Sample Pages

CANTABILE – THE LONDON QUARTET
THE GREAT BRITISH
A CAPPELLA SONGBOOK
EIGENTUM DES VERLEGERS
·
ALLE RECHTE VORBEHALTEN
ALL RIGHTS RESERVED
PETERS EDITION LTD
A member of the Edition Peters Group
FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK
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Cantabile − The London Quartet
is managed by
artist management
A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin.
Arranged by Cantabile − The London Quartet.
© 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA.
Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd.
All Rights Reserved.
Pomp and Circumstance by Edward Elgar.
Words © 2012 by Margarete and Julian Forsyth.
Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet.
© Copyright 2012 by Cantabile − The London Quartet.
All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet.
Peters Edition Limited
2−6 Baches Street
London
N1 6DN
Tel: +44 (0)20 7553 4000
Fax: +44 (0)20 7490 4921
Email: [email protected]
Internet: www.editionpeters.com
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CONTENTS
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Vorwort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About the Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Über die Stücke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Pastime with Good Company
King Henry VIII of England . . . . . . . . . . 11
Greensleeves
Traditional English . . . . . . . . . . . . . . 14
Oranges and Lemons
Traditional English . . . . . . . . . . . . . . 22
Myfanwy
Mynyddog (Richard Davies),
Joseph Parry . . . . . . . . . . . . . . . . . . 30
Danny Boy, ‘I Would be True’
(Londonderry Air)
Traditional Irish
Frederic E. Weatherly, Howard Walter. . . . . 35
A Man’s a Man for A’ That
Traditional Scottish / Robert Burns
(‘Lady McIntosh’s Reel’) . . . . . . . . . . . . 41
Pomp and Circumstance
Edward Elgar,
Margarete and Julian Forsyth . . . . . . . . . 46
A Foggy Day
George Gershwin and Ira Gershwin . . . . . . 58
Lullaby (‘Hush, Macushla’)
Cantabile – The London Quartet . . . . . . . 66
Myfanwy – Pronunciation Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
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Foreword
We are delighted that some of our arrangements, hitherto gathering dust on our shelves, have now
been published. During the 35 years that we have been singing together we have built up quite
a library, the vast part of which pre-dates computerized scores. It is very exciting that Edition
Peters were ready to contemplate turning the torn manuscript paper, parchment and papyrus into
something legible and, we hope, singable.
Appearing in this Diamond Jubilee year of 2012, when we all have had in mind what being
British is all about, we thought our first collection of arrangements should reflect this, and so we have
sought to choose a range of music from and about London and the British Isles.
We couldn’t begin to count the number of times someone has come up to us after a concert, or
written to us, to ask whether any of our music was published and available. Now that person should
be satisfied, and we hope there may be a few others, too, who might enjoy singing these songs as
much as we do.
The London Quartet comprises countertenor, two tenors and a baritone. In preparing this edition
for soprano, alto, tenor and bass we have sought, wherever possible, to keep both to the spirit and
to the letter of our own scores. In most cases, the pieces in this collection could be sung by an all
male-voice group with no more change than to choose a lower key, or with some judicious octaveor part-swapping; here and there we have indicated where choices can be made. If you would like
to know exactly what we do, our original versions can be downloaded from www.choralstore.com.
Further information on the songs can be found at www.thelondonquartet.com.
Cantabile – The London Quartet
London, September 2012
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Vorwort
Wir freuen uns sehr über das Erscheinen des vorliegenden Bandes mit einer Auswahl unserer Arrangements, auch wenn uns bewusst ist, dass wir dieses Unterfangen vielleicht schon ein wenig eher
hätten in Angriff nehmen können. Seit 35 Jahren singen wir jetzt gemeinsam, und in dieser Zeit
hat sich ein beträchtliches Repertoire angesammelt, das bisher im Regal vor sich hin staubte und
das überwiegend vor dem Zeitalter des Computer-Notensatzes entstand. Dass die Edition Peters
sich mit dem Gedanken anfreunden konnte, unsere handgeschriebenen Papyrus-, Pergament- und
Papierfetzen in etwas Lesbares – und hoffentlich Singbares – zu verwandeln, ist ein aufregender und
wunderbarer Schritt.
Das Jahr 2012, in dem unsere erste Sammlung von Arrangements nun erscheint, war für uns
Briten ein ganz besonderes Jahr, konnten wir doch das 60. Thronjubiläum von Königin Elisabeth II.
feiern. Aus diesem Anlass haben wir eine Reihe von Werken ausgewählt, die von London und den
britischen Inseln handeln oder hier entstanden.
Wir haben aufgehört zu zählen, wie oft nach unseren Konzerten jemand auf uns
zukommt oder uns schreibt, um sich zu erkundigen, ob unsere Stücke im Druck
erschienen und im Handel erhältlich sind. Dieser Jemand kann jetzt aufatmen, und wir
hoffen, dass es auch darüber hinaus noch die eine oder andere Sängergruppe gibt, der es
genauso viel Freude macht wie uns, dieses Repertoire zu singen.
Das London Quartet besteht aus Countertenor, zwei Tenören und Bariton. Beim Einrichten der
vorliegenden Ausgabe für Sopran, Alt, Tenor und Bass haben wir versucht, Charakter und Notentext
unserer Originalfassungen so weit wie möglich beizubehalten. Die meisten Stücke dieser Sammlung
lassen sich auch von einem reinen Männerensemble singen; dazu genügt es, eine tiefere Tonart zu
wählen oder einzelne Stimmen hier und dort behutsam zu tauschen oder zu oktavieren. Vereinzelt
haben wir auch gekennzeichnet, wo Alternativen möglich sind. Unsere eigenen Versionen lassen sich
zum Vergleich bei www.choralstore.com herunterladen, und nähere Informationen zu den Stücken
sind unter www.thelondonquartet.com verfügbar.
Cantabile – The London Quartet
London, im September 2012
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About the songs
Pastime with Good Company
King Henry VIII of England (1491–1547)
Henry, as the second son of Henry VII, did not expect to be king, and so did not have the high-pressure
childhood of his older brother Arthur, who should have been king. Perhaps this is why, after the unexpected
death of his brother, King Henry VIII’s skill as a poet and composer would seem to be greater than your average
King of England. Not that his fighting, hunting and partying were anything but excellent...
This piece is in the British Library as part of the Henry VIII manuscript (c.1513), with 13 other works,
signed ‘by the King’s hand’.
