CD-SAR 66

A Golden Treasury ofGeorgian Music

Top left: London Baroque

Top right: The City Waites

Bottom: The Broadside Bandwith Lucie Skeaping (front row), 3rd from left) and John Potter (front row, 1st on left)

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London BaroqueIngrid Seifert—violin: Jacobus Stainer, Absam 1661Anne Rohrig—violin: Fedele Barnia, Venice 1771

Charles Medlam—cello: Finnocchi, Perugia c. 1720William Hunt—violone: Eyland 1983 after Ernst Busch, 1640

John Toll—harpsichord: Jacob Kirckman, London 1756

The Broadside BandJeremy Barlow (director)—harpsichord

Alastair McLachlan, Stuart Deeks—violinsRosemary Thorndycraft—bass viol, viola, Marilyn Sansom—cello

George Weigand—lute, mandola, English guitar (18th century cittern)with John Potter—tenor, Lucie Skeaping—mezzo-soprano

The City WaitesRoderick Skeaping—baroque violin, bass viol

Mike Brain—recorders, baroque bassoon, harpsichordRobin Jeffrey—lute, theorbo, cittern, baroque guitar

with Lucie Skeaping—mezzo-soprano, Richard Wistreich—bassArrangements by: Jeremy Barlow tracks 2, 6, 8a, 8b, 10a, 10b

Roderick Skeaping tracks 4a, 4b, 4c all © Matchbox MusicRecorded at Finchcocks, Goudhurst, Kent - London Baroque, Nov 1983,

Valley Recordings, Littleton-on-Severn - Broadside Band, Jan/Feb 1992, City Waites, Apr 1990Notes: based on notes by John Toll (instrumental) and Jeremy Barlow (songs)

Recorded and Produced by Gef Lucena (Saydisc) David Wilkins (Valley Recordings)Front cover illustration: Frederick, Prince of Wales (1707-51) and His Sisters by Philip Mercier 1733

reproduced by permission of The National Portrait Gallery, London© 1984 (London Baroque—originally issued on CD-SAR 14)

©1990 (City Waites—originally issued on CD-SDL 382), ©1993 (Broadside Band—originally issued on CD-SDL 400)

Printed and made in EC ISRC: GBAJX98066 01 to 11

AMON RA RECORDS, THE BARTON, INGLESTONE COMMON,BADMINTON, S. GLOS GL9 1BX, ENGLAND

Fax: 01454 299858 Email: saydisc@aol.comwebsite: www.saydisc.com

My Heart and all's at thy command,And tho' I've never a Foot of Land,Yet six fat Ewes, and one milch Cow,I think, my Jug, is Wealth enow.

A Wheel, six Platters and a Spoon,A Jacket edgd with blue Galloon;My Coat, my Smock is thine, and shallAnd something under best of all.

Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances onoriginal instruments. Visit www.saydisc.com or write for more details and suppliers:CD-SDL 325 Like Waves Against The Sand - trad music from China - pipa, erhu, yanqin, percussion CD-SDL 360 Under The Greenwood Tree - Carols and dances from Thomas Hardy manuscripts, etcCD-SDL 367 Kurokami- Traditional music of Japan -koto/shakuhachi/shamisenCD-SDL 373 Music From The Time Of The Spanish Armada -The York Waits renaissance town bandCD-SDL 374 The Music Of The Hurdy Gurdy - Nigel Eaton & friends—bourreés to VivaldiCD-SDL 376 Disappearing World - Unique recordings of music from 17 endangered cultures CD-SDL 378 Church Bells Of England - 16 famous peals, Cotswolds, Bristol incl. St. Pauls, Westminster CD-SDL 383 Sing Lustily & With Good Courage - Favourite 18th c. hymns - Maddy Prior/ Carnival BandCD-SDL 387 Traditional Arabic Music - Hassan Erraji with Arabesque - ud, nay, saz, darbouka, bandir, etcCD-SDL 388 Music Of the Andes - Caliche - pan-pipes, charango, quena, bombo drum, etcCD-SDL 391 Traditional Songs of Scotland - Ray Fisher with bagpipe, violin, accordion etcCD-SDL 393 English Country Dances - The Broadside Band - favourite Playford dancesCD-SDL 396 Vocal Traditions of Bulgaria - exciting music from the Archives of Radio SofiaCD-SDL 400 English National Songs - Lucie Skeaping & John Potter with The Broadside BandCD-SDL 402 Traditional Songs of England - Jo Freya with fiddles, concertina, hurdy-gurdy, viols, etcCD-SDL 403 Spirit of Polynesia - The David Fanshawe trilogy of traditional Pacific music, volume 1CD-SDL 405 Sea Songs & Shanties - from the last days of sail -Bob Roberts, Cadgwith Fishermen, etcCD-SDL 406 Traditional Songs of Wales - Siwsann George with Welsh triple harp, crwth, hurdy-gurdy, etcCD-SDL 408 The Victorian Musical Box - numerous rare disc and cylinder musical boxesCD-SDL 409 Songs and Dances From Shakespeare - The Broadside Band and singersCD-SDL 413 Cockney Kings of Music Hall - the original recordingsCD-SDL 417 A Celtic Christmas - from Wales, Scotland, Ireland, Isle of Man, Cornwall and BritannyCD-SDL 419 Old English Nursery Rhymes - Vivien Ellis / Tim Laycock and The Broadside BandCD-SDL 422 Compline & Other Chant: Latin & English, nuns of Stanbrook/monks of Prinknash AbbeysCD-SDL 427 Folk Music of Tibet - field recordings of songs and instrumental musicCD-SDL 430 The Celtic Harp - The Celtic heritage of harp music from Wales, Ireland and ScotlandCD-SAR 10 Clarinet Collection - Alan Hacker (historic clarinets) with keyboard, etcCD-SAR 18 Guitar Collection - Nigel North (historic guitars) with Maggie Cole (keyboards)CD-SAR 53 Music For Mandolin - Alison Stevens - mandolin duets, mandolin & fortepianoCD-SAR 62 A Golden Treasury of Elizabethan MusicCD-SAR 63 A Golden Treasury of Medieval MusicCD-SAR 69 A Golden Treasury of Ancient Instruments

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But now, quoth she, the Case is thus,No Rent that he will pay;Therefore your Worship I beseech,To send for him this day.Then straight the Justice for him sentAnd asked the reason why,That he would pay this maid no rentTo which he did reply

Although I hired a Cellar of her,And that possession was mine,I never put anything into itbut one poor Pipe of wine.Therefore my bargain it was hardAs you may plainly seeI from my freedom was debarredSo good Sir favour me.

This fair Maid being ripe of witShe straight replied again,You had two Butts more at the doorWhy did you not roll them in.You had your freedom and your willAs is to you well-knownTherefore I do desire stillFor to receive my own.

The Justice hearing of the CaseDid then give o'er distraintThat he the money should pay downThat she should no longer wait

Withall he told the Vinter fineIf he a tenant be,He must expect to pay the sameFor he could not sit rent free.

But when the money she had gotShe put in into her purseAnd clapt her hand on her Cellar doorAnd Said it was never the worse.Which caused the people all to laughTo see the Vintner fine,Outwitted by a country girlAbout his Pipe of wine.

Come Jug my Honey, let's to bedCome Jug my Honey, let's to bed,It is no Sin, sin' we are wed;For when I am near thee by desire,I burn like any Coal of Fire.To quench thy Flames I'll soon agree,Thou art the Sun, and I the Sea;All Night within my Arms shalt be,And rise each Morn as fresh as he.

