| Share page | Visit Us On FB |
|
Notes. |
355 |
||
|
NO.
xxx. Like No. xn. this is a Song, with an accompaniment for the lute, or three othei voices. The parts for Alto, Tenor, and Bass usually published differ materially from those of Ford, whose harmony, it must be admitted, is very inferior to his melody.
xxxm. Perhaps the most popular English ballad of its class. Goldsmith has honoured it with more than one allusion.
xxxiv. Mr. Chappell gives a very different version of this tune. The above is from a song-book of the end of the seventeenth century, The Merry Musician, in which the tune is so absurdly barred that it i& difficult to understand its" rhythm. xxxv. The two parts, by the addition of which this elegant Song\ s turned into a Trio, in so many collections, are modern, xxxvm. John Reading was organist of Winchester College, from 1681 to 1689. All attempts at discovering the author of Dulce Donium have been hitherto unsuccessful.
xxxix. There is a song by Henry Fielding, of two verses only which do not differ essentially from the first two of this, by Leveridge. "The music of Macbeth, now popularly known as Lock's, is the composition of Richard Leveridge, and was performed for the first time on the 25th January, 1704. Lock's music, composed in the reign of Charles II. is entirely different." (See Dr. Rimbault's edition of North's Memoires of Music, p. 97.) XL. This is the only tune I have admitted by a foreign composer,—if Handel, who lived and worked among us for half a century, made himself an Englishman by law, and left his MSS. in our charge, can be regarded as a foreigner. The above was worked into TJte Beggars Opera by Pepusch, also a native of Germany, and a "naturalized" Englishman. xliv. The tune here printed is much older and, I cannot but think, much superior to that which Cctrey himself adapted to his verses. xi.vii. One of the most pleasing productions of Charles Dibdin (b. 1745, d. 1814), poet, musician, and vocalist. His lyrics alone, which form only a portion of his writings, fill two closely printed volumes (roy. 8vo.) in Davidson's Edition. The Editor, Mr. Hogarth, says wall of him, "Dibdin united in his own person the characteristics of the bards of the olden time. He gave to the world, through the medium of his own recitations, his own poetry and his own music. In modern days he is absolutely without a parallel."
xlviii. A tune whose nationality is disputed. (Compare iv.) It is invariably assumed that the Welsh melody Lhvyv Onn and the above have a common origin. But is the resemblance so close as to preclude the possibility of their derivation from independent sources? |
|||