 Bride:13.28.31..text: wou'd 13.30: crotchet,b.1: minim Air 64 1.2.60.tr.1-2: single crotchet 13.61 bumper^ one^ 11,2.30-1.tr: " (Bumper.*in 1,2.text;bumper^- in 3.text) 11,2.62.tr. 1-3: threecrotchets 11,2.63.3-4: single crotchet /1,2. Air 54 7,2: repeatof tune in 1st strain not written out, followed 55.tr.1:as bar 62.tr.1-2 17,2.66.tr:tie om by doublebar with dots.The 2nd strainseems roo shorr without a repeat,even though thereare no repeatdots Air 65 1,2,3.75:ts comesat beginningof Air 66 in 1,2,3 11,2.4.tr.3:om 11,2.7(11).4-6:three quavers Air 65 3.81.tr: , which needsan exrrasyllable of 11,2.12.t.2:crotchet, note 3 om 13.12.b.2:crotchet, ) il;l restom 11,2.18.2:dorted crotchet, note 3 om 11,2.26: text ( I m in 7,2) 13.82:lotte.n (Loue.- in 1,2. pausesigns om text; loue^- in 3.text) Air 55 Air 67 From the lackof interveningdialogue, it might appear that this songshould follow Air 66 without an intro- ll 12.71.tr.1: crotchet, note 2 om l1,,2.textand 3.music. duction.However, as it is the firstcomplete song after 16 Life (life in 3.text) the fragments,and as the chord changebetween Airs Air 56 This song is omitted in all but the final textual impression 66 and67, from C to B flat, is an unusualrelationship of 1; in the final impression the tune is included in the for theperiod, an introductionis appropnateand help- text, not with the other tunes at the end of the book ful to thesinger. The'Arne' flute ed. has four barsintro- duction,but no coda (seeIntroduction, p. xi) 11,2.9. 11,2.5,8,71.tr.1-3:n 11,2.11.tr.4-6:n A..Q} Air 57 lr2: repeatof tune in 1st strain not written out, followed tr. I : as bar .5/1,2. l5.tr. l-.3: *f L-- {:- by doublebar with dots11,2.7 (11).tr.1: minim, note2 a om 13.9,11,13,15:hesitation (see 'No dotsom Text, p. xii) Air 68 1.1stengraving.ts: 314 lThe repearof the words 13.73:loue; 11,2.74,18.tr.2: f' 11,2.'1.5.tr.4:minim, note tokenof Love?Adieu. Farewell.' is in 3.music,but not 5 om /3.15:die; l2,3.18.text: (liues. Iiues, in 1.textand in 1,2,3.text.The text, but not the music,in 1,2,3has 3.music)1"1,,2.79.tr.1: minim, note 'Chorus. 2 om 11,2.20.tr.1: at the end: Tol de rol rol, &,c.'. Does the dot om chorus consist of other prisoners? Only Lucy, 'A Air 57a 1,2,3.texrar the end of Act III. xii, hasthe instrucion Macheathand Polly areindicated as beingon stageat the Danceof Prisonersin Chains,6{c.' but no music.Fiske, beginningof this scene.The 'Arne' and Addisoneds. 114, points our that in Gay's third and last ballad end with Lucy, Polly and Macheath repeating the operaAchilles, Air 34 is titled'Beggar'sOpera. Horn- wordsand music of bars33-40 in three-partharmony. 'lt pipe.',with therune printed here. Fiske assumes (a) that Lewis, 138, writes: has been suggestedthat this this is the tune for the dance,and (b) that Pepuschcom- chorusis reallya trio consistingof theon-stage charac- posedit. The first assumptionis probablycorrect, since ters,Polly, Lucy, and Macheath,but it is more likely laterin the 18th c. Arne composeda new hornpipeat that Gay intendedan off-stagechorus producing a bell- thispoint in the opera(in the'Arne'ed.).But although like effect,the tolling that Macheathhears' /3.musrc 107 and text.14,l6: you, (you. in 1,2.text)13.28-9.tr once through the choreography);the instructionsin- naturalsorn (includedin 1,2) 11,2.34.tr: clude hand clappingbetween partners and also side clapping.The chorusis indicatedin 1,2,3.textto sing h) t 'But ffi 13.36:f;arewell, l3.4o.l: pause only think of this maxim,6{c.'; 3.musicrepeats the wordsfrom 'F,achcalls forth her charms',as in this signs over tr and b (bars 41-8 are not written out) but without the chorusbeing indicated 11,2.5. 