Greensleeves
Traditional English; words from A Handful of Pleasant Delights (1584)
Delightful as it would be to say that this, like ‘Pastime with Good Company’, was composed by Henry VIII,
it appears that the Italian verse form in which it is written did not arrive in England until years after Henry’s
death. First mentioned in the 1580s, it is an Elizabethan tune (Elizabeth I reigned 1558–1603). While there
are many more verses, we consider these four to be the most beautiful.
Oranges and Lemons
Traditional English
This traditional English nursery rhyme mentions the bells of many of London’s churches. It was first printed
in Tommy Thumb’s Pretty Songbook around 1744; a dance entitled ‘Oranges and Lemons’ also appeared in 1665 in
Playford’s Dancing Master, but it is not clear that the two versions are linked. The bells mentioned in the song
were all, it seems, in and around the City of London (now London’s financial district), although it is not certain
exactly which churches the song refers to. Here are the best ideas:
• St Clement’s: St Clement Danes or St Clement Eastcheap (both near the wharves where citrus fruits were
landed in the Port of London)
• St Martin’s: St Martin Ongar or St Martin’s Lane (both in the City, where moneylenders lived)
• Old Bailey: St Sepulchre-without-Newgate (opposite The Old Bailey – the Central Criminal Court
for England and Wales, near the old Fleet Prison where debtors were held)
• Shoreditch: St Leonard’s, Shoreditch (just outside the City walls)
• Stepney: St Dunstan’s, Stepney (also just outside the City walls)
• Bow (pronounced as in ‘bow and arrow’): St Mary-le-Bow in Cheapside
‘Oranges and Lemons’ has also – erroneously – been linked with the ubiquitous Henry VIII. It has been
supposed that it refers to his six wives – but the truth would seem to be that it was written at different times,
and earlier versions of the poem mention more than six bells!
Myfanwy
Joseph Parry (1841–1903); words by Mynyddog (Richard Davies) (1833–1877)
‘Scratch any Welshman,’ it is said, ‘and he will sing’ – and as likely as not he will sing ‘Myfanwy’, this simple
but beautiful iconic anthem to love lost. Its composer, Joseph Parry, lived for a number of years in the USA,
and indeed he used the name ‘Pencerdd America’. The author of the poem, the bard Mynyddog, could not
have chosen a more Welsh subject: Myfanwy, a name which conjures up various legends; indeed Parry’s own
childhood sweetheart was called Myfanwy. Another of Parry’s tunes, ‘Aberystwyth’ was used in South Africa’s
national anthem, ‘Nkosi Sikelel’ iAfrika’.
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Danny Boy (‘I would be true’)
Traditional Irish;
words by Frederic E. Weatherly (1848–1929)
and Howard Walter (1883–1918)
This tune, ‘Londonderry Air’, is an old Irish melody. Many different lyrics have been added to it: we provide
two in this setting. The words by Frederic Weatherly, an English lawyer, lyricist and author, are perhaps the
most well-known. The words by Howard Walter, written in 1906, are famous for having been performed at
the funeral of Diana, Princess of Wales in 1997.
A Man’s a Man for A’ That
Traditional Scottish (‘Lady McIntosh’s Reel’);
words by Robert Burns (1759–1796)
Robert Burns is the national poet of Scotland. Known to be a supporter of both the American and French
revolutions, perhaps he had in mind Thomas Paine’s recent The Rights of Man (1791) when he wrote this
poem in 1795. The song was sung at the re-opening of Scottish Parliament in 1999 and at the funeral of the
inaugural First Minister of Scotland, Donald Dewar, in 2000.
Pomp and Circumstance
Edward Elgar (1857–1934);
words by Margarete and Julian Forsyth
When creating our Best of British show for German and subsequently Belgian theatres, we needed a
stirring piece of patriotic music, but with suitably self-deprecating words. We decided that Elgar’s
Pomp and Circumstance March No. 4 would be the best tune for this purpose (although the more
famous tune, ‘Land of Hope and Glory’, from March No. 1 is included here to introduce it). When it came to the
lyrics, we approached the wonderfully creative Maggie and Julian Forsyth (a great couple – both directors,
translators, writers and actors): they concocted a fabulous list of things British.
A Foggy Day
George Gershwin (1898–1937);
words by Ira Gershwin (1896–1983)
‘A Foggy Day’ was first sung by Fred Astaire in the 1937 film, A Damsel in Distress. It was originally
entitled ‘A Foggy Day (In London Town)’: a great American composer’s take on our great capital city –
listen out for the Westminster Chimes of London’s Big Ben. We wrote this arrangement in tribute to
Gene Puerling, who kindly encouraged us in our writing. He was the master of four-part male-voice jazz
arrangements – nothing surpasses his own vocal group, the Hi-Lo’s.
Lullaby (Hush Macushla)
Cantabile – The London Quartet
‘Macushla’ is a transliteration of part of the Irish phrase, a chuisle mo chroí (‘my heart’s pulse’), and thus
mo chuisle means ‘darling’ or ‘sweetheart’. When we chose to put an original song on our CD Lullabyes
and Goodbyes, our own tenor, Mark Fleming, who remembered the rhyming title from when he was very small,
came up with this lullaby, which immediately had the other three of us under its spell.
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Über die Stücke
Pastime with Good Company
Heinrich VIII. von England (1491–1547)
Als zweitältester Sohn von Heinrich VII. konnte Heinrich VIII. nicht damit rechnen, einmal König zu
werden. Im Gegensatz zu seinem älteren Bruder Arthur, der den Thron erben sollte, verlebte er daher
eine recht unbeschwerte Kindheit. Vielleicht ist dies der Grund, warum König Heinrich VIII. nach dem
unerwarteten Tod seines Bruders größeres Talent zum Dichten und Komponieren an den Tag legte, als man
es von englischen Königen im Allgemeinen gewohnt war. Wobei seine Begabung zum Kämpfen, Jagen und
Feiern natürlich völlig außer Frage steht …
Zusammen mit dreizehn anderen Werken bildet das Stück die Handschrift Heinrichs VIII. (ca. 1513), die
sich in der British Library befindet und den Hinweis „By the King’s Hand“ trägt.
Greensleeves
Englische Volksweise; Text aus A Handful of Pleasant Delights (1584)
So schön es auch wäre zu behaupten, dass dieses Stück ebenso aus der Feder von Heinrich VIII. stammt wie
„Pastime with Good Company“, scheint die zugrunde liegende italienische Gedichtform doch erst einige
Jahre nach Heinrichs Tod bis nach England vorgedrungen zu sein. Erwähnt wird das Werk erstmals in den
1580er Jahren, es handelt sich also um ein Lied aus der elisabethanischen Zeit (Elisabeth I. regierte von 1558
bis 1603). Es existiert noch eine ganze Reihe weiterer Strophen, doch die vier hier ausgewählten sind unserer
Ansicht nach die schönsten.