Come on then, and couple together,Come all, the Old and the Young,The Short and the Tall;The richer than Croesus,And poorer than Job,For 'tis Wedding and BeddingThat Peoples the Globe.

1 Charles Avison (Newcastle 1709 - Newcastle 1770): London BaroqueSonata op. 5/No. 2 in C min/maj for harpsichord, two violins & cello (1756) con giubilo [3'25"]—con tenerezza [4'59"]

2 Tom Bowling (Charles Dibdin 1789): John Potter with The Broadside Band [4'40"]3 Thomas Arne (London 1710 - London 1778)

Harpsichord Sonata No. 2 in E min (1756): London Baroqueandante [2'39"]—adagio[1'29"]—allegrissimo [1'30"]

4 Bawdy ballads: (from "Pills to Purge Melancholy" published 1719-20):The City Waites with Richard Wistreich & Lucie SkeapingSometimes I Am A Tapster New [3'12"]There Was a Lass of Islington [4'36"]Come Jug, My Honey, Let's To Bed [2'09"]

5 Thomas Arne (London 1710 - London 1778): London BaroqueTrio sonata No.2 in G (1757)largo [1'57"]—con spirito [2'47"]—largo [1'27"]—allegro [2'18"]

6 Begone Dull Care (1793) Lucie Skeaping & John Potter with The Broadside Band [2'01"]

7 George Frideric Handel (Saxony 1685 - London 1759): London BaroqueTrio Sonata (op.2/3) 1732adagio [3'29"]—allegro [2'17"]—adagio [3'17"]—allegro [2'15"]

8 Nancy Dawson (1759): John Potter with The Broadside Band [2'01"]Rule Britannia (Thomas Arne 1740)Lucie Skeaping & John Potter with The Broadside Band [4'50"]

9 Carl Abel (Cothen 1723 - London 1787): London BaroqueSonata op. 9/No. I in A for violin, cello, basso continuomoderato [3'04"]—vivace [2'57"]

10 The Miller of the Dee (Thomas Arne setting 1762)Lucie Skeaping with The Broadside Band [2'39"]The Lass of Richmond Hill (James Hook 1789)John Potter with The Broadside Band [2'54"]

11 John Stanley (London 1712 - London 1786): London BaroqueHarpsichord Concerto op.10/No. 4 in C min (1778) vivace [3'43"]—andante affetuoso [3'31"]—presto [3'14"]

Total duration: 79'20"

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This album represents three musicalaspects of Georgian society. Thesoave instrumental chamber music,

songs of the gentil pleasure gardens andthe low tavern ballads.

London became a draw to composersand musicians of international repute asthe age of the concert promoter began.Music presented on theatre or pleasuregarden stage was aimed at the risingmiddle class and was no longer thepreserve of the court or church.

The instrumental musicEnglish music has always tended tofollow rather than to set the fashion. Inthe first part of the eighteenth century, thepopularity of Italian opera and theinfluence of its greatest exponent,Handel, threatened to obliterate thenative English musical character; later inthis century the influx of the galantstyle—again Italian in origin, butenthusiastically taken up in Germany andFrance—continued this foreigndomination. Nevertheless, the bestEnglish composers of the period,amongst them Arne, Stanley and Avison,emerge with personalities of their own,able to absorb these influences whilstretaining their individuality.

Charles Avison (1709—1770) spent hisentire life in his native Newcastle. Hewas organist of St. Nicholas' Churchfrom 1736, and from 1738 director of theNewcastle Music Society. His reputationas a composer and writer on music spreadfar beyond north-east England. He likedto write informative prefaces to hisworks, and in 1752 published An Essayon MusicaI Expression which, accordingto Burney, was the first such treatise byan Englishman. It ranged fromphilosophical discussion, throughcriticism, to practical advice toperformers.

Avison's attitude towards Handel wasequivocal. In the preface to his sonatasOp. 8 (1764) he criticises therepetitiveness of Handel's concertos butfinishes by saying "If the completestHarmony—the happiest Modulation andthe most striking Invention, have theirpowers; we must repair to the Concertosof Corelli, the solos of Geminiani and thechoruses of Handel, for the Perfection ofthose powers. From these great Originals,other excellent Composers cannot fail toarise, not only as their Disciples, but asOriginals themselves, catching the livingFlame of Harmony, that it may neverexpire." Of these great Originals

Fine Apples and Pears to sell:And as along the Streets she flung,With her basket on her Arm:Her Pears to sell, you may know

it right well,This fair Maid meant no harm.

But as she tript along the Street,Her pleasant Fruit to sell;A Vintner did with her meet,Who lik'd this Maid full well:Quoth he, fair Maid, what have

you there?In Basket decked brave;Fine Pears, quoth she, and if it please yeA taste Sir you shall have.

The Vintner he took a Taste,And lik'd it well, for why;This Maid he thought of all the rest,Most pleasing to his Eye:Quoth he, fair Maid I have a Suit,That you to me must grant;Which if I find you be so kind,There's nothing that you shall want.

Thy Beauty doth so please my Eye,And dazzles so my sight;That now of all my Liberty,I am deprived quite:Then prithee now consent to me,

And do not put me by;It is but one small courtesie,All Night with you to lie

Sir, if you lie with me one Night,As you propound to me;I do expect that you should prove,Both courteous, kind and free:And for to tell you all in short,It will cost you Five Pounds,A Match, a Match, the Vintner said,And so let this go round.

When he had lain with her all Night,Her Money she did crave,O stay, o stay, the other Night,And thy Money thou shalt haveI cannot stay, nor I will not stay,I needs must now be gone,Why then though may'st thy Money

go look,For Money I'll pay thee none

This Maid she made no more ado,But to a Justice went;And unto him she made her moan,Who did her Case lamentShe said she had a Cellar Let out,To a Vintner in the Town;And how that he did then agreeFive Pound to pay her down.

publisher of the day. Over the nexttwenty years Pills went through variouseditions and expanded into five volumes.Then in 1719, Thomas D'Urfeyreassembled and added to the contents,producing a new edition, again in fivevolumes, with the title Songs Compleat,Pleasant and Divertinge. The publisherwas Jacob Tonson. The edition sold outimmediately, and in the second printingD'Urfey reverted to the old Pills title. Headded a sixth volume in 1720.

Sometimes I am a Tapster newSometimes I am a Tapster new, And skilful in my Trade Sir, I fill my Pots most duly, Without deceit or froth Sir: A Spicket of two Handfuls long, I use to Occupy Sir: And when I set a Butt abroach, There shall no Beer run by Sir.

Sometimes I am a Butcher boldAnd then I feel fat Ware Sir; And if the Flank be fleshed well, I take no farther care Sir: But in I thrust my Slaughtering-Knife Up to the Haft with speed Sir; For all that ever I can do, I cannot make it bleed Sir.

Sometimes I am a Cook, by trothAnd in Fleet Street I dwell Sir: At the sign of the Sugar-loaf, As it is known full well Sir: And if a dainty Lass comes by, And wants a dainty bit Sir; I take four Quarters in my Arms, And put them on my Spit Sir.

Sometimes I am a Shoe-maker,And work with silly Bones Sir:To make my Leather soft and moist,I use a pair of Stones Sir:My Lasts for and my lasting Sticks,Are fit for every size Sir;I know the length of Lasses Feet,By handling of their Thighs Sir.

