On Fri, Jul 15, 2011 at 11:50 AM, Matt Seattle
<[1]theborderpi...@googlemail.com> wrote:
On Fri, Jul 15, 2011 at 11:20 AM, Francis Wood
<[2]oatenp...@googlemail.com> wrote:
I think history and evolution have been fairly kind to Isaac Cooper. A
lively 'Miss Forbes' Farewell' is a
On 15 Jul 2011, at 12:29, Francis Wood wrote:
> . . .and another odd, inconsequential and irrelevant fact in the present
> discussion. Shield is buried under the same stone as Salomon who 'brought
> Haydn to England' as the inscription states:
. . . Even more oddly, inconsequentially and irr
Hi Francis,
yes interesting indeed - the midi sounds like a minor plagiarize from a
Purcell air in Dmin -- or bits of downfall of the djinn -- perhaps
O'Carolan varied a tune based on Purcell or was it vice-versa -- I
looked in Anderson vol 1 for Morpeth rant but could not find it -- does
any
On 15 Jul 2011, at 14:48, Dave S wrote:
> The Arethusa is from a musical farce called "Lock and Key" and in the British
> Minstrelsy the melody is assigned to Shield.
Hi Dave,
That's interesting!
More here:
http://www.contemplator.com/sea/arethusa.html
Francis
To get on or off this list
Subject: [NSP] Re: Shield's H'pipe
To: "NSP group"
Date: Friday, 15 July, 2011, 12:42
Impressive, Francis. Now you've even uncovered where Shield has been
Haydn for all these years.
On Fri, Jul 15, 2011 at 12:29 PM, Francis Wood
Hello Matt
Lovely!
--- On Fri, 15/7/11, Matt Seattle
wrote:
From: Matt Seattle
Subject: [NSP] Re: Shield's H'pipe
To: "NSP group"
Date: Friday, 15 July, 2011, 12:42
Impressive, Francis. Now you've even uncovered where Shield has
Impressive, Francis. Now you've even uncovered where Shield has been
Haydn for all these years.
On Fri, Jul 15, 2011 at 12:29 PM, Francis Wood
<[1]oatenp...@googlemail.com> wrote:
On 15 Jul 2011, at 10:41, Francis Wood wrote:
> Finally, there is an odd, tenuous and completely
On 15 Jul 2011, at 10:41, Francis Wood wrote:
> Finally, there is an odd, tenuous and completely inconsequential connection
> between Shield and Morpeth.
. . . .and another odd, inconsequential and irrelevant fact in the present
discussion. Shield is buried under the same stone as Salomon who
--- On Fri, 15/7/11, Francis Wood [1]oatenp...@googlemail.com
wrote:Matt's question raises the interesting issue of how tunes by
known composers become 'traditional tunes' (what does that really
mean?)
Hello Francis
A rather good question. The full title of the 'Folk' degree at
On 15 Jul 2011, Francis Wood wrote:
> there is an odd, tenuous and completely inconsequential connection between
> Shield and Morpeth. Shield is buried in Westminster Abbey.
Shield did not include the tune in his 1817 book: he did include other tunes he
had
collected. There is an article writt
On Fri, Jul 15, 2011 at 11:20 AM, Francis Wood
<[1]oatenp...@googlemail.com> wrote:
I think history and evolution have been fairly kind to Isaac Cooper. A
lively 'Miss Forbes' Farewell' is a cracking tune!
Yes, history, evolution, and Will Atkinson. His is the 'definitive',
most
On 15 Jul 2011, at 10:41, Francis Wood wrote:
> Few people would now play Miss Forbes' Farewell to Banff at the speed Isaac
> Cooper intended it, as a slow song.
I think history and evolution have been fairly kind to Isaac Cooper. A lively
'Miss Forbes' Farewell' is a cracking tune!
Other mem
Proof at last!
On Fri, Jul 15, 2011 at 10:41 AM, Francis Wood
<[1]oatenp...@googlemail.com> wrote:
Shield is buried in Westminster Abbey, adjacent to Muzio Clementi, the
first really significant composer for the piano and subsequent piano
manufacturer. Clementi was 'discovered'
On 15 Jul 2011, at 09:48, Matt Seattle wrote:
> I am fascinated by the 'soup' that accompanies traditional tunes, the
> lore which has its own reality but is different from 'facts'. It is not
> inconceivable that Shield composed the Morpeth Rant; I have seen no
> evidence that convinces me
On Fri, Jul 15, 2011 at 8:12 AM, Anthony
Robb <[1]anth...@robbpipes.com> wrote:
The matter of real importance and certainty, of course, is that it
has
survived in various forms and is a cracking tune.
Agreed, Anthony!
And thanks for reminding us about Phil Ranso
July 2011 08:12
To: nsp@cs.dartmouth.edu; marga...@watchorn7.plus.com
Subject: [NSP] Re: Shield's H'pipe
Hello Margaret
Thanks for that. I hear what you say re Jimmy but this is hardly an
obscure tune and it seems strange that he would pluck that name out of
the air as any o
rious forms and is a cracking tune.
Anthony
--- On Thu, 14/7/11, Margaret Watchorn
wrote:
From: Margaret Watchorn
Subject: [NSP] Re: Shield's H'pipe
To: nsp@cs.dartmouth.edu
Date: Thursday, 14 July, 2011, 22:51
I spent some time with John Armstrong
followed by an instant recall of the tune once it
started.
Best wishes
Margaret
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Matt Seattle
Sent: 14 July 2011 22:04
To: Dartmouth NPS
Subject: [NSP] Re: Shield's H'pipe
To mak
By the way the sound clip of John A playing is the perfect antidote to
the 'hell for leather' approach so prevalent with most (but thankfully
not all) youngsters at the moment.
Anthony
--- On Thu, 14/7/11, Matt Seattle
wrote:
From: Matt Seattle
Subject: [NSP] Re
To make it absolutely clear, it was not I who attached the name
Shield's to the soundclip. Whether the source - JA of C - gave it that
title, I don't know. This is not impossible given the Clough
connection. The FARNE Core Tunes article on Morpeth Rant (not my
work) also gives the Sh
But isn't Matt just quoting the Cloughs' title there?
Beware of secondary sources, in other words -
they don't corroborate where they are drawn from.
A citation of 'The Morpeth Rant' (new or old) from anyone but the Cloughs,
with the Shields' title, from pre-1900 would be interesting -
one from
On Thu, 14/7/11, Matt Seattle
wrote:
From: Matt Seattle
Subject: [NSP] Re: Shield's H'pipe
To: "Anthony Robb"
Cc: "Dartmouth NPS"
Date: Thursday, 14 July, 2011, 20:23
Anthony
You just can't believe everything you r
Anthony
You just can't believe everything you read, even on FARNE or in the
Clough mss! The attribution is definitely 'out there', and is, I
believe, a case of 'iconic attraction'. Tunes become posthumously
attached to the names of famous musicians who neither composed them,
nor
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