'A edition, Air 69 The placing in 1,2,3.text of DANCE'(om in music) 'AIR tr.1 : minim,note 2 <>mll ,2.7.tr. 1-3 : j. i 11,2.8.tr. above t.xIX' implies either that the dance takes ) place before the final song, or that the song itself is also 4: minim,note 5 om 11,2.10,25,42.tr: a dance.A reasonablesolution is for the dancing to take /3.l1.abovetr.5-6: violins 11,,2. place during the instrumental sectionsof the song, con- G#fL-fl | tinuing possibly behind Macheath's solos,but stopping iu.u.o, f ,hnrp minim, note 5 om 13.20:desires; for the final chorus. The dance instructions to the tune 13.20,36:Tho' 13.24,40:all insteadof your l'l',2.24.tr.6: in The Dancing Master (seep. 115) could be partially minim, note7 om 13.25,47lto^day 13.26: tonmorrow incorporated (six eight-bar phrases are required to go 13.37:all, 13.42:to^Morrout NOTE,SON THE ORIGINS OF THE,SONGS AND THE,IRTITLE,S 'Chevy 'Greensleeves' Gay used existing tunes for the songs in tsO, and the titles (Air 44), Chase' (Air 61), and .\r: heading the songs are his references to earlier versions. 67) ).Ten of the tunes in BO survive exclusivelyin f i//-.. Much work has beendone on tracing the sourcesof the titles Although DM contains nearly as many BO tunes as 1,ri.,. and tunes, both by those working specificallyon BO (Mac- (thirty-six), it is perhaps less likely to have been mucr leod, Calmus, Swaen, Schultz, Kidson et al.), and by those consultedby Gay. In the first place,an evenhigher proporrr():-. working in the field of British popular music and ballads of the tunes in DM are in versions significantly differcn: generally (in particular, Chappell and Simpson). The notes from those in BO (particularly in the first volume, where rh. below on each song are indebted to rhe work of previous versions of the tunes may date back to the first edition r,: researchersand mosr of all to Claude M. Simpson's The 165I ), and a higherproporrion roo havc diffcrenrrirlcs fror: British Broadside Ballad and its Music for forty-one of the thosein BO. Secondly,Gay would have neededaccess n(,: tunesand titles with broadside ballad associations.Through only to all three volumes of DM, but also to at leasrrs, checkingthesources as far aspossible of previous researchers editions of the first volume. Thirdly, Gay, who so otr.:. and through work of my own, it has been possible to alludes to the words associatedwith the tunes, would hlr. confirm pre-BO sourcesfor all but two of the titles (Airs 48 beenmore interestedin sourceswhich included both. Nevcr- and 56) and two of the tunes (Airs 4 and 48). theless,DM remains the only source before BO for thrcc o: The bulk of the titles and tunes can be found in three main the tunes (Airs 9, 42.64). sources:(1) D'Urfey's Pills to Purge Melancholy, in its final, Single-sheetsongs were cerrainly familiar to Gav. r\ six volume edition, 1719-20, (2) the three volumes of The severalof his own songsappeared in this form, including rh. Dancing Master, in the various editions published between original versionsof Airs 28 and 34. Twenty-nine of the rune\ 1651 and c.1728, and (3) the engraved single-sheetsongs in BO have been found on earlier song-sheets,four exclu.