The Tanner's Trade I practice well Sometimes amongst the rest Sir; Yet I could never get a Hair, Of any Hide I dress'd Sir; For I have been tanning of a Hide, This long seven Years and more Sir; And yet it is as hairy still, As ever it was before Sir.

There was a lass of IslingtonThere was a lass of Islington,As I've heard many tell;And she would to Fair London go

Geminiani was Avison's idol. In the samepreface he says: "If we examine theLessons of Geminiani we shall find themfraught with every Beauty. . ." Avison's60 concerti grossi are closely modelledon Geminiani's, and, with his Op. 1 triosonatas, in typical high baroque style. Hisother chamber music, three sets ofsonatas Op. 2, 5 and 8 for harpsichordwith accompaniments for two violins anda violoncello, show another, ratherunexpected influence—Rameau. Theseunusual and remarkable pieces forharpsichord accompanied by violin (orflute) and viola da gamba, published inParis in 1741, created a fashion andgenerated scores of similar works inFrance, Germany and England. As theaccompaniments grew in independenceso the genre developed into the classicalsonata and trio of Haydn and Mozart.

Avison freely and frequentlyacknowledged his debt to Geminiani,Handel, Rameau and Scarlatti; but inthese sonatas his own language emergesas highly individual, reasserting his ownwords "From these great originals otherexcellent composers cannot fail to arise,not only as disciples, but as originalsthemselves." Thomas Augustine Arne (b. London

1711, d. London 1778) was a man of thetheatre. From the moment he received hisfather's blessing to make music hislivelihood, he immersed himself inLondon's theatrical life. His first venturewas a production in 1732 of Handel'sAcis and Galatea at the HaymarketTheatre, in which he, his brother andsister performed. Far from flatteringHandel, this earned his disapproval, as itwas an act of musical piracy. Arne was togrow accustomed to the harsh realities ofthe theatre. He knew failure and successduring the years he composed operas andincidental music for Drury Lane andother theatres. Amongst his successeswere Comus 1738, Thomas and Sally1760 and, most remarkable, Artaxerxes1762—the only English opera after theItalian manner to hold its place in therepertoire into the 19th century. Most ofArne's theatre music was destroyed byfire, but many songs survive in printedcollections, and these form the basis ofhis reputation as a superb melodist.

His relatively few instrumental works(8 harpsichord sonatas, 7 trio sonatas, 4symphonies, 6 harpsichord concertos and8 overtures) show a grasp of compositionwhich goes far beyond the cheerytunefulness for which he is best known.

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In the VIII sonatas or lessons for theharpsichord, published by Walshin 1756,there is sometimes more than a hint ofDomenico Scarlatti; the final movementof no.2 has Scarlatti's characteristicheading Allegrissimo. Scarlatti's 33Essercizi, his only published works,appeared in London in 1738 and weregreatly admired by English musicians.Arne's VII sonatas for two violins with athorough bass for the harpsichord orvioloncello were published a year afterthe harpsichord sonatas in 1757, but theiradherence to the old sonata da chiesa inoutline suggests that they may have beenwritten earlier. Nothing, however, couldbe more galant than the final movementof the second sonata, a nimble minuet,full of feminine cadences, with a typicalrepeated note bass-line.

George Frideric Handel (1685-1759).Handel's chamber music is the source ofmuch discussion amongst scholars as todating and even authenticity; somesonatas are assembled from previouslywritten music or have movementsborrowed for re-use elsewhere. But thetrio sonatas Op. 2, published by Walsh in1732, are fine and solid examples of hisconsummate high baroque style. The

third sonata, like the others in the set, isda chiesa—slow movements in whicht h e v i o l i n s w e a v e m e l o d i o u scontrapuntal lines over a walking bassalternate with vigorous, virtuosic fugues.

Carl Friedrich Abel (b. Cothen 1723, d.London 1787) was one of the manyforeign musicians who made Londontheir home in the eighteenth century. Hisfather, Christian Ferdinand, was gambistat the court of Cothen when J. S. Bachwas kapellmeister there; it is probablethat he taught Prince Leopold to playBach's gamba sonatas. The younger Abelwas also a gambist. After holding courtappointments in Germany and visitingMannheim and Paris on his travels, hecame to London in 1758 where heremained for the rest of his life. Herapidly became known as a player andimpressario. In 1765 he joined forceswith Bach's youngest son, JohannChristian, to inaugurate a concert series.They presented 10 to 15 concerts eachseason until 1781.

Much of the music played at theBach-Abel concerts would have been bythe directors, but they introduced manyyoung musicians to the London public,amongst them the 'cellists John Crosdill

And still have some to spend.Though I may fail yet I rejoice,Another’s good hap to see.

So let us his example take,And be from malice free;Let every one his neighbour serve,As served he’d like to be.And merrily push the can about,And drink and sing with glee;If nobody cares a doit for us,Why not a doit care we.

The first setting of words and musictogether appears to have been the versionby Thomas Arne used here, from hisopera Love in a Village. The tune hadappeared about 40 years earlier with thesong ‘The budgeon it is a delicate trade’;it is a variant of the 17th century countrydance tune ‘Jack Pudding’, which itselfcan be related to the huge ‘Lazarus’ tunefamily.

The Lass of Richmond HillOn Richmond hill there lives a LassMore bright than may day morn,Whose charms all other maids surpassA Rose without a Thorn.Chorus:This Lass so neat, with smiles so sweet

Has won my right good will,I’d crowns resign to call thee mine,Sweet Lass of Richmond hill.

Ye Zephyrs gay that fan the airAnd wanton thro’ the grove.Oh whisper to my charming fairI die for her I love.

How happy will the Shepherd beWho call this Nymph her own,O may her choice be fixed on meMine’s fix’d on her alone.

James Hook composed over 2000 songs;from 1774 he worked as musical directorat Vauxhall Gardens where this song wasfirst sung.

The bawdy songs:Wit and Mirth: Or Pills to PurgeMelancholy was the title given to anincreasingly large collection of popularsongs published between 1698 and 1720,which, in its final, six volume edition(1719-1720), contained well over 1000songs and poems. The collection startedlife at the end of the 17th century as asingle volume compiled and published byHenry Playford, who had succeeded hisfather John Playford as the leading music

Rule BritanniaWhen Britain first at Heav’n’s Command,Arose from out the Azure Main.This was the Charter of the Land, and Guardian Angels sung this strainChorus:Rule Britannia, Britannia rule the Waves,Britons never will be Slaves.

The Nations (not so blest as thee)Must in their Turns, to Tyrants fall:While’ thou shalt flourish great and free,The Dread and Envy of them all.

Still more majestic shall thou rise,More dreadful from each foreign Stroke:As the loud Blast that tears the Skies,Serves but to root thy native Oak:

Thee haughty Tyrants ne’er shall tame:All their Atttempts to bend thee down,Will but arouse thy generous Flame;But work their Woe and thy renown.

The Muses still with Freedom found,Shall to thy happy Coast repair:Blest Isle! with matchless Beauty crown’dAnd manly Hearts to guard the Fair.

This song originated as the finale ofArne’s masque Alfred, first performed in

1740. It has remained popular ever since,although in its grandiose last night of theProms version it may embarrass thosewho are squeamish about brazen displaysof patriotic sentiment. It is worth notingthat in the chorus the original words werethe exhortative ‘Britannia, rule thewaves’, rather than the presumptuous‘Britannia rules the waves’ often sungtoday.

