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Love! Lust! Longing...Loss by The Good Pennyworths (CD, 2009, Self) New
USD19,99
Aproximadamente17,16 EUR
Estado:
Nuevo
Artículo que nunca se ha abierto y conserva el embalaje original del fabricante. Consulta el anuncio del vendedor para obtener más información.
- ¡Cómpralo ya!Love! Lust! Longing...Loss by The Good Pennyworths (CD, 2009, Self) New
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Recogida:
Recogida local gratis en Lakewood, Ohio, Estados Unidos.
Envío:
Gratis USPS Ground Advantage®.
Ubicado en: Lakewood, Ohio, Estados Unidos
Entrega:
Entrega prevista entre el sáb. 18 oct. y el mié. 22 oct. a 94104
Devoluciones:
30 días para devoluciones. El vendedor paga el envío de la devolución.
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N.º de artículo de eBay:257154325516
Características del artículo
- Estado
- CD Grading
- Mint (M)
- Type
- Album
- Language
- English
- Era
- 2000s
- Case Type
- Jewel Case: Standard
- Case Condition
- Near Mint (NM or M-)
- Style
- Quartet
- Inlay Condition
- Mint (M)
- UPC
- 0700261287201
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Product Identifiers
Record Label
CD Baby, Cdb
UPC
0700261287201
eBay Product ID (ePID)
16046059122
Product Key Features
Format
CD
Release Year
2009
Genre
Classical Artists
Artist
Good Pennyworths
Release Title
Love Lust Longing Loss-An Elizabethan Romp
Dimensions
Item Height
0.29 in
Item Weight
0.07 lb
Item Length
5.56 in
Item Width
4.89 in
Additional Product Features
Number of Tracks
14
Number of Discs
1
Tracks
1.1 Fine Knacks for Ladies 1.2 When from My Love! 1.3 Say Love 1.4 There Is a Ladye [Live] 1.5 Dear, Do Not Your Fair Beauty Wrong [Live] 1.6 It Was a Lover and His Lass 1.7 Barb'ry Ellen 1.8 Heigh Ho! for a Husband 1.9 Have You Seen But a White Lily Grow 1.10 Rest Sweet Nymphs 1.11 Bugle Britches 1.12 Come Again 1.13 Humour Say, What Mak'st Thou Here [Live] 1.14 Toss the Pot [Live]
Notes
About Our Music Today, the music world labels the songs we perform "Early Music," but for people living during the reign of Elizabeth I in England, this was popular music. These songs were performed in private homes, banquet halls, theatres, pubs and on street corners. If a composer were lucky enough, his songs might even be performed at court. The mainstay of our repertoire is lute songs. Lute songs were published in books of 'ayres' with a melody line, lyrics and notated lute accompaniment, some with four-part vocal arrangements. In a lute song, the melody line is always the most important. A madrigal, by comparison, is always written for multiple voice parts and is always sung a cappella (without instrumental accompaniment). It is fully polyphonic and cannot be sung as a solo. With few exceptions, the English composers of the time specialized in one form or the other. Our repertoire also includes popular ballads of the era. These songs were not published in printed books, but have only been discovered in handwritten manuscript form, sometimes with a lute part notated. It is impossible to know for sure who originated the popular ballads of the day, since they were passed orally from musician to musician. A minstrel in 1600 would copy any new song he heard into his "fake book." He might add his own bass line or harmony, or write a new lyric to put his own stamp on it. This led to a great number of regional variations, such as the Appalachian versions you'll hear today, brought by English and Scottish immigrants to the New World. Theatre songs, i.e. songs written for theatrical productions, are also only found in handwritten manuscripts. Robert Johnson, who composed for Shakespeare's company, probably collaborated with Shakespeare on some and adapted existing songs for others. (His songs were later appropriated by other playwrights.) Most true "theatre songs" are different from the other forms in that they are more like monologues - no verses, no repeated choruses. They serve the same dramatic purpose as recitatives and arias in opera. The late Robert Spencer, a 20th century lute song scholar, rescued many English lute songs from oblivion. He believed strongly that to the Renaissance mind, the poetry was most important, the music second, and the singer last. We believe in performing this music with an emphasis on the stories and characters evoked by the lyrics. -Garald Farnham, Artistic Director LYRICS & CREDITS 'Fine Knacks for Ladies' Fine knacks for ladies, Cheap, choice, brave and new; Good pennyworths, but money cannot move. I keep a fair, but for the fair to view; A beggar may be liberal of love. Though all my wares be trash, the heart is true. Great gifts are guiles and look for gifts again; My trifles come, as treasures from my mind. It is a precious jewel to be plain, Sometimes in shell, the Orient's pearls we find. Of others take a sheaf, of me a grain. Within this pack-pins, points, laces and gloves, And divers toys fitting a country fair, But in my heart, where duty serves and loves, Turtles and twins, Court's brood, a heav'nly pair. Happy the heart that thinks of no removes. Music & lyrics John Dowland, pub. 1600 Erika Lloyd, Soprano / Alane Marco, Alto Matt Leisy, Tenor / Garald Farnham, Baritone 'When From My Love' When from my love I looked for love And kind affections due, Too well I found her vows to prove Most faithless and untrue; For when I did ask her why, Most sharply did she reply That she with me did ne'er agree To love but jestingly. Mark but the subtle policies That female lovers find, Who love to fix their constancies Like feathers in the wind. They swear, vow and protest That they love you chiefly best, Yet by and by they'll all deny And say 'twas but in jest. Music John Bartlet, pub. 1606 / lyrics anonymous Matt Leisy, Soloist Alane Marco, Soprano / Erika Lloyd, Alto Matt Leisy, Tenor / Garald Farnham, Baritone & Lute 'Say, Love' Say, Love, if ever thou did'st find A woman with a constan
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