Oranges and Lemons
Englische Volksweise
In diesem traditionellen englischen Kinderreim werden die Glockenklänge mehrerer Londoner Kirchen
aufgezählt. Gedruckt erschien das Stück erstmals um 1744 in Tommy Thumb’s Pretty Songbook; ein Tanz mit
dem Titel „Oranges and Lemons“ findet sich auch in John Playfords Dancing Master von 1655, wobei jedoch
unklar ist, ob zwischen den beiden Fassungen eine Verbindung besteht. Die im Lied erwähnten Glockengeläute
scheinen sämtlich aus der City of London (dem heutigen Finanzdistrikt) und aus der unmittelbaren Umgebung
zu stammen, wenn auch nicht sicher ist, um welche Kirchen es sich handelt. Am wahrscheinlichsten sind
folgende Möglichkeiten:
• St. Clement’s: St. Clement Danes oder St. Clement Eastcheap (beide in der Nähe der Kais, an denen im
Londoner Hafen die Zitrusfrüchte angelandet wurden)
• St. Martin’s: St. Martin Ongar oder St. Martin’s Lane (beide im Geldverleiher-Viertel der City)
• Old Bailey: St. Sepulchre-without-Newgate (gegenüber von „Old Bailey“, dem Zentralen
Strafgerichtshof von England and Wales, in der Nähe des ehemaligen Fleet Prison, wo säumige
Schuldner inhaftiert wurden)
• Shoreditch: St. Leonard’s, Shoreditch (direkt vor den Mauern der City)
• Stepney: St. Dunstan’s, Stepney (ebenfalls direkt vor der Stadtmauer)
• Bow (gesprochen wie „low“): St Mary-le-Bow im Stadtviertel Cheapside
Auch Oranges and Lemons wurde fälschlich dem umtriebigen Heinrich VIII. zugeschrieben. Man sah darin einen
Hinweis auf seine sechs Frauen – in Wirklichkeit scheint das Lied jedoch nach und nach entstanden zu sein,
und in frühen Fassungen des Gedichts kommen mehr als sechs Kirchengeläute vor!
Myfanwy
Joseph Parry (1841–1903); Text von Mynyddog (Richard Davies) (1833–1877)
Einem englischen Sprichwort zufolge muss man an einem Waliser nur kratzen, schon fängt er an zu singen
– und höchstwahrscheinlich bringt er dann „Myfanwy“ zu Gehör, ein schlichtes, aber herrliches Lied über
verlorene Liebe, das in Wales großen Symbolwert hat. Der Komponist, Joseph Parry, lebte etliche Jahre in
den USA und verwendete sogar als Pseudonym den Namen „Pencerdd America“. Autor des Gedichttexts
war der „Barde“ Mynyddog, und er hätte kaum einen anderen Stoff finden können, der so eng mit Wales
verbunden ist: Der Mädchenname Myfanwy erinnert an eine Vielzahl von Sagen und Legenden – und auch die
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9
erste Jugendliebe des Komponisten selbst hieß Myfanwy. Ein anderes Werk aus Parrys Feder, „Aberystwyth“,
ist heute Teil der südafrikanischen Nationalhymne „Nkosi Sikelel’ iAfrika“.
Danny Boy („I would be true“)
Irische Volksweise;
Text von Frederic E. Weatherly (1848–1929)
und Howard Walter (1883–1918)
Bei dieser Melodie, „Londonderry Air“, handelt es sich um eine alte irische Volksweise. Viele verschiedene
Texte wurden dazu gesungen; in unserem Arrangement verwenden wir zwei davon. Wohl am bekanntesten
sind die Verse von Frederic Weatherly, einem englischen Juristen, Dichter und Schriftsteller, während der
1906 entstandene Text von Howard Walter durch seine Verwendung beim Begräbnis von Prinzessin Diana im
Jahr 1997 zu Berühmtheit gelangte.
A Man’s a Man for A’ That
Schottische Volksweise (Lady McIntosh’s Reel);
Text von Robert Burns (1759–1796)
Robert Burns ist Schottlands Nationaldichter. Es ist bekannt, dass er Anhänger der Revolutionen in Amerika
und Frankreich war, und als solcher hatte er vielleicht Thomas Paines einige Jahre zuvor entstandenes Buch
The Rights of Man (1791) im Sinn, als er 1795 dieses Gedicht schrieb. Das Lied erklang 1999 bei der Eröffnung
des wiedergegründeten schottischen Parlaments sowie beim Begräbnis des im Jahr 2000 verstorbenen ersten
schottischen Ministerpräsidenten, Donald Dewar.
Pomp and Circumstance
Edward Elgar (1857–1934),
Text von Margarete und Julian Forsyth
Bei der Vorbereitung unseres Programms Best of British, mit dem wir zunächst in Deutschland, dann in
Belgien auf Tournee waren, brauchten wir ein Stück mit ergreifend patriotischer Musik, das zum Ausgleich
aber einen eher selbstironischen Text haben sollte. Wir beschlossen, dass der Marsch Nr. 4 aus Elgars Pomp
and Circumstance sich am besten als Melodie eignen würde (während die bekanntere Weise „Land of Hope and
Glory“ aus dem Marsch Nr. 1 hier als Einleitung erklingt). Mit Blick auf den Text wandten wir uns an das
wunderbar kreative Duo Maggie und Julian Forsyth (beide sind als Regisseure, Übersetzer, Schriftsteller und
Schauspieler tätig), und sie lieferten uns eine fabelhafte Liste all dessen, was typisch britisch ist.
A Foggy Day
George Gershwin (1898–1937);
Text von Ira Gershwin (1896–1983)
„A Foggy Day“ war erstmals 1937 in dem Film A Damsel in Distress („Ein Fräulein in Nöten“) zu hören,
gesungen von Fred Astaire. Ursprünglich lautete der Titel des Stücks „A Foggy Day (In London Town)“: Der
berühmte amerikanische Komponist blickt hier auf die berühmte englische Hauptstadt – man achte auf den
Glockenschlag von Big Ben. Unser Arrangement entstand als Hommage an Gene Puerling, der uns in unserer
Arbeit freundlich ermutigte. Er war der unbestrittene Meister des vierstimmigen Jazzarrangements für Männerstimmen – und seine eigene Vokalgruppe, The Hi-Lo’s, bleibt unübertroffen.