- which were published in increasing numbers from the late ively so. A higher proportion of the tunes on song-sheetsarc 17thc. onwards (coincidingwirh a decreasein the publication closeto BO versionsthan those in I'ills or DM. Many sons- of broadside ballads). In addition, five of the Scottish tunes sheetshave basseswith the tunes (Pills and DM print onlr can be found in William Thomson's Orpheus Caledonius, the tunes); interestinglyenough, in Air 34, originally a song- 'Sweet 1725, and two of the three French tunes in J. C. B. Ballard's sheet setting by Sandoni of Gay's poem William'. La Clef des Chansonniers, Paris, 1,717. The three Purcell Farewell to Black-ey'd Susan', Pepusch for once uses an tunes(Airs, 6,41,60) and the Handel march (Air 20) can be earlier bassiz toto,without any alteration. It seemsthat Gar traced back to early editions of music for the stageworks to must have been able to provide Pepuschwith a copy of thc which they belong. A number of rhe tunes have also been song-sheet.In the similar caseof Air 28 (Handel's serringoi 'Twas discoveredin song books and instrumental collections pub- Gay's song' when the seawas roaring') Gay apparenrl\ lished during the half century or so before BO. The mosr did not have a copy of the original, becausePepusch com- that any of the song books contains is three tunes (The posed a completely new bass; the melody too is altered in Merry Musician, I, 17 16). severalplaces. In other songs, Pepusch'sbasses differ to a BecausePills and DM contain so many more BO tunes greateror lesserextent from those which have beentraced in than any other source it has often been assumed that Gay earlier sources. Only in Air 20, the March from Handel's made direct useof the two collectionsin compiling the songs Rinaldo,and in Air 4T,Purcell'swell-known song'lf love's.r for BO. Gay knew D'Urfey's work and it is inconceivable sweet passion', does Pepusch appear tcl be aware of the that he would have been unaware first line, but with title'The W 132. D'Urfey'scomedy Tbe modern Prophets:or, New (performedin 164I), but Simpson,137, says that it i: Wit for a Llusbandwas first performedand publishedin not in either the 1552 or the 1,684edition of the plar'. 1709. Tune: in sourcesabove, including the 1684 broadside Tune: in sourcesabove; also in DM, II, 3rd ed.,'1.7"1.8, (BodleianAshmole G.15 The firststrain in Pil/si: ''Wou'd 1167)). 148, as you have a young Virgin: Or, Poor confusedwith the openingof 'Cold and Raw' (Air 3). In Robin'sMaggot'. DM, 1stsuppl., c.1687, to the 7th ed., 7686,no. 15, as 'The Air 2la SeeCommentary. King of Poland';this version is similarto that in BO. 'Cotillon': but the highestnote in bar 7 (and 11) is D. Air 22 from the secondline of the Frenchsong 'Ma 'A to the sametune commdrequand je danse,/Mon Air 27 lovelylass to a Friar came':first line; title 'The cotillon va-t-il bien' in Parodiede I'opdra de Tdllmaque Friar and the Nun' (but with this tune, not Air 23), on Piice d'un Acte Par Monsieurle Sxx [Alain-Ren6Lesage, song-sheetBL H.1,6011261. 1,668-1747) Reprdsenteed la Foire de Saint Germain Tune: on song-sheetabove, with a bass.ln Musick ic,r 1715 auecla Ceinturede Venus(see Calmus, 28). The Allan Ramsay'sCollection of ScotsSongs, Edinburgh. cotillon (cotillion)was a popular dancein the 18th and 1725,44,wttha bass.InDM,lll, c.7728,44,as'Theold 19thc., and it hasbeen suggested that both the danceand Fryar'. itsname (originally meaning'under-petticoat') originated "Twas with this song.Gagey, 31, quotesa newspaperadvertise- Air 28 when the Seawas roaring': first line of .r ment (Daily Post,Monday 9 May 1726)for a Frenchfarce songby Gayin his'Tragi-Comi-PastoralFarce' The V/l:,tt 'Le Tableau de Mariage composed by Monsieur D'Ye CallIt, 171,5.lnTbe Merry Musician, L716,l,29- . Lesage.With a new Dance,call'd Le Cotillon,perform'd On song-sheetBL H.1501 14271,c.I725. by 12 dancers'.Allardyce Nicoll, in A History of English Tune: attributed in 1729 to Handel; seeHandel's Song-. Drama, 11,407 (seep. 109), refersto the work as a and Cantatasfor Soprano and Continuo, ed. Donald masque,and gives 15 February 1725as the date of its first Burrows,Oxford, 1988, 10. On the song-sheetabove. In performance. DM,Il,3rd ed.' 171.8,321, as'Chloe'sFarwel'. 