Dear Alain,
The Baltimore Consort did not have that story specifically in mind when we
chose to arrange Cold and Raw with Custer LaRue singing. We thought more
generally, that there is so much 17th century gender-bending where singer's
roles are concerned, that it fit into the spirit
of the turn of the 21st century than of the 16th
of 17th century.
Having said that, some tunes really don't care what time of history it is:
for me Cold and raw is one, Josquin's Mille regrets is another one. In the
end that is where we all meet: Cool tune, dude!
Keep on the pleasure of letting us
Ronn McFarlane wrote:
Dear Alain,
The Baltimore Consort did not have that story specifically in mind when we
chose to arrange Cold and Raw with Custer LaRue singing. We thought more
generally, that there is so much 17th century gender-bending where singer's
roles are concerned, that it fit
Greg M. Silverman at [EMAIL PROTECTED] wrote:
If indeed Mr. Purcell was offended that Queen Mary preferred a vulgar
ballad to one of his refined tunes, he had a lot of nerve, since he
was the author of many a vulgar ballad himself
I think Hawkins meant vulgar in the sense of common or of the
BTW, is there something actually Scottish about cold raw? It was
originally published (I think) as a new Scots song - Is it a falsely
popular (i.e. written by an educated, professional musician possibly
employed by the court or the church), falsely scottish ballad? I am
thinking about the way
of music=20
styles comes from CDs being put into classifications in record stores,=20
radio stations etc.
Nancy Carlin
Dear Alain,
The Baltimore Consort did not have that story specifically in mind when=
we
chose to arrange Cold and Raw with Custer LaRue singing. We thought=
more
generally
of the
term to suggest bawdy is new, probably as the common tongue has become
normal.
But enough, I don't know the story of Cold and Raw, nor any words if it is a
ballad. But to not think it as authentically Scots would be to forget the
condition of a piper/harper in his belted plaid while playing exposed
Thanks to Howard and Jon for their excellent suggestions. I was mostly
puzzled because I thought about the Torah which I think is on a scroll: how
do you handle page turns on a scroll...
Alain
At 09:25 PM 3/15/2004, Howard Posner wrote:
Alain Veylit at [EMAIL PROTECTED] wrote:
But what on
PROTECTED]
Sent: Monday, March 15, 2004 1:22 AM
Subject: Cold and Raw (was Life, the universe...)
Alain Veylit at [EMAIL PROTECTED] wrote:
The superb version by the
Baltimore consort is sung by a woman - definitely not
historically correct,
when you know the lyrics.
Not at all. If anyone cares
,
when you know the lyrics.
Not at all. If anyone cares, there is nothing historically incorrect in
women singing songs in the persona of men (even horny ones) and vice versa,
and in the case of Cold and Raw we even have semi-historical evidence for
it.
Sir John Hawkins (1719-1789) relates how Queen
.
- Original Message -
From: Howard Posner [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Monday, March 15, 2004 1:22 AM
Subject: Cold and Raw (was Life, the universe...)
Alain Veylit at [EMAIL PROTECTED] wrote:
The superb version by the
Baltimore consort is sung by a woman - definitely
, and there is a wonderful
picture of her in the Lute Society web site.
http://www.broadwayceramics.co.uk/lutesoc/index.htm
Best wishes,
Stewart McCoy.
- Original Message -
From: Howard Posner [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Monday, March 15, 2004 1:22 AM
Subject: Cold and Raw (was Life
, 2004 8:18 PM
Subject: Re: Cold and Raw
Hi Stewart,
Do we know of any music she left behind? It seems so much from that
period
was lost: all of Lori, most of Wilson, etc. Also, does anyone know
if a
facsimile of the Lawes duets for D-minor tuning lutes is available
somewhere? It seems odd to me
Orpheus Britannicus, which was
published posthumously, differs in spots from the one in the birthday ode,
which was busier and more interesting. But they are both obviously Cold
and Raw.
Howard Posner
example Orpheus Britannicus, which was
published posthumously, differs in spots from the one in the birthday ode,
which was busier and more interesting. But they are both obviously Cold
and Raw.
Howard Posner
Alain Veylit at [EMAIL PROTECTED] wrote:
But what on earth is signalling a page-turn in
Hebrew-fashion?
It could simply mean turning back to the previous page (for the da capo), as
if reading from right to left as in Hebrew.
Less likely, I think, it could refer to an ethnic stereotype about
My guess as to Hebrew fashion would be rather innocuous. The Englishman of
the 1770's would probably know Jews whom he didn't consider Hebrew. But he
would have seen the observant of the old culture davening (sp?) as they
pray. England of that time had Jews who were of the establishment (and a
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