Lullaby (Hush Macushla)
Cantabile – The London Quartet
„Macushla“ ist eine lautschriftliche Übertragung, die sich vom irischen Ausdruck „a chuisle mo chroí“ („meines
Herzens Schlag“) ableitet; „mo chuisle“ bedeutet also „mein Herz“ oder „mein Liebling“. Nachdem wir
beschlossen hatten, für unser Album Lullabyes and Goodbyes auch ein eigenes Stück aufzunehmen, erinnerte
sich unser Tenor Mark Fleming an diese gereimte Wendung aus seiner Kindheit und dachte sich das hier
abgedruckte Schlaflied aus, das uns alle sofort in seinen Bann zog.
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Pastime with Good Company
11
from the album In Cambridge
Spritely
h = 120
G ?
Optional
Descant
(Verse 3)
1 B :
G
:
5555 B
poco f
Ah
f 1st, p 2nd, f 3rd
Soprano/
Alto
Pas
Youth
Com
B:
G i
Pas
5
-
Youth
Com
Bass
Piano (for
rehearsal
only)
-
B:
G
6
2
B:
G B:
i shall
B :
2
ill,
vi
-
shall
ill,
vi
G B ::
B
B :
-
Pas
Youth
Com
G BB ::
good
some
with
5
5
-
- til
-
un
some
ces
- til
-
un
some
ces
5
55
I
pas
to
-
5 5 B
pas
to
I
I
-
pas
to
5
55
good com
some dall
with ho
5
5
I
I
B:
die
tance
flee
B:
die
tance
flee
B:
5 5 B
-
5 E5 !5 5
5 B
5 B
com
dall
ho
5 B:
B:
5 5 E5 !5 5
com
dall
ho
5 5:
B:
'
- til
5
B:
B:
B:
5
un
some
ces
5
-
B:
time
with
must
have
pa - ny
5
5
B:
5
-
5 5:
time
with
must
have
pa - ny
f 1st, p 2nd, f 3rd
1 G B:
shall
ill,
vi
-
B:
good
some
with
5
5 '
5 4 5 5 5 5 B:
with
time
have
must
pa - ny
f 1st, p 2nd, f 3rd
Tenor
King Henry VIII of England
Arranged by Cantabile – The London Quartet
5
5 ::
5
B:
4
4
4
4
die
tance
flee
B:
B:
B:
4
4
5 B:
5 5 5 B:
-
-
pa - ny
i - ance
nes - ty
I
of
is
-
-
pa - ny
i - ance
nes - ty
I
of
is
-
5 B:
?
B:
and
or
tue
love
good
vir -
and
or
tue
5 B:
pa - ny
i - ance
nes - ty
I
of
is
B:
5
5 5 5
5 5
55
love
good
vir -
5 B:
5 5 5 B:
B ::
B
5
love
good
vir -
B:
B:
B:
5
5
5
5
and
or
tue
5
5
5
:
5 5 5 5 B
5
5
5
(Ah)
B:
gruch*
com
com
-
who
pa pa -
lust
ny
ny
B:
but
me is
gruch*
com
com
-
who
pa pa -
lust
ny
ny
but
me is
gruch*
com
com
-
who
pa pa -
lust
ny
ny
but
me is
B:
B:
B:
B:
B:
5
5
5
5
5
B:
B:
B:
B:
5
5
5
5
5
*gruch: (be)grudge
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Greensleeves
14
A Handful of Pleasant Delights (1584)
Soprano
1 =
G 0
0
0
0
G =
0
0
0
0
G =
i
0
0
0
0
Alto
Tenor
Bass
Piano (for
rehearsal
only)
Traditional English
Arranged by Cantabile – The London Quartet
mf
5 5 5 5: 5 5 5 5 5 : 5 5 5 5 5 5 5 5 5 5 5
2 -
A
G =
5
- las, my love, you do
0
5
5 5: 5 5
me wrong To
cast me off
0
5 5: 5 5
5
dis - court - eous - ly; And
0
5
0
5 5 5 5
5
1 G 0
0
0
0
0
0
G 0
0
0
0
0
0
G i
0
0
0
0
0
0
5
5
5 5
5: 5: 5 5 5
5
5 5 5: 5 5 5 5 5 5 5: 5 5!5 5 5 5 5 5 =
5 5 : 55
2 -
f
I have loved you so
G 0
long, De
0
5
5 5 5: 5 5 5 5 5 5
- light - ing in your com - pa - ny
0
Green - sleeves was all my joy,
0
0
0
5: 5 5 !5 5 5 5 5 = 5: 5: 5 5 5 5 5 : 5 5
5
Note: the tune changes from the first half to the second – C-s and C=s all as marked.
Cantabile Anthology LAYOUT.indd 14
10/8/2012 1:07:07 PM
15
1 G 11
0
G 0
G i
0
0
0
0
0
0
0
0
0
0
4:
mf
4 5
I
0
0
0
0
0
5: 5: 5 5 5
5 5 5 5 5 5 5 5 =
5 5 5 5 5: 5 5!5 55 5: 5 =
2 -
p
Green - sleeves was my de - light, Green - sleeves was my heart of gold, And who but la
G 0
0
5:
5 5 5 5 5 5 5 5 =
1 mp
G B:
17
B:
0
5:
B:
0
0
- dy Green - sleeves
4:
5 5 5
5 5 5 5 5: 5 5 !5 5 5 5:
5 = B:
5:
Oo
4 5
5 =
5: 5:
Oo
5 5 5 :55 5 5 5
G 5 5 5 :55 5 5 5: 5 5 5 5 55 5 5 5
55
55
B:
have been rea - dy at your hand, to grant what - e
G B :
i
Oo
mp
B:
2 mp
-
B:
B:
B :
5:
(you would)
5:
G 5 5 5 : 5 5 55 5 5: 5 5 55 5 5 5 5 55
BB::
B:
B :
5:
5 = B:
Oo
5 = B:
Oo
Cantabile Anthology LAYOUT.indd 15
5: 5:
- ver thou would’st crave, I have both wa - ged life and land, your
5: 5:
Oo
5
55 5 5 5 5 : 5 5 55 5 55 5 5
5:
B:
B:
5: 5:
5:
10/8/2012 1:07:08 PM
22
Oranges and Lemons
1 G 0
q = 160
Soprano
Traditional English
Arranged by Cantabile – The London Quartet
f
55 5 5 5 5 5 5 5 5 5 5 B
O-ran-ges and
Alto
G 0
Tenor
G B:
i Bong
2 BB ::
f
Piano (for
rehearsal
only)
-
0
Bong
G 0
BB ::
B :
0
B:
BB ::
0
5 5 5 5
BB ::
B:
far -things say the bells of
2
0
-
0
0
0
0
St
Cantabile Anthology LAYOUT.indd 22
BB ::
BB ::
BB ::
BB ::
0
BB ::
0
0
0
0
5
0
5
5
B
0
?