'The Tune: in sourceabove. According to Calmus,the tune Air29 Sunhad loos'dhis weary teams': first line; title wasprinted in Frankfurtin L664and laterin Leipzigtoo. 'The 'Winchester 'Toney's Christening',by D'Urfey, in his Thirrl In DM, III, c.1727,102,as Rant'. Collectionof New Songs,1685, 7; in Pills, 1.699,1: 'All Air 23 in a misty morning':first line; title on lTth-c. 1719-20. r. 320. 'The'Wiltshire 'The broadsides Wedding',,ro be sung 'To an Tune: variant in DM, lst ed., 1.651.,58, called excellentNorth-Country Tune' (seeSimpson, 239). In London Gentlewomanor The Hemp-Dresser'.In the 4th Pills,Pt. 2, 1700 (Schultz,320); 1719-20,1V,,148. to 8th eds.,L670-90,the title becomes'The Hemp Dresser Tune:in DM, 1st ed., 1651.,84,as 'The Fryar and the or The London Maid', and from the 9th ed., 1695. Nun'. lnPillsas above; also in 1,719-20,111,63,for a song onwards,just'The Hemp Dresser'.ln Pillsas above, in e 'A beginning Beggargot a Beadle'.On song-sheetBL versionmuch closerto that in BO. H.1601 c.1705,this song is called'The London [50], Air 30 'How h"ppy arewe from thinkingare free]': Prentice'.See music and Commentary. [who firstline; in thePlay call'd the Ladys fine ''$7hen title'A New Song Air 24 onceI lay with anotherman's wife': refrain AiresSung by Mr. Packin the figureof a Bawd composd openingof a mid-17th-c.ballad ('Once I lay . . .'); firstline: by Mr. (the 'A Barret',on song-sheetBL G.308 184]1,c.1,709 Man that had a prettyyoung Wife'; title'The Benefitof comedyThe Fine Lady's Airs:Or, An Equipageof Louers. Marriage'(see Simpson, 414n). by ThomasBaker, c.1679-?, was firstperformed in 1708 Tune:probably dates from thefirst half of the 17thc., and published year). 'A and thefollowing ln Pills,Y,1.7-1.4,1,75: very common tune in Restorationdays' (Simpson, 1719-20,VI,319. 'The 414), when it was known as King's Delight'. In Tune:in sourcesabove; composed byJohn Barrett, c.1,674- severalJohnPlayford publications under that title,including c.1735.The versionin BO differsin severalplaces. A Brieflntroduction to the Skillof Musick,4th ed.,1.664, 'Of and DM, suppl.to 3rd ed.,1665, No. 32. Air 31 a noble racewas Shenkin':first line; title (on song-sheetbelow) 'A Songin the Playcalled the Richmond ''When a Air 25 firstI laid siegeto my Chloris':first line of Heiress'(D'Urfey's comedy The RichmondHeiress: or, A 'Woman songin the comedytsellamira, or the Mistress,1.687,by Oncein the Rigbt,1693).lnThesaurusMusicus, SirCharles Sedley, c.1639-1,701. Also rn Pills,V,17"l.4, l, 1.693,20;on song-sheets,inc. BL H. 1601[330], c.1'695. 212;1719-20,VI, 308. ln Pills,1.699, 31L; 1,71,9-20,ll,172. Tune: in I'ills as above. Tune:in sourcesabove. In DM,9th ed.,1.695,168 ('. . . Air 26 'Courtiers,Courtiers, think it no harm': first line; Shinkin').In Pills,1,719-20,11,140, the tuneis usedfor 'Me title 'The BeggarsDelight, As it was sungat the Theatre- differentwords by D'Urfey beginning sendyou, Sir, Royal',on various17th-c. broadsides, including two dated oneLetter'; the title includes'.. . Setto a famousTune on 7684 and 1685 respectively.In Pills,Pt. 2, 1700, 142; the Welch Harp', and eachinstrumental interlude is in- 1719-20, IV, 742. Listed by Day 6c Murrie as a song dicatedwith theword'Harp.'ln theother Pil/s version the 'Thum, from the comedy The louial Crew, by Richard Brome secondinterlude is sungto thum, thum, thum'. 