The Miller of the DeeThere was a jolly miller onceLived on the river Dee;He work’d and sang from morn till night,No lark more blithe than he.And this the burden of his songFor ever used to be—Chorus: I care for nobody, no, not I,If nobody cares for me.

The reason why he was so blithe,He once did thus unfold—The bread I eat my hands have earn’d;I covet no man’s gold;I do not fear next quarter-day;In debt to none I be.

A coin or two I’ve in my purse,To help a needy friend;A little I can give the poor,

and James Cervetto. It is tempting tospeculate that Abel's Six sonatas for aviolin, a violoncello and a bass, with athorough bass for the harpsichord Op.9—an unusual variant of the normal triosonata combination—were written forone of these players, and that Bach andAbel provided the continuo. DuringAbel's lifetime interest in his owninstrument, the viola da gamba, waswaning. But his music is far fromarchaic, being firmly in the pre-classicalstyle of J. C. Bach. He wrote prolificquantities of symphonies, concertos,sonatas, quartets and, of course, gambasolos. Their geniality reflects hischaracter, which was admired by a largeand cultured circle of friends, amongstthem Gainsborough, who painted amagnificent portrait of Abel with hisgamba.

John Stanley (b. London 1712, d.London 1786) is best known for his organvoluntaries and fine concerti grossi. Abrilliant pupil of Maurice Greene, hebecame organist of All Hallows, BreadSt. when he was twelve. In 1726 hemoved to St. Andrew's, Holborn, and in1734 he became organist of the InnerTemple, where, it is said, Handel heard

him play his voluntaries. He was also anexcellent violinist and, in spite of hisblindness, was involved in many aspectsof London's musical life. After Handel'sdeath, Stanley assumed responsibility forall performances of his oratorios. In 1762Arne attempted to break this monopolywith a Lenten season of Alexander'sFeast and his own Judith at Drury Lane.Stanley retaliated with a concurrentseason at Covent Garden, performingoratorios by Handel on the very samenights as Arne. In 1779 Stanleysucceeded Boyce as Master of the King'sBand of Musicians.

Stanley's Op. 2 Concerti grossi areperhaps the finest English music in theHandelian high baroque mould. In hislater solo concertos Op. 10, 1778 (SixConcertos for the Organ, harpsichord orFortepiano with accompanyments fortwo violins and a bass) he turns withvigour and imagination to the galantstyle. The energetic fast movements arefull of arresting gestures and sharpcontrasts; the slow movement, an elegantand warmly melodious minuet, providesrespite. This is surely music which, toecho Avison's words, "catches the livingflame of harmony, that it may neverexpire."

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The gentil songs:Tom BowlingHere, a sheer hulk, lies

poor Tom Bowling,The darling of our crew;No more he’ll hear the tempest howling,For death has broach’d him to.His form was of the manliest beauty,His heart was kind and soft,Faithful below he did his duty,And now he’s gone aloft.

Tom never from his word departed,His virtues were so rare,His friends were many, and true hearted,His Poll was kind and fair:And then he’d sing so blithe and jolly,Ah many’s the time and oft!But mirth is turned to melancholy,For Tom is gone aloft.

Yet shall Poor Tom find pleasant weatherWhen he who all commandsShall give, to call life’s crew together,The word to pipe all hands.Thus death, who kings and

tars dispatched,In vain Tom’s life has doffed;For, though his body’s under hatches,His soul is gone aloft.

Charles Dibdin was another prolificsong-writer towards the end of the 18thcentury; he was also an actor-manager,singer and playwright, and most of hissongs come from his shows. He was, byall accounts, a difficult man, who fell outwith most of his colleagues and diedfriendless. The heartfelt ‘Tom Bowling’was written in memory of his elderbrother Captain Dibdin and appeared inthe highly successful show The Oddities.

Begone dull careBegone dull care, I prithee be gone from me,Begone dull care, You and I can never agree:Long time thou has been tarrying hereAnd fain thou woudst me kill,But I’faith dull careThou never shalt have thy will.

Too much care Will make a young man grey,And too much careWill turn an old man to clay:My wife shall dance and I will sing,So merrily pass the dayFor I hold it one of the wisest thingsTo drive dull care away.

This duet appeared in several editionsduring the mid-1790s, and has appearedin many song collections since.

Chappell states that he was informed byThomas Dibdin (Charles’s son), that itspopularity dated from its inclusion in apantomime ballet William Tell at Sadler’sWells in 1793. The words date back to the17th century.

Nancy DawsonOf all the Girls in our Town,The Black, the Fair, the Red, the Brown,That Prance and Dance it up and down,There’s none like Nancy Dawson:Here easy Mein, her Shape; so neat,She Foots, she trips, she looks so sweet,Her very motions are compleat,I die for Nancy Dawson.

See how she comes to give surprise,With Joy and pleasure in her Eyes,To give delight she always tries,So means my Nancy Dawson:Was there no talk t’obstruct the way,No Shuter bold, nor House so gay,A Bet of fifty pounds I’d lay,That I gain’d Nancy Dawson.

See how the Opera takes a run,Exceeding Hamlet, Lear and Lun,Tho’ in it there wou’d be no Fun,Were it not for Nancy Dawson:Tho’ Beard and Brent, charm

ev’ry Night,And Female Peachum’s Justly right,And Filch and Lockit please the sight,’Tis kept up by Nancy Dawson.

See little Davy strut and puffPox on the Opera and such stuffMy House is never full enough,A curse on Nancy Dawson:Tho Garrick he has had his Day,And forc’d the Tow his Laws t’obeyNow Johnny Rich is come in play,With the help of Nancy Dawson.

This is the first printed version of a tunemuch more familiar in variants collectedfrom oral tradition, e.g. ‘I saw threeships’. Nancy Dawson was a dancer whoachieved overnight fame when, in 1759,she replaced an ill male colleague in thehornpipe from a revival of The Beggar’sOpera at Covent Garden. The words, setto the tune of her dance, relate how shebecame the star of the show and stoleaudiences from ‘Little Davy’ Garrick atthe rival Drury Lane Theatre.

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The gentil songs:Tom BowlingHere, a sheer hulk, lies

poor Tom Bowling,The darling of our crew;No more he’ll hear the tempest howling,For death has broach’d him to.His form was of the manliest beauty,His heart was kind and soft,Faithful below he did his duty,And now he’s gone aloft.

Tom never from his word departed,His virtues were so rare,His friends were many, and true hearted,His Poll was kind and fair:And then he’d sing so blithe and jolly,Ah many’s the time and oft!But mirth is turned to melancholy,For Tom is gone aloft.

Yet shall Poor Tom find pleasant weatherWhen he who all commandsShall give, to call life’s crew together,The word to pipe all hands.Thus death, who kings and

tars dispatched,In vain Tom’s life has doffed;For, though his body’s under hatches,His soul is gone aloft.

Charles Dibdin was another prolificsong-writer towards the end of the 18thcentury; he was also an actor-manager,singer and playwright, and most of hissongs come from his shows. He was, byall accounts, a difficult man, who fell outwith most of his colleagues and diedfriendless. The heartfelt ‘Tom Bowling’was written in memory of his elderbrother Captain Dibdin and appeared inthe highly successful show The Oddities.