B
5
BB ::
B :
5 5 5
BB ::
B:
Bong
0
BB ::
Bong
B:
B
B:
B :
Bong
0
B:
0
0
0
5
B:
0
Mar -tin’s
0
5 5
0
0
5
4
Bong
5
0
5 5 5
5 B
0
0
owe you five
5 5 5 5
(If one per part, sing top part for Bong.)
0
G 5
0
Bong
8
G
i
0
I
Bong
1
G 5 5 5 5 5 5 5
G
0
Cle - ment’s
(If one per part, sing first bass for Bong.)
f
Bass
Le-mons say the bells of St
5 5 5 5
?
0
BB ::
B :
BB
4
5 5 5 5
‘When will you
pay me?’ say the
5 5 5
5 5 5 5
‘When will you
pay me?’ say the
BBB :::
BB ::
B :
BB
B
5 5 5
4
55
0
55
55
55
5 55 55
10/8/2012 1:07:09 PM
23
1
G
15
0
BB ::
0
BB 4 5 5 5
5
5 4 5 5 5 5
Bong
G
0
BB ::
0
Bong
G 5 5 5 5 B
i bells of Old Bai-ley
0
-
0
bells of Old Bai-ley
0
5
55 55 5
1 5
G 24
‘When
BB ::
B :
55 B
5
5
will
that
Ah
G B :
i
Ah
B:
2 -
Cantabile Anthology LAYOUT.indd 23
B:
5 4 4 B :
BB ::
BB ::
4 4 5 5 5 5 5
55 55 5
5
5 4 55 55 555 555 55
BBB
4
BB ::
B :
0
G B :
G B:
‘When I grow rich’
B
be?’
say the bells of Shore - ditch
4 4 5 5 5 5 5
5 5
5
5
say the
bells
of
B:
B
B:
B:
B:
B
5
BB::
5
5
BB:
BB ::
5
5
5 4 4 B :
5B
B:
B
Ah
BB ::
5 4 4
B :
55
4 4 B :
0
B:
0
B:
0
Step - ney
5
5
5
B:
B
Ah
5B
:
Ah
say the bells of Shore - ditch
5 5
5
4 4 5 5 5 5 5
Ah
say the bells of Shore - ditch
BB ::
B:
Ah
5 4 4 B:
Bong
0
say the bells of Shore - ditch
BB 4 5 5 5 5 4 5 5 5 5 5
Bong
5 5 5 5 B
2 G
‘When I grow rich’
5 4 4 B :
5
5
B:
B:
5
B
5
5
5
5
I’m
sure
I
don’t
0
5
5
5
5
10/8/2012 1:07:10 PM
30
Myfanwy
5:
p
Bass I / soloist
5
Why
*Pa
mp
5 B
4
5
clear?
di?
B
8
Your
A’th
mf
4 5
near?
i?
Where
Pa
B
12
4
true?
ffôl?
1
:
S. G ?
16
G ?:
A.
G ?:
i
T.
f
5
Where
Pa
5 5 5 5: 5 5 B
it an - ger, O
mae dic - ter, O
is
5:
- ham
5:
the smile that once most ten
mae’r wên oedd ar dy we
is
le
5
5
5
5:
the sound of
mae sain dy
your
ei
5 : 5 55
5
p
Piano (for
(rehearsal
only)
-
G ?:
B
5
5 5: 5 55
p
5 5 : 5 55
p
5 5 5 5 E5
5 5 5:
Why
Heb
blush
wri
they not when I
5
5
p
-
5
5
55: 5 55 5 5 5 5
der
Fu’n
Kin - dled my love so fond, so
cyn - nau ’ngha - riad fydd - lon
K mp
5
5
5:
5 5 5 5 5
dim.
drew my heart to fol - low
de - nu’n ngha lon ar dy
sweet words.
That
me - lys Fu’n
- riau
5: 5 5 B 5 5: 5 5 5 5 : 5 5 B 5
mp
5: 5 5 B 5 5: 5 5 5 5: 5 B:
55
5
5
Were
Ai
mp
5
5: 5 5 B 5 5: 5 5 5 5 : 5 5 B 5
Were
Ai
mp
Were
Ai
mp
:
:
5
B
5
5
5
5
5
5
5
5
5: 5
B 5
have I done,
O My - fan - wy, To earn your frown? What is my blame?
beth a wneu- thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd?
55:: 55
5: 5
5 : 5
draw
- do wrth fy ngwe -led
have I done,
O My - fan - wy, To earn your frown? What is my blame?
beth a wneu- thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd?
What
Pa
5
5
5
55
your eyes so dark and
- wi’th ly - gaid du - on
have I done,
O My - fan - wy, To earn your frown? What is my blame?
beth a wneu- thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd?
What
Pa
5
- fus,
fills
llen
have I done,
O My - fan - wy, To earn your frown? What is my blame?
beth a wneu-thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd?
What
Pa
What
Pa
That
Yn
5 5 5 5: 5 5 B
B 4 5 5 : 5 55
B.
2
you
ôl?
My - fan - wy,
My - fan - wy,
5: 5 5 5 5: 5 5 B
5:
5
gen - tle cheeks, O sweet My - fan - wy,
ru - ddiau ti - rion, O My - fan - wy,
is
le
5 5 5 5: 5
Dr Joseph Parry, Mynyddog (Richard Davies)
Arranged by Cantabile – The London Quartet
55 5:
5: 55
5 5: 5
5 5: 5
55 BB 55
5 B 5
5 B 5
5:
5
5: 5
5 : 5
5: 5
55
55
5
5
5
5
55::
5:
5:
55 5B:
5 5
5 5
B
B
B
Were
Ai
5
5
5
*Optional Welsh lyrics
NB: See page 72 for the Welsh lyrics pronunciation guide.
Cantabile Anthology LAYOUT.indd 30
10/8/2012 1:07:12 PM
31
1 5 : 5 5 5 5: 5 5 B
G
5 5 5: 5 5 5 5 5 B
5 : 5 5 5 5 : 5 5 B
G
To
Â
set
tha
5
5: 5 5 5 5 5 B
21
you
chwa
you
chwa
just play - ing O My - fan - wy,
- rae oe - ddit, O My - fan - wy,
just play - ing O
- rae oe - ddit, O
My
My
- fan - wy,
- fan - wy,
5 : 5 5 5 5: 5 5 B
G
i you just play - ing O My - fan - wy
chwa
- rae oe - ddit, O My - fan - wy,
: 5 B
5 5 5 5 5: 5
2
-
you
chwa
:
G 55 :
5:
5
:
just play - ing O
- rae oe - ddit, O
55
5
5
55
5
5
My - fan
My - fan
55 5:
5 : 55
5 5: 5
5 5: 5
55
5
5
- wy?