113 'Welcb, Air 32 [Untitledl of Taffey and Sawney Scot,lLilly-bullero and the Tune:a descendanrof thelate 16th-c. rune ''Walsingham'., lrish Trot.' found earliestin William Barley'sA New Bookeof Tab- Tune:on the song-sheetand in Pillsas above,,with a few liture,1596.According to CharlesKnight., in his Pictc:rial differencesfrom theversion in BO. Alsoin Pills,lll,1707, 'A Editionof Shakespeare,1.839_-42,there had beena tradi- 776;1719-20,V,44, title: ScotchSong made to the tion, datingback to Shakespeare'stime, of usingthe tune IrishJigg, and Sungto the King at Whitehall';first line: 'Late for Ophelia'ssong'How shouid I yourtrue love know'in as thorough the fair Edinborough'.Here the twcr Hamlet. Knight's book containsthe earliestsurviving halvesof the tune are reversed;melodically it is virtually printing of the tune in that context; it is similar to rhe the sameas the versionin BO. versionin BO. SeeChappell,236; Simpson, 741, andalso Air 37 Music in ShakespeareanTragedy by F. W. Sternfeld, [Untitledj Tune: on song-sheetBL H.1601 c.1725; title 1963,59-62. Thereis a distanrvarianr in Irills,1719-20, 'Charming [5231, 'The Billy. A new Song';first line: 'Ifhen the hills V,128, with the title AmorousBarber's Passion of 'With andlofty mountains'.ln DM,lll, c.1728,170,as 'Consranr Love for his Dear Bridget';first line: my Stringsof 'Wire Billy'. small lo I come'. 'Good 'London 'Ladies Air 38 morow.,Gossip first line and title on Air 33 Ladies': from the first line of Joan': s himself lost heavily in the stock market crash). None has ed.,1718,347, as'Wallpoole; or the happy Clown'. It l::. the same tune as that in BO. been suggestedthat this tune was used by Pepusch in ri-.= Tune: in DM,lll, c.1728, 97, as'South Sea'. overture becauseSir Robert Walpole was an objecr : 'Packington's Air 43 Pound': no ballad text on rhe subject satire in BO (Schultz,331). 'Now of this title survives; see Simpson, 565n, for theories on Air 48 Roger, I'll tell thee, becausethou'rt mv Sr-'n'r the identity of Packington. no sourceknown from the time of BO or earlier for::. Tune: has 16th-c. origins,, and according to Simpson, words or the tune. Kids on,76, quotesa traditional verrr,,: 'the 'And 564, was most popular single tune associatedwith of the song begrnning now my dear Robin. srn;, ballads befcrre1700'. The earliest surviving version,,rather thou art my son', but doesnot say when it was collecrc;. 'Rohin'. different then, is in A New Booke of Tabliture, Pt. II, Cecil Sharp collecteda folk-song in 1908 called 'Bockingtons 1596, sig. C4u, as Pound'. The earliest Courtship' with a first stanza analogous to Kidson'.. 'Pagginton's 'l broadside ballad calling for the tune (as beginning am thy mother and thou art my son' Ct,i:. rounde') mentioned by Simps<'sn,566, dates from 1597. Sharp's Collection of English Folk Sozgs, ed. Il.ru; The tune appearsfive times in Pills,IT 19-20, inc. III, 1, in Karpeles, I974, ll, 342). a form almost identical to that in BO., the only significant Tune: seeabove; the opening of the Cecil Sharp folk-son: differencebeing that the penultimate bar of eachstrain is a bearsa slight resemblance(in the major mode) to the runc step lower in Pills: a' g' sharp. in BO. The version in BO is based on rhe passame::, 'Lillibulero': f' Air 