Begone dull careBegone dull care, I prithee be gone from me,Begone dull care, You and I can never agree:Long time thou has been tarrying hereAnd fain thou woudst me kill,But I’faith dull careThou never shalt have thy will.

Too much care Will make a young man grey,And too much careWill turn an old man to clay:My wife shall dance and I will sing,So merrily pass the dayFor I hold it one of the wisest thingsTo drive dull care away.

This duet appeared in several editionsduring the mid-1790s, and has appearedin many song collections since.

Chappell states that he was informed byThomas Dibdin (Charles’s son), that itspopularity dated from its inclusion in apantomime ballet William Tell at Sadler’sWells in 1793. The words date back to the17th century.

Nancy DawsonOf all the Girls in our Town,The Black, the Fair, the Red, the Brown,That Prance and Dance it up and down,There’s none like Nancy Dawson:Here easy Mein, her Shape; so neat,She Foots, she trips, she looks so sweet,Her very motions are compleat,I die for Nancy Dawson.

See how she comes to give surprise,With Joy and pleasure in her Eyes,To give delight she always tries,So means my Nancy Dawson:Was there no talk t’obstruct the way,No Shuter bold, nor House so gay,A Bet of fifty pounds I’d lay,That I gain’d Nancy Dawson.

See how the Opera takes a run,Exceeding Hamlet, Lear and Lun,Tho’ in it there wou’d be no Fun,Were it not for Nancy Dawson:Tho’ Beard and Brent, charm

ev’ry Night,And Female Peachum’s Justly right,And Filch and Lockit please the sight,’Tis kept up by Nancy Dawson.

See little Davy strut and puffPox on the Opera and such stuffMy House is never full enough,A curse on Nancy Dawson:Tho Garrick he has had his Day,And forc’d the Tow his Laws t’obeyNow Johnny Rich is come in play,With the help of Nancy Dawson.

This is the first printed version of a tunemuch more familiar in variants collectedfrom oral tradition, e.g. ‘I saw threeships’. Nancy Dawson was a dancer whoachieved overnight fame when, in 1759,she replaced an ill male colleague in thehornpipe from a revival of The Beggar’sOpera at Covent Garden. The words, setto the tune of her dance, relate how shebecame the star of the show and stoleaudiences from ‘Little Davy’ Garrick atthe rival Drury Lane Theatre.

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Rule BritanniaWhen Britain first at Heav’n’s Command,Arose from out the Azure Main.This was the Charter of the Land, and Guardian Angels sung this strainChorus:Rule Britannia, Britannia rule the Waves,Britons never will be Slaves.

The Nations (not so blest as thee)Must in their Turns, to Tyrants fall:While’ thou shalt flourish great and free,The Dread and Envy of them all.

Still more majestic shall thou rise,More dreadful from each foreign Stroke:As the loud Blast that tears the Skies,Serves but to root thy native Oak:

Thee haughty Tyrants ne’er shall tame:All their Atttempts to bend thee down,Will but arouse thy generous Flame;But work their Woe and thy renown.

The Muses still with Freedom found,Shall to thy happy Coast repair:Blest Isle! with matchless Beauty crown’dAnd manly Hearts to guard the Fair.

This song originated as the finale ofArne’s masque Alfred, first performed in

1740. It has remained popular ever since,although in its grandiose last night of theProms version it may embarrass thosewho are squeamish about brazen displaysof patriotic sentiment. It is worth notingthat in the chorus the original words werethe exhortative ‘Britannia, rule thewaves’, rather than the presumptuous‘Britannia rules the waves’ often sungtoday.

The Miller of the DeeThere was a jolly miller onceLived on the river Dee;He work’d and sang from morn till night,No lark more blithe than he.And this the burden of his songFor ever used to be—Chorus: I care for nobody, no, not I,If nobody cares for me.

The reason why he was so blithe,He once did thus unfold—The bread I eat my hands have earn’d;I covet no man’s gold;I do not fear next quarter-day;In debt to none I be.

A coin or two I’ve in my purse,To help a needy friend;A little I can give the poor,

and James Cervetto. It is tempting tospeculate that Abel's Six sonatas for aviolin, a violoncello and a bass, with athorough bass for the harpsichord Op.9—an unusual variant of the normal triosonata combination—were written forone of these players, and that Bach andAbel provided the continuo. DuringAbel's lifetime interest in his owninstrument, the viola da gamba, waswaning. But his music is far fromarchaic, being firmly in the pre-classicalstyle of J. C. Bach. He wrote prolificquantities of symphonies, concertos,sonatas, quartets and, of course, gambasolos. Their geniality reflects hischaracter, which was admired by a largeand cultured circle of friends, amongstthem Gainsborough, who painted amagnificent portrait of Abel with hisgamba.

John Stanley (b. London 1712, d.London 1786) is best known for his organvoluntaries and fine concerti grossi. Abrilliant pupil of Maurice Greene, hebecame organist of All Hallows, BreadSt. when he was twelve. In 1726 hemoved to St. Andrew's, Holborn, and in1734 he became organist of the InnerTemple, where, it is said, Handel heard

him play his voluntaries. He was also anexcellent violinist and, in spite of hisblindness, was involved in many aspectsof London's musical life. After Handel'sdeath, Stanley assumed responsibility forall performances of his oratorios. In 1762Arne attempted to break this monopolywith a Lenten season of Alexander'sFeast and his own Judith at Drury Lane.Stanley retaliated with a concurrentseason at Covent Garden, performingoratorios by Handel on the very samenights as Arne. In 1779 Stanleysucceeded Boyce as Master of the King'sBand of Musicians.

Stanley's Op. 2 Concerti grossi areperhaps the finest English music in theHandelian high baroque mould. In hislater solo concertos Op. 10, 1778 (SixConcertos for the Organ, harpsichord orFortepiano with accompanyments fortwo violins and a bass) he turns withvigour and imagination to the galantstyle. The energetic fast movements arefull of arresting gestures and sharpcontrasts; the slow movement, an elegantand warmly melodious minuet, providesrespite. This is surely music which, toecho Avison's words, "catches the livingflame of harmony, that it may neverexpire."

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In the VIII sonatas or lessons for theharpsichord, published by Walshin 1756,there is sometimes more than a hint ofDomenico Scarlatti; the final movementof no.2 has Scarlatti's characteristicheading Allegrissimo. Scarlatti's 33Essercizi, his only published works,appeared in London in 1738 and weregreatly admired by English musicians.Arne's VII sonatas for two violins with athorough bass for the harpsichord orvioloncello were published a year afterthe harpsichord sonatas in 1757, but theiradherence to the old sonata da chiesa inoutline suggests that they may have beenwritten earlier. Nothing, however, couldbe more galant than the final movementof the second sonata, a nimble minuet,full of feminine cadences, with a typicalrepeated note bass-line.

George Frideric Handel (1685-1759).Handel's chamber music is the source ofmuch discussion amongst scholars as todating and even authenticity; somesonatas are assembled from previouslywritten music or have movementsborrowed for re-use elsewhere. But thetrio sonatas Op. 2, published by Walsh in1732, are fine and solid examples of hisconsummate high baroque style. The

third sonata, like the others in the set, isda chiesa—slow movements in whicht h e v i o l i n s w e a v e m e l o d i o u scontrapuntal lines over a walking bassalternate with vigorous, virtuosic fugues.