- wy,
BB
B
B
1 G 5: 5 5 5 5: 5 5 B
25
tru
ei
- ly once to me were prom - ised,
- ddo im drwy gy - wir a - mod
G 5 : 5 5 5 5 : 5 5 B
tru
ei
- ly once to me were prom - ised,
- ddo im drwy gy - wir a - mod
5:
G 5: 5 5 5 5 5 B
i tru - ly once to me were prom - ised,
ei
- ddo im drwy gy - wir
a
- mod
5: 5 5 5 5: 5 5 B
2 -
tru
ei
G 55 ::
5:
5:
Cantabile Anthology LAYOUT.indd 31
- ly once to me were prom - ised,
- ddo im drwy gy - wir a - mod
55
5
5
55
5
5
55 55 :: 55
5 5: 5
5 5: 5
55
5
5
BB
B
B
To
Â
set
tha
your po - et’s love a - flame?
- nau eu - raidd serch dy fardd?
-
mf
4 5
You
Wyt
mf
4
5
your po - et’s love a - flame?
nau eu - raidd serch dy fardd?
You
Wyt
5 5 5: 5 5 5 5 5 B
4 5
5: 5 5 5 5 5
B
4 5
To
Â
5
set
tha
To
Â
set
tha
55 5
5:
5:
5 5
5
5
Is
Ai
5
Is
Ai
5
Is
Ai
5
5:
5:
it
gor
5
5
5
5
5
5
5
5
5
5
5
5
55 55
5 5
5 5
BB
B
B
too much
55
5:
5:
55 :
:
You
Wyt
4
55
55
4
4 5
f
to keep your part?
i
mi?
I
Ni
too much
f
4 5
to keep your part?
i
mi?
I
Ni
- mod ca - dw’th air
too much
4
to keep your part?
mi?
i
5: 5 5 5 5 5 B
it
gor
mf
- mod ca - dw’th air
5: 5 5 5 5 5 B
it
gor
You
Wyt
your po - et’s love a - flame?
- nau eu - raidd serch dy fardd?
5: 5 5 5 5 5 B
Is
Ai
5
5
your po - et’s love a - flame?
- nau eu - raidd serch dy fardd?
5: 5 5 5 5 5 B
it
gor
mf
too much
to keep your part?
i
mi?
55
55
55
5
5
55 55 55
55 55 55
5
I
Ni
- mod ca - dw’th air
- mod ca - dw’th air
f
f
4 5
I
Ni
BBB
4 555
B
4
5
10/8/2012 1:07:12 PM
35
Danny Boy
‘I would be true’
(Londonderry Air)
Traditional Irish
Arranged by Cantabile – The London Quartet
Frederick E. Weatherly,
Howard A. Walter (‘I would be true’)
1 mf
G 5 5 5 5 5 5 5 5 5 5 5 5 B
Freely q = 63
Soprano
5 5
:
5
5
5
5
5
55 5
Oo
5:
mf
G 555
Alto
5B
Oo
5
G 5 55 B
i
Oo
mf
4 5 B
2 mf
Tenor
Bass
B
5 5
Oo
G 5 5 5 5
Piano (for
rehearsal
only)
55 5
4
1 G 5 5 :
5
4
call
trust
-
G 5:
G B
i
-
B:
B:
B
B
B
5
5 5 5
ing,
me,
From glen to
I would be
5 5
5
2 B:
G 55 5
:
5 5 5: 5 55 5 5 5
B 5
5 5
5
5: 5
glen,
pure,
B
B:
55
5B :
B:
B:
I = 4
5
5
5
I
5 5 5= 4
mp
B
mp
Ah
5 5:
5
55 : 5
5
5
5
5
'
Ah
B
B
Ah
B5 :
'
B
5
5 5 5 : 5 55
B
K
5 5 5 5
B
side
care,
the sum - mer’s
I would be
B
K
5 5 5 5
the sum - mer’s
K I would be
5 5 5 5
B
K
5 5 5 5
5
5
5:
mp
B5 5 55 5 5 5
I
I
5B 5 55 = 4
and down the mount - ain
for there are those who
5 55
B
5= 4
5 5 5
5 5
B:
5
5 5 55
5
5
5:
5
Oh, Dan - ny boy, the pipes, the pipes are
I would be true, for there are those that
B5
B
B
5
the sum - mer’s
I would be
the sum - mer’s
I would be
5
K
55 5
5 5
5 5
55
5
5
55
5
5
The two lines of lyrics represent the two versions of the text and are alternatives rather than first and second verses.
Cantabile Anthology LAYOUT.indd 35
10/8/2012 1:07:13 PM
36
1 G 5:
7
5 5 5
5 5
and all the ro - ses
for there is much to
gone
strong,
G 5:
5 5 5 5 5
5 5 5:
5 5 5
5 5 :
5
5 5 5 5:
- ling;
- fer;
and all the ro - ses
for there is much to
fal
suf
- ling;
- fer;
strong,
and all the ro - ses
for there is much to
fal
suf
- ling;
- fer;
5 5 5 5 5
5 = 5 5 5 5 5
2 gone
strong,
and all the ro - ses
for there is much to
G 55 ::
55
5
5
5:
5:
1 G B
10
bide
dare.
G 5
bide
dare.
5
dare.
B
2 bide
dare.