44 tirle, taken from the refrain beginning antico ground, which indicates that it may have originarcc 'Lero, lero, lilliburlero'; first line'Ho Brother Teaguedost in the late 16th or early 17th c. (seeAir 67). hear de Decree'; a popular anti-papist song from the time 'O Air 49 BessyBell [an'Mary Grayl': first line; words f'' of the Glorious Revolution, 1688, onwards. The earliest Af lan Ramsay, but, according to Ritson rn Scotish Solg-.. printed version is dated 1688, but it was known earlier 1794, basedon a 17th-c.ballad. Ramsay's version is in hr' (seeSimpson, 451). In Folk Songsin Settings by Master Tea-Table Miscellany, 1,724. In ()rpheus Caledonius. Composers, ed. Herbert Haufrecht, New York, 1970, 7725, 2. Villiam Stenhouseis quoted, in his for nores The Scols Tune:variant in the MS'Anne Cromwell's Virginal Book'. Musical Museum, 1839, as saying that the expressions 'Lilliburlero' 'Bullen-a-lah' 1638, fo. 3" (ed.Howard Ferguson,Oxford,1974,4). In and from the refrain were Orpheus Caledonius, as above,,and in Musick for Allan Irish papist passwords used in their massacreof Protestants Ramsay's Collection of Scots Songs, Edinburgh, 171-i. in 1647. 106; both of theseversions have C naruralsin bars l4 and Tune: found, untitled, inTbe Delightful Companion,2nd 18, which give the tune a more Scottishflavour. The latter ed., 1686, sig. C3' (the 1st ed., date unknown, does nor 'A is otherwise the closer of the rwo to that in BO. survive). Set for harpsichord, as new Irish Tune/H 'Would Air 50 Purcell', in Musick's Hand-maid, Pt. II, 1689, sig. E3',, Fate to me Belinda give': first line and title. on probably indicating that Purcell had set rhe rune rarher song-sheetBL H.1601 14901,c.1,705. The heading states than composedit. ln DM,8th ed., 1.690,216.Used three that the words are by Mrs. Mary Child. Tune: timesin Pills,1,779-20,inc. for words by D'Urfey,Il,76. on song-sheetabove, with a bass (see music and 'Down 'The Commentary), composed by John Wilford, dates un- Air 45 in the North Counrry': first line; tide known; he had severalsongs published on single-sheetsin Farmers Daughter of Merry Vakefield', song-sheetBL the first twenty years of the 18th c. H.1601 [1331, c.1705; also in Tbe Merry Musician, l, 'Come, 1776,64. Air 51 sweet lass': first linel title (on one of two 'An Tune: in sources above; the version in BO differs in late 17th-c. broadsides) Excellent New Scotch Song. severalrespects. Simpson,4-6, links the tune to the rather Cald, Jockey's Complaint for His beloved Moggy . . . 'Philander' 'Ah different (begins cruel bloody fate') by Lately Sung in a New Play at the Royal Theatre'. ln Pills, Purcell, from Nathaniel Lee's tragedy Theodosius; or, 1699, 244: 1719-20. lIl. 277. The Force of Loue,1680, 'The Tune: in DM, in the first batch of additional pagesadded and also to Merry Milk- 'Greenwich maids'inDM,ll,3rd ed.,345 (not to beconfused with the to Pt. II, 2nd ed., 1698,,33, as Park'; also in 'The unrelated tune merry merry Milke Maids' or'The Pills,as above. 'The merry Milk Maids in Green' from the first vol. of DM, 1st Air 52 last time I went o'er the Moor': first line; title 'The ed.,,1651, onwards). Happy Lover's Reflections',words by Allan Ramsay, 'A in his Tea-Table Air 46 Shepherdkept sheep[on a Hill so high]': first line Miscellany, Edinburgh, 1724.ln Orpheus of a song in Pills,lll, 1707, 106; 1,719-20, V, 35. Caledonius, 1725,6. Tune: the version in Pills above is a distantly related Tune: in Orpheus Caledonius, as above, with a bass. The variant. version in Musick for Allan Ramsay's Collection of Scots 'One Sozgs, Air 47 evening having lost my way': first line; title Edinburgh, 1725,78, also with a bass, is less 'The similar in places Happy Clown. A song the words by Mr. Burkhead', to thar in BO. 