Carl Friedrich Abel (b. Cothen 1723, d.London 1787) was one of the manyforeign musicians who made Londontheir home in the eighteenth century. Hisfather, Christian Ferdinand, was gambistat the court of Cothen when J. S. Bachwas kapellmeister there; it is probablethat he taught Prince Leopold to playBach's gamba sonatas. The younger Abelwas also a gambist. After holding courtappointments in Germany and visitingMannheim and Paris on his travels, hecame to London in 1758 where heremained for the rest of his life. Herapidly became known as a player andimpressario. In 1765 he joined forceswith Bach's youngest son, JohannChristian, to inaugurate a concert series.They presented 10 to 15 concerts eachseason until 1781.

Much of the music played at theBach-Abel concerts would have been bythe directors, but they introduced manyyoung musicians to the London public,amongst them the 'cellists John Crosdill

And still have some to spend.Though I may fail yet I rejoice,Another’s good hap to see.

So let us his example take,And be from malice free;Let every one his neighbour serve,As served he’d like to be.And merrily push the can about,And drink and sing with glee;If nobody cares a doit for us,Why not a doit care we.

The first setting of words and musictogether appears to have been the versionby Thomas Arne used here, from hisopera Love in a Village. The tune hadappeared about 40 years earlier with thesong ‘The budgeon it is a delicate trade’;it is a variant of the 17th century countrydance tune ‘Jack Pudding’, which itselfcan be related to the huge ‘Lazarus’ tunefamily.

The Lass of Richmond HillOn Richmond hill there lives a LassMore bright than may day morn,Whose charms all other maids surpassA Rose without a Thorn.Chorus:This Lass so neat, with smiles so sweet

Has won my right good will,I’d crowns resign to call thee mine,Sweet Lass of Richmond hill.

Ye Zephyrs gay that fan the airAnd wanton thro’ the grove.Oh whisper to my charming fairI die for her I love.

How happy will the Shepherd beWho call this Nymph her own,O may her choice be fixed on meMine’s fix’d on her alone.

James Hook composed over 2000 songs;from 1774 he worked as musical directorat Vauxhall Gardens where this song wasfirst sung.

The bawdy songs:Wit and Mirth: Or Pills to PurgeMelancholy was the title given to anincreasingly large collection of popularsongs published between 1698 and 1720,which, in its final, six volume edition(1719-1720), contained well over 1000songs and poems. The collection startedlife at the end of the 17th century as asingle volume compiled and published byHenry Playford, who had succeeded hisfather John Playford as the leading music

publisher of the day. Over the nexttwenty years Pills went through variouseditions and expanded into five volumes.Then in 1719, Thomas D'Urfeyreassembled and added to the contents,producing a new edition, again in fivevolumes, with the title Songs Compleat,Pleasant and Divertinge. The publisherwas Jacob Tonson. The edition sold outimmediately, and in the second printingD'Urfey reverted to the old Pills title. Headded a sixth volume in 1720.

Sometimes I am a Tapster newSometimes I am a Tapster new, And skilful in my Trade Sir, I fill my Pots most duly, Without deceit or froth Sir: A Spicket of two Handfuls long, I use to Occupy Sir: And when I set a Butt abroach, There shall no Beer run by Sir.

Sometimes I am a Butcher boldAnd then I feel fat Ware Sir; And if the Flank be fleshed well, I take no farther care Sir: But in I thrust my Slaughtering-Knife Up to the Haft with speed Sir; For all that ever I can do, I cannot make it bleed Sir.

Sometimes I am a Cook, by trothAnd in Fleet Street I dwell Sir: At the sign of the Sugar-loaf, As it is known full well Sir: And if a dainty Lass comes by, And wants a dainty bit Sir; I take four Quarters in my Arms, And put them on my Spit Sir.

Sometimes I am a Shoe-maker,And work with silly Bones Sir:To make my Leather soft and moist,I use a pair of Stones Sir:My Lasts for and my lasting Sticks,Are fit for every size Sir;I know the length of Lasses Feet,By handling of their Thighs Sir.

The Tanner's Trade I practice well Sometimes amongst the rest Sir; Yet I could never get a Hair, Of any Hide I dress'd Sir; For I have been tanning of a Hide, This long seven Years and more Sir; And yet it is as hairy still, As ever it was before Sir.

There was a lass of IslingtonThere was a lass of Islington,As I've heard many tell;And she would to Fair London go

Geminiani was Avison's idol. In the samepreface he says: "If we examine theLessons of Geminiani we shall find themfraught with every Beauty. . ." Avison's60 concerti grossi are closely modelledon Geminiani's, and, with his Op. 1 triosonatas, in typical high baroque style. Hisother chamber music, three sets ofsonatas Op. 2, 5 and 8 for harpsichordwith accompaniments for two violins anda violoncello, show another, ratherunexpected influence—Rameau. Theseunusual and remarkable pieces forharpsichord accompanied by violin (orflute) and viola da gamba, published inParis in 1741, created a fashion andgenerated scores of similar works inFrance, Germany and England. As theaccompaniments grew in independenceso the genre developed into the classicalsonata and trio of Haydn and Mozart.

Avison freely and frequentlyacknowledged his debt to Geminiani,Handel, Rameau and Scarlatti; but inthese sonatas his own language emergesas highly individual, reasserting his ownwords "From these great originals otherexcellent composers cannot fail to arise,not only as disciples, but as originalsthemselves." Thomas Augustine Arne (b. London

1711, d. London 1778) was a man of thetheatre. From the moment he received hisfather's blessing to make music hislivelihood, he immersed himself inLondon's theatrical life. His first venturewas a production in 1732 of Handel'sAcis and Galatea at the HaymarketTheatre, in which he, his brother andsister performed. Far from flatteringHandel, this earned his disapproval, as itwas an act of musical piracy. Arne was togrow accustomed to the harsh realities ofthe theatre. He knew failure and successduring the years he composed operas andincidental music for Drury Lane andother theatres. Amongst his successeswere Comus 1738, Thomas and Sally1760 and, most remarkable, Artaxerxes1762—the only English opera after theItalian manner to hold its place in therepertoire into the 19th century. Most ofArne's theatre music was destroyed byfire, but many songs survive in printedcollections, and these form the basis ofhis reputation as a superb melodist.

His relatively few instrumental works(8 harpsichord sonatas, 7 trio sonatas, 4symphonies, 6 harpsichord concertos and8 overtures) show a grasp of compositionwhich goes far beyond the cheerytunefulness for which he is best known.

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4 13

This album represents three musicalaspects of Georgian society. Thesoave instrumental chamber music,

songs of the gentil pleasure gardens andthe low tavern ballads.

London became a draw to composersand musicians of international repute asthe age of the concert promoter began.Music presented on theatre or pleasuregarden stage was aimed at the risingmiddle class and was no longer thepreserve of the court or church.

The instrumental musicEnglish music has always tended tofollow rather than to set the fashion. Inthe first part of the eighteenth century, thepopularity of Italian opera and theinfluence of its greatest exponent,Handel, threatened to obliterate thenative English musical character; later inthis century the influx of the galantstyle—again Italian in origin, butenthusiastically taken up in Germany andFrance—continued this foreigndomination. Nevertheless, the bestEnglish composers of the period,amongst them Arne, Stanley and Avison,emerge with personalities of their own,able to absorb these influences whilstretaining their individuality.

