I'd say it's more than likely named for prostitutes, and Purcell very
   likely wrote the dirty stuff, especially after the Chapel Royal purge
   forced him to chase other income streams⦠Plus wan't he supposed to be
   rather fond of singing in the pub?
   I think we often underestimate the place of the bawdy in Early Modern
   life and its sense of humour â the ever prevalent protest of the pious
   can go some way to indicating how rude everyday life was for most but
   the very top strata of society. In a city you were pretty much pressed
   up against various bodily functions and those who service them, and the
   satire they inspire as well as the battle against them seem just as
   present. After all, Pepys is a lusty gent, and the British at least had
   a great love of saucy anatomical street names...
   When thinking of past sexual morality I'm often reminded of a 17th C
   German prayer sheet (on p. 106 here [1]https://bit.ly/2M6Guml ) where
   Christ's wounds and a nail are pretty unashamedly sexed up, as if to
   repurpose sexual feeling as devotion. I'm not saying that this reveals
   any pious motivation behind any naughty tunes by Purcell or Lasso or
   others, but I do think it's revealing about how both sacred and sexy
   were on people's minds enough that someone would try to reconcile them
   so awkwardly.
   Doesn't do it for me though *quietly vomits*

   On 10 Aug 2018, 13:07 +0200, r.turov...@gmail.com, wrote:

     Another Purcell item, priceless-
     "On the night he was wedded quoth Inigo Jones etc,
     ..in I go Jones!"
     Sent from my iPhone

     On Aug 10, 2018, at 5:37 AM, Alain Veylit
     <al...@musickshandmade.com> wrote:
     I seem to remember reading about Purcell being particularly targeted
     by this kind of mirthy-ful mis-attribution. My memory can well be
     wrong. Most of Purcell's music was published posthumously and it was
     very prolific (800 works for someone who died at age 36). Playford,
     the publisher of the Orpheus Britannicus, may have had an interest
     in stretching the attributions of (particularly bawdy) pieces to a
     famous and respected musician, if only just for fun and financial
     gain --
     I am a little bit suspicious that such a high brow musician could
     also be the celebrated author of so many popular tavern songs. It is
     not impossible that he actually wrote 200 songs and 50 catches, all
     the while composing more serious stuff on the side just to make a
     living, but it does not seem impossible either that among those 250
     very profane works some popular tunes directly issued from the
     taverns found their way under his name, for sheer publicity
     purposes. "Pox on you" and the "Indian queen" might be the fruits of
     the same mind, but did he have time to do both really? I admit I
     don't have any solid proof, but I am also highly suspicious of
     English publishing practices at the time (before the first
     copyrights law) . I would be happy to be proven wrong and recognize
     a truly ubiquitous genius. Also, theater music was definitely a
     source of income, but catches were unlikely to provide much
     financial support to the composer, while they would be for a
     publisher.
     Just imagine if J.S. Bach was credited by a contemporary publisher
     with a song entitled "Once, twice, thrice, I Julia tried", would
     that raise an eye brow?? Just curious: did Mozart compose anything
     we'd consider "bawdy" or tavern material?? Or other composers,
     besides Lasso??
     On 08/09/2018 10:06 PM, howard posner wrote:

     On Aug 9, 2018, at 9:15 PM, Alain Veylit <al...@musickshandmade.com>
     wrote:
     Like Henry Purcell, who seems to have found his name attached to a
     very large number of bawdy songs in 17th century England, if I
     recall correctly.

     Is there any reason to think he didn't write the music for all those
     catches? I'm not aware that his authorship has ever been questioned.
     He lived in an age of relaxed sexual mores and worked a great deal
     in the theater.

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References

   1. https://bit.ly/2M6Guml

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