'Tom on song-sheetBL H.1601,, [333], c.1720. Air 53 Tinker's my true love[, and I am his Dearj': 'Tom Tune: on song-sheetabove; inThe Bird Fancyer'sDelight, first line; title Tinker'; an indecent song in Pills,Y, 1.71,7(ed. Stanley Goldman,1954,18); also inDM,ll'3rd 1714, 1,40;1.719-20. VI. 265. 115 Tune: in I'}illsas above. A variant is in DM, from the 1st times, often witl-r words parodying or alluding to the ed., 1651, 88, to the 10th ed.,,1698. original. The completctune structureis AABA, with four 'l Air 54 am a poor Shepherdundone': first line; title'The brrs to eachstrein. 'Britons Distress'dShepherd' ;in I'ills,V, 17 14, 185; 17 79-20,V1, Air 60 strike Home lrevenge,rcvenge your coun- 284. A popular 18th-c.song, also on severalsong-sheets, try's wrongsl': first line of a song in the tragedy Bondttca, inc. Bl. H.1601 1221]1,c.1720. (perforrned1695, published 1696) adapted probably by Tune: in sourcesabove. Variant in DM, suppl. to the 3rd the actor and playwright George Powell, from Beaumont 'A ed.,1657, No. 32, as New Dan ce or Maheney'; intro- and Fletcher'splay (perf libri septem,1577, 'A by Franciscode Salinas.The first of New Italian Ground'; in Pills as above, u,here the manycomposers to write variationson theground and its remainder of the tune is as given in this edirion. tunewas apparentlyJ.H. Kapsbergerin 1604,with a set 'Green Air 67 sleeves':title ('A new Courtlv Sonet,of the for chitarrone.(This rrm-aiir., i...runrs of .La Folia' Lady Greensleeves.To the new tune of Greensleeves'): foundin variousmusical dictionaries, includingThe New 'Alas first line my love, ye do me wrong', irom the earliest Groue,1980.)The completeground and tun. ir sixteen printed version, in A Handefull of lrleasant Delites,1584. barslong. 'Greensleeves' Two other ballads with in their titles were Air 'There 64 was an old woman [sold puddings and registeredearlier, in 1580. piesl':first two lines;title'The pudding-pye Old *o-"n Tune: derived from the closely related 16th-c. Italian set forth in her colours';ballad first regisieiedin 167s passamezzo 'There grounds, the Romanesca and the antico (as (oneof nine beginning was an old woman' in The alsoare Airs 3, 14,48, 56,57,69). The earliestversions of Oxford Dictionary of Nursery Rhymes, ed. Iona and the tune date from the late 16th c., including that in PeterOpie, Oxford, 1951,430-4). pills, Not in Simpson. william Ballet's MS Lute Book (the version best known 1719-20, containsrwo songsbeginning ,There was an today, becauseof its useby Chappell,l,230,who marries old woman'; eachconrinues differently frn- the ballad it to the earliestwords above). The version in BO appears aboveand has a differenttune .Green-Sleeves from that in BO. earliestin DM,7th ed.,1696,186, as and Tune:in DM, 1Othed., 1699,210, .puddings pies,. 'Green as and Pudding-Pies'; this becomes Sleevesand yellow The balladlacks a runedirection in the Opies'book; the Lace'in the 17th ed.,1721,113. Usedthree times in pills. titlein DM makesrhe connection between iuneand ballad 7719-20, incl. I, 257. SeeSimpson, 269-78, and also likely,although the first two 'Ward's linesd. not fit therune unless John article on Greensleevesin Caldwell (ed.), one repeatsthree syllables,i.e. 'old .sold woman' or The Well-Enchanting Skill: Music, poetry, and Drama in puddings'