Charles Avison (1709—1770) spent hisentire life in his native Newcastle. Hewas organist of St. Nicholas' Churchfrom 1736, and from 1738 director of theNewcastle Music Society. His reputationas a composer and writer on music spreadfar beyond north-east England. He likedto write informative prefaces to hisworks, and in 1752 published An Essayon MusicaI Expression which, accordingto Burney, was the first such treatise byan Englishman. It ranged fromphilosophical discussion, throughcriticism, to practical advice toperformers.

Avison's attitude towards Handel wasequivocal. In the preface to his sonatasOp. 8 (1764) he criticises therepetitiveness of Handel's concertos butfinishes by saying "If the completestHarmony—the happiest Modulation andthe most striking Invention, have theirpowers; we must repair to the Concertosof Corelli, the solos of Geminiani and thechoruses of Handel, for the Perfection ofthose powers. From these great Originals,other excellent Composers cannot fail toarise, not only as their Disciples, but asOriginals themselves, catching the livingFlame of Harmony, that it may neverexpire." Of these great Originals

Fine Apples and Pears to sell:And as along the Streets she flung,With her basket on her Arm:Her Pears to sell, you may know

it right well,This fair Maid meant no harm.

But as she tript along the Street,Her pleasant Fruit to sell;A Vintner did with her meet,Who lik'd this Maid full well:Quoth he, fair Maid, what have

you there?In Basket decked brave;Fine Pears, quoth she, and if it please yeA taste Sir you shall have.

The Vintner he took a Taste,And lik'd it well, for why;This Maid he thought of all the rest,Most pleasing to his Eye:Quoth he, fair Maid I have a Suit,That you to me must grant;Which if I find you be so kind,There's nothing that you shall want.

Thy Beauty doth so please my Eye,And dazzles so my sight;That now of all my Liberty,I am deprived quite:Then prithee now consent to me,

And do not put me by;It is but one small courtesie,All Night with you to lie

Sir, if you lie with me one Night,As you propound to me;I do expect that you should prove,Both courteous, kind and free:And for to tell you all in short,It will cost you Five Pounds,A Match, a Match, the Vintner said,And so let this go round.

When he had lain with her all Night,Her Money she did crave,O stay, o stay, the other Night,And thy Money thou shalt haveI cannot stay, nor I will not stay,I needs must now be gone,Why then though may'st thy Money

go look,For Money I'll pay thee none

This Maid she made no more ado,But to a Justice went;And unto him she made her moan,Who did her Case lamentShe said she had a Cellar Let out,To a Vintner in the Town;And how that he did then agreeFive Pound to pay her down.

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But now, quoth she, the Case is thus,No Rent that he will pay;Therefore your Worship I beseech,To send for him this day.Then straight the Justice for him sentAnd asked the reason why,That he would pay this maid no rentTo which he did reply

Although I hired a Cellar of her,And that possession was mine,I never put anything into itbut one poor Pipe of wine.Therefore my bargain it was hardAs you may plainly seeI from my freedom was debarredSo good Sir favour me.

This fair Maid being ripe of witShe straight replied again,You had two Butts more at the doorWhy did you not roll them in.You had your freedom and your willAs is to you well-knownTherefore I do desire stillFor to receive my own.

The Justice hearing of the CaseDid then give o'er distraintThat he the money should pay downThat she should no longer wait

Withall he told the Vinter fineIf he a tenant be,He must expect to pay the sameFor he could not sit rent free.

But when the money she had gotShe put in into her purseAnd clapt her hand on her Cellar doorAnd Said it was never the worse.Which caused the people all to laughTo see the Vintner fine,Outwitted by a country girlAbout his Pipe of wine.

Come Jug my Honey, let's to bedCome Jug my Honey, let's to bed,It is no Sin, sin' we are wed;For when I am near thee by desire,I burn like any Coal of Fire.To quench thy Flames I'll soon agree,Thou art the Sun, and I the Sea;All Night within my Arms shalt be,And rise each Morn as fresh as he.

Come on then, and couple together,Come all, the Old and the Young,The Short and the Tall;The richer than Croesus,And poorer than Job,For 'tis Wedding and BeddingThat Peoples the Globe.

1 Charles Avison (Newcastle 1709 - Newcastle 1770): London BaroqueSonata op. 5/No. 2 in C min/maj for harpsichord, two violins & cello (1756) con giubilo [3'25"]—con tenerezza [4'59"]

2 Tom Bowling (Charles Dibdin 1789): John Potter with The Broadside Band [4'40"]3 Thomas Arne (London 1710 - London 1778)

Harpsichord Sonata No. 2 in E min (1756): London Baroqueandante [2'39"]—adagio[1'29"]—allegrissimo [1'30"]

4 Bawdy ballads: (from "Pills to Purge Melancholy" published 1719-20):The City Waites with Richard Wistreich & Lucie SkeapingSometimes I Am A Tapster New [3'12"]There Was a Lass of Islington [4'36"]Come Jug, My Honey, Let's To Bed [2'09"]

5 Thomas Arne (London 1710 - London 1778): London BaroqueTrio sonata No.2 in G (1757)largo [1'57"]—con spirito [2'47"]—largo [1'27"]—allegro [2'18"]

6 Begone Dull Care (1793) Lucie Skeaping & John Potter with The Broadside Band [2'01"]

7 George Frideric Handel (Saxony 1685 - London 1759): London BaroqueTrio Sonata (op.2/3) 1732adagio [3'29"]—allegro [2'17"]—adagio [3'17"]—allegro [2'15"]

8 Nancy Dawson (1759): John Potter with The Broadside Band [2'01"]Rule Britannia (Thomas Arne 1740)Lucie Skeaping & John Potter with The Broadside Band [4'50"]

9 Carl Abel (Cothen 1723 - London 1787): London BaroqueSonata op. 9/No. I in A for violin, cello, basso continuomoderato [3'04"]—vivace [2'57"]

10 The Miller of the Dee (Thomas Arne setting 1762)Lucie Skeaping with The Broadside Band [2'39"]The Lass of Richmond Hill (James Hook 1789)John Potter with The Broadside Band [2'54"]

11 John Stanley (London 1712 - London 1786): London BaroqueHarpsichord Concerto op.10/No. 4 in C min (1778) vivace [3'43"]—andante affetuoso [3'31"]—presto [3'14"]

Total duration: 79'20"

2 15

London BaroqueIngrid Seifert—violin: Jacobus Stainer, Absam 1661Anne Rohrig—violin: Fedele Barnia, Venice 1771

Charles Medlam—cello: Finnocchi, Perugia c. 1720William Hunt—violone: Eyland 1983 after Ernst Busch, 1640

John Toll—harpsichord: Jacob Kirckman, London 1756

The Broadside BandJeremy Barlow (director)—harpsichord

Alastair McLachlan, Stuart Deeks—violinsRosemary Thorndycraft—bass viol, viola, Marilyn Sansom—cello

George Weigand—lute, mandola, English guitar (18th century cittern)with John Potter—tenor, Lucie Skeaping—mezzo-soprano

The City WaitesRoderick Skeaping—baroque violin, bass viol

Mike Brain—recorders, baroque bassoon, harpsichordRobin Jeffrey—lute, theorbo, cittern, baroque guitar

with Lucie Skeaping—mezzo-soprano, Richard Wistreich—bassArrangements by: Jeremy Barlow tracks 2, 6, 8a, 8b, 10a, 10b

Roderick Skeaping tracks 4a, 4b, 4c all © Matchbox MusicRecorded at Finchcocks, Goudhurst, Kent - London Baroque, Nov 1983,