K mp
5 5 5
5
K
5 5 5 5
but come ye
I would be
K mf
5
5 5 5
but come ye
I would be
K5 5
5
5
but come ye
I would be
G B5
5
Cantabile Anthology LAYOUT.indd 36
5 5 55 5
5 5
5
but come ye
I would be
G 5 5
i
bide
5B
5 5
55 5 5 55
5
K
5
5
55 5 55 5 5 5
55 5 5
5
:
5 5 5 5
K
:
5 5 5 5 5
fal
suf
gone
strong,
G 5:
i gone
K
5
fal
suf
- ling;
- fer;
B
back
friend
5:
back
friend
B
back
friend
B55 ::
B
must go and I must
for there is much to
’Tis you, ’tis
I would be
you
brave,
must go and I must
for there is much to
’Tis you, ’tis
I would be
you
brave,
must go and I must
for there is much to
’Tis you, ’tis
I would be
you
brave,
55
55 ::
must go and I must
for there is much to
5
5
5:
5:
55 5 5 55 55
5 5
5 5 5 5:
K
5 55 55
5 5
5 5 5:
5:
back
friend
you
brave,
K
55 55 5 :
5
5:
’Tis you, ’tis
I would be
K
5:
5 5 5 5 5
5 5
5 5
5 5 5 5 5 5
when sum - mer’s in the
of all, the foe, the
B
mead friend -
5
5 5 5 5 5
5 5 5 5 5
55 5 5 5 55
5 5 5
5:
ow,
less,
5:
5 5 5
or when the
I would be
5 5 5
ow,
less,
or when the
I would be
5 5 5 5 5 5
5 5:
5 5 5
of
when sum - mer’s in the
of all, the foe, the
B
of
5 5 5 5 5
5B 5 5 5
B
mead friend -
5 5 5 5 5
mead - ow
friend - less,
or when the
I would be
5
5:
5 5 5
mead - ow
friend - less,
or when the
I would be
55
55 ::
5 5
5
5:
55 5 5 5 5
5 5
5
5 5 5
10/8/2012 1:07:14 PM
41
A Man’s a Man for A’ That
Traditional Scottish
Arranged by Cantabile – The London Quartet
Robert Burns
1 E
G q = 86
Soprano
0
5
= :: 5 : 5 5
5
5 5 5 5:
f
4
there for ho - nest po - ver - ty, That
see yon bir - kie ca’d a lord, wha
Is
E
G Alto
?
?
0
5
= :: 5 : 5 5
5:
5
5
5
5
f
4
there for ho - nest po - ver - ty,
see yon bir - kie ca’d a lord,
Is
mf
E f
:
G 5 5 5 5 5 5 5 5 5 5 5 5 :5
i dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm
Tenor
E :
2 5 5 5 5 5 5 5 5 5 5 5 5 :5
f
Bass
Piano (for
rehearsal
only)
-
mf
dm
b’
E
G f
E 5
5
a’
a’
E
G 5: 5 5 5 5
hangs his head, an’
struts, an’ stares, an’
2
-
E
5
dm
G
E 5:
E 5
5
dm
a’
a’
55 55
5 5
that, The
that, Tho’
5 5
that, the
that, Tho’
5 5 5
5 5
b’
b’
b’ dm
b’
5
5 5 5
5 5
5 5
b’
b’
5
5
5
5
5
5
55
5
b’
5
b’
5
5
Cantabile Anthology LAYOUT.indd 41
b’ dm
5
5
5
5
5
5
5
b’
b’ dm
?
55 55 55
hangs his head, an’
struts, an’ stares, an’
E
G 5
i dm
b’
0
1 E 5:
5 5 5 5
G
4
b’ dm
4
55
55 55 55
b’
b’
=
5
dm
:: 5
5
55 55
5: 5 5 5 5 5 5 5
co - ward slave, we pass him by: We
hun - dreds wor - ship at his word, He’s
5: 5 5 5 5 5 5 5
5
dm
5 5 5
5 5
5
5 5 5
5 5
dm
b’
b’
b’
5
5
55
55
5:
5
5
5
5
5
5
b’
dm
b’
dm
5
5
5
5
55
b’
5
5 5
5 5 5
5 5
b’
b’ dm
b’
b’
b’ dm
b’
b’
55 55 55
dare
but
be poor for
a coof for
a’
a’
5: 5 5 5
5
5
be poor for
a coof for
a’
a’
:
5 5 5
dm
5:
b’
b’
dm
5 5
5
5
5
5
5
5
BB
b’
b’
5
5
b’
5
5
5
that. For
that. For
5
5
that. For
that. For
=
5 5 5:
5
dm
b’
55 55
5: 5 5 5
5
co - ward slave, we pass him by: we
dare
hun - dreds wor - ship at his word, He’s but
b’
5 5 5
:: 5 : 5 5
5 5 5 5:
mf
that
wha
dm
=
5
5
10/8/2012 1:07:16 PM
42
1 E 5 : 5 5 5 5: 5 5 5 : 5 5
5 5 5 35
5
5
G
5 5 5 5 5: 5 5
7
a’
a’
that, an’ a’
that an’ a’
that, our
that, his
toils ob - scure, and a’
rib - band, star, an’ a’
that, The
that, The
rank
man
is but the gui - nea’s stamp,
of in - de - pen - dent mind
The
He
a’
a’
that, an’ a’
that an’ a’
that, our
that, his
toils ob - scure, and a’
rib - band, star, an’ a’
that, the
that, The
rank
man
is but the gui - nea’s stamp,
of in - de - pen - dent mind
the
He
E
5
5 5 35
G 5 : 5 5 5 5: 5 5 5 5 : 5 5 5 5 5 5 5 : 5 5 5
E
2
-
G 5
i dm
E
5
dm
G
5
5 5 5
b’
b’ dm
dm
5 5 5
5
b’
b’ dm
dm
55
55 55 55
10
a’
a’
E
G B
i
dm
E B
2
B
-
E
G 5: 5
dm
E BB
B
Cantabile Anthology LAYOUT.indd 42
a’
a’
5
5 5 5
5 5 5 5 5 5
5 5 5:
3 5$
dm
5: 5
b’
b’
b’ dm
b’ dm
5 5
5
55 55 55
5
b’
b’
b’
dm
b’
b’
b’ dm
55 55
5 5
b’
b’ dm
5: 5 5 5 5
5
5
b’
dm
b’
5
55 55 55
55
B
B
that
that
that
that
3 5$
mf
5 3 5
5 3 5
5
5
B
5:
5
B
5:
5
Oo
E
G 5 : 5 5 5 5 5 =
man’s a gowd for