Valley Recordings, Littleton-on-Severn - Broadside Band, Jan/Feb 1992, City Waites, Apr 1990Notes: based on notes by John Toll (instrumental) and Jeremy Barlow (songs)

Recorded and Produced by Gef Lucena (Saydisc) David Wilkins (Valley Recordings)Front cover illustration: Frederick, Prince of Wales (1707-51) and His Sisters by Philip Mercier 1733

reproduced by permission of The National Portrait Gallery, London© 1984 (London Baroque—originally issued on CD-SAR 14)

©1990 (City Waites—originally issued on CD-SDL 382), ©1993 (Broadside Band—originally issued on CD-SDL 400)

Printed and made in EC ISRC: GBAJX98066 01 to 11

AMON RA RECORDS, THE BARTON, INGLESTONE COMMON,BADMINTON, S. GLOS GL9 1BX, ENGLAND

Fax: 01454 299858 Email: saydisc@aol.comwebsite: www.saydisc.com

My Heart and all's at thy command,And tho' I've never a Foot of Land,Yet six fat Ewes, and one milch Cow,I think, my Jug, is Wealth enow.

A Wheel, six Platters and a Spoon,A Jacket edgd with blue Galloon;My Coat, my Smock is thine, and shallAnd something under best of all.

Some of our SAYDISC unusual, traditional & exotic albums and Amon Ra authentic performances onoriginal instruments. Visit www.saydisc.com or write for more details and suppliers:CD-SDL 325 Like Waves Against The Sand - trad music from China - pipa, erhu, yanqin, percussion CD-SDL 360 Under The Greenwood Tree - Carols and dances from Thomas Hardy manuscripts, etcCD-SDL 367 Kurokami- Traditional music of Japan -koto/shakuhachi/shamisenCD-SDL 373 Music From The Time Of The Spanish Armada -The York Waits renaissance town bandCD-SDL 374 The Music Of The Hurdy Gurdy - Nigel Eaton & friends—bourreés to VivaldiCD-SDL 376 Disappearing World - Unique recordings of music from 17 endangered cultures CD-SDL 378 Church Bells Of England - 16 famous peals, Cotswolds, Bristol incl. St. Pauls, Westminster CD-SDL 383 Sing Lustily & With Good Courage - Favourite 18th c. hymns - Maddy Prior/ Carnival BandCD-SDL 387 Traditional Arabic Music - Hassan Erraji with Arabesque - ud, nay, saz, darbouka, bandir, etcCD-SDL 388 Music Of the Andes - Caliche - pan-pipes, charango, quena, bombo drum, etcCD-SDL 391 Traditional Songs of Scotland - Ray Fisher with bagpipe, violin, accordion etcCD-SDL 393 English Country Dances - The Broadside Band - favourite Playford dancesCD-SDL 396 Vocal Traditions of Bulgaria - exciting music from the Archives of Radio SofiaCD-SDL 400 English National Songs - Lucie Skeaping & John Potter with The Broadside BandCD-SDL 402 Traditional Songs of England - Jo Freya with fiddles, concertina, hurdy-gurdy, viols, etcCD-SDL 403 Spirit of Polynesia - The David Fanshawe trilogy of traditional Pacific music, volume 1CD-SDL 405 Sea Songs & Shanties - from the last days of sail -Bob Roberts, Cadgwith Fishermen, etcCD-SDL 406 Traditional Songs of Wales - Siwsann George with Welsh triple harp, crwth, hurdy-gurdy, etcCD-SDL 408 The Victorian Musical Box - numerous rare disc and cylinder musical boxesCD-SDL 409 Songs and Dances From Shakespeare - The Broadside Band and singersCD-SDL 413 Cockney Kings of Music Hall - the original recordingsCD-SDL 417 A Celtic Christmas - from Wales, Scotland, Ireland, Isle of Man, Cornwall and BritannyCD-SDL 419 Old English Nursery Rhymes - Vivien Ellis / Tim Laycock and The Broadside BandCD-SDL 422 Compline & Other Chant: Latin & English, nuns of Stanbrook/monks of Prinknash AbbeysCD-SDL 427 Folk Music of Tibet - field recordings of songs and instrumental musicCD-SDL 430 The Celtic Harp - The Celtic heritage of harp music from Wales, Ireland and ScotlandCD-SAR 10 Clarinet Collection - Alan Hacker (historic clarinets) with keyboard, etcCD-SAR 18 Guitar Collection - Nigel North (historic guitars) with Maggie Cole (keyboards)CD-SAR 53 Music For Mandolin - Alison Stevens - mandolin duets, mandolin & fortepianoCD-SAR 62 A Golden Treasury of Elizabethan MusicCD-SAR 63 A Golden Treasury of Medieval MusicCD-SAR 69 A Golden Treasury of Ancient Instruments

CD-SAR 66

A Golden Treasury ofGeorgian Music

Top left: London Baroque

Top right: The City Waites

Bottom: The Broadside Bandwith Lucie Skeaping (front row), 3rd from left) and John Potter (front row, 1st on left)

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1 Sonata op. 5/No. 2 in C min/maj forharpsichord, two violins & cello (Charles Avison: 1756) con giubilo [3'25"]—con tenerezza [4'59"]London Baroque

2 Tom Bowling (Charles Dibdin: 1789): John Potter with The Broadside Band [4'40"]

3 Harpsichord Sonata No. 2 in E min(Thomas Arne: 1756): andante [2'39"]—adagio[1'29"]—allegrissimo [1'30"]London Baroque

4 Bawdy ballads: (from "Pills to Purge Melancholy" published 1719-20): Sometimes I Am A Tapster New [3'12"]There Was a Lass of Islington [4'36"]Come Jug, My Honey, Let's To Bed [2'09"]Richard Wistreich & Lucie Skeapingwith The City Waites

5 Trio sonata No.2 in G (Thomas Arne: 1757)largo [1'57"]—con spirito [2'47"]—largo [1'27"]—allegro [2'18"]London Baroque

6 Begone Dull Care (1793): Lucie Skeaping & John Potter

with The Broadside Band [2'01"]7 Trio Sonata (op.2/3) (Handel: 1732)

adagio [3'29"]—allegro [2'17"]—adagio [3'17"]—allegro [2'15"]London Baroque

8 Nancy Dawson (1759): John Potter with The Broadside Band [2'01"]Rule Britannia (Thomas Arne 1740)Lucie Skeaping & John Potter with The Broadside Band [4'50"]

9 Sonata op. 9/No. I in A for violin, cello, basso continuo (Carl Abel)moderato [3'04"]—vivace [2'57"]London Baroque

10The Miller of the Dee (Thomas Arne setting:1762)Lucie Skeaping with The Broadside Band [2'39"]The Lass of Richmond Hill (James Hook 1789)John Potter with The Broadside Band [2'54"]

11Harpsichord Concerto op.10/No. 4 in C min(John Stanley:1778) vivace [3'43"]—andante affetuoso [3'31"]—presto [3'14"]London Baroque

Total duration: 79'20"

A Golden Treasury of Georgian Music

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AMON RA RECORDS, THE BARTON, INGLESTONE COMMON, BADMINTON, S.GLOS. GL9 1BX, ENGLAND.

Fax: +(0)1454 299 858 E-Mail: Saydisc@ aol.com Website: www.saydisc.comMade in EC