looks an’ laughs at
5 5 5:
55
1 E :
G 5 5 5 5 5 5 =
man’s a gowd for
looks an’ laughs at
5 5 5 5 5 5
dm
E 5 : 5 5 5 5: 5
5 5
E 5
5
5
mf
B
B
-
Oo
f
5 5 5 5 : 5 5 5 5 5 5: 5 5 : 5 5 5 5 5 5 5
dm
b’ What though on hame -ly fare we dine, Wear hod - din grey, an’
A prince can mak a bel - ted knight, A mar - quis, duke, an’
5 5 =
mf
5
5 5 5
5 5
dm
b’
dm
b’
=
5
B
B
5:
5:
5 5 5
55
55 5
b’ dm
5
5
5 : 5 5 5 55 5
5:
5 5
b’
b’
5
5 5
5
5
dm
B
B
5: 5
5:
a’
a’
that, Gie
that; But an’
5 5 5
5 5 5 5 5
b’
b’ dm
5:
5 5 5
5 5 5
b’
b’
55
5 5
5 5
10/8/2012 1:07:16 PM
46
Pomp and Circumstance
Margarete and Julian Forsyth
Edward Elgar
Arranged by Cantabile – The London Quartet
Allegro marziale – make as grand as you wish
Piano
7
E
G 55 =
5
sempre f
E 55 =
5
55 =
5
55 =
5
5
555 5= 55 =
55 = 55 =
5 5
E
B5 = 5 = B5 = 5 = 5
5 5 55
5
5 = 5 = 5 = 5 = 555 = 555 = 55 = 55 =
5 5
5 5
B
5
5
5
E
B
B
B
5 = 5 = 55 = 55 = B5 = 55 =
E 55 = 55 = 55 = 55 = 55 = 55 = 5 = 5 = 5 = 55 = 55 = 55 =
5 5
5 5
5 5
G
E
G 55
55 =
E 5 =
5
13
E
G B
5 =
E 5 =
5
55
5 5 5 B
55 = E 555 = 555 = 5 = 5 = B55 =
5 = 5 = 5 = 55 = 55 = 55 =
5 5
5
55 =
55 =
55 55
5 55
5
5
=
=
5
=
5 5
5 =
55 = 55 = 55 = 55 =
5 5
5 5
19
25
E
5 = B5 = 5 = 5 5
5 5 55
B
B
5 = 5 = 5 = 55 = 55 = 55 = 55 = E555 = 555 = 55 = 55 =
5
5 5
5 5
G
E
5
B
5 = 5 =
E 55 = 55 = 5 = 5 =
5 5
5 5
32
E
G 5 !5
5 5
E 55 !55
5 5
Cantabile Anthology LAYOUT.indd 46
5
5
5
B5 5 B 5 5 5 5 5
5 = 5 = 5 = 5 = 5 5 5 =
5 = 55 = 5 = 55 = 55 = 55 = 55 =
5 5 5 5
55 5 5
BB
= 55 = 55 = 555 = 555
5 5 5 5
5
=
=
55
B
B
55 = 55 = 55
55 = 55 = 5 = 5 = 5
5 5
5
5 5
5
55 = 55
55 = 55 =
5
5
5
55
5
55
55
55 5 5 5
5 5
5
5
5
55
5
55
10/8/2012 1:07:17 PM
47
39
G
E
0
0
E
55 4
5
E 5 5 5
5
G
47
G
G
0
0
0
4
Nobilmente (l’istesso tempo)
5 5 5
B
BB
B
5 5
5B 5 5
G B
5 5
B5
54
5 55
5
G BBB
B5 5
61
G B
55 55
B
G B 5 B5
5
55 55 55
71
0
4 4EE55 555 =
5
55
55
5 55 55
EE 55 5
5 5 5
!B
5 = = !B
55
55
5 5
5 !B
5 5 !B
4
5
B
B
BB
BB
B
5 5
B5 5
5 5 5
55 5 55
55
55
5: 5 5 5 5
5 5: 5 5 5 5
B
B
55
B
B5 5
5 5
5:
5 5
55
5
5
5
5:
B
B
5
55 5 55
55
5
5
5
5
5
55
!
5= 4 4
55
5 = 5 !5 5 5 !
5
Hm
5:
5:
5
5
5
5 5 5 5 5
5
5
55 5 55
5
5
5
5
5
B
G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5
G 55 55 55 5 5 55 5 5 5 5 5 5 5 5 5: 5
5 5 5 5 5
5 5
5 55 55 55 5 5 5 5 55 5 55 55 5 5 4 55
5
5 5
5 5 5 5
Cantabile Anthology LAYOUT.indd 47
4
5 B
5
5
5
5
5 BBB
5
5
5 55
5
5
B
55
5
5 5
5
5 5 5
55
0
5
5: 5 5 5 5
BB
BB
55 5
5
5
5:
5
5
B
5 5 5
B
55 5
5 5 5
5
5
B
!
All voices, unison at appropriate pitch:
B
B
BB
B
BBB
B5 5
B
5 5
5
5 5
5:
5
55 : 5 55 555
55 E55 55 5
5
10/8/2012 1:07:18 PM
48
1
Soprano G
5:
80
5 B
(Hm)
G 5:
Alto
5 B
(Hm)
Tenor
Bass
2
G 5:
i (Hm)
5 B
5:
5 B
5 5
B
Big
1
G 5:
87
5 5
B
Big
Pomp
G 5:
and
Pomp
and
G 5:
i Pomp
5:
Pomp
cir
B
Big
5
and
cir
cir
starts
chime?
to
5 5 5
B
starts
chime?
to
B
B
B
to
B
chime?
5 5 5
B
starts
chime?
to
B
BB
B
5B 5 5
B
BB
BB
BB
BB
B
B
5 5
B5
B
5 5
B5 5
B
B
BB
B
Roy
B
B
B
5
B
Roy
5
Roy
B
B
BBB
BB
5
5
5
5
5
- cum - stance sub - lime,
5
G 5BB :
5 555 5 555
B
5
5
5
5
5 5
Cantabile Anthology LAYOUT.indd 48
Ben
- cum - stance sub - lime,
5 5 5 5
B
starts
sempre f
- cum - stance sub - lime,
5
5 5 5 5
and
Ben
5 5
B
5 5 5
5 5 5
5 5
- cum - stance sub - lime,
5 5 5 5 5
cir
Ben
sempre f
Big
5 5 5 5 5
Ben
sempre f
(Hm)
G 5:
5 5 5 BB
B
B
5 5
4 5
2
sempre f
Roy
4
5
55
55
BBB
B
B
5
5
5
5
5
- al
5
- al
5
- al
5
- al
55
55
5
5
5 5 5
mar
- ria - ges,
5 5 5
mar
- ria - ges,
5 5 5
mar
- ria - ges,
5 5 5
mar
- ria - ges,
55 5 55
5
55
5
5
55
10/8/2012 1:07:18 PM
58
A Foggy Day
from the album And Now ...
Ira Gershwin
George Gershwin
Arranged by Cantabile – The London Quartet
Freely
h = 54
p
S.
1 E
G BI
IB
Doo
E
G B
I
p
A.
E I
G B
i Doo
p
IB
E
B.
2 T.
-
doo
doo;
IB
BI
'I :
doo;
doo
p
doo
BI
IB
E
G BB
I
I
E BB
doo
BI
doo
IB
':
I
BI
doo
doo
BI
BI
doo
BI
BI
BI
doo
I
':
doo
IB
doo
doo
doo
doo;
doo
doo
doo
BBB
I
BI
BB
IB
IB
'I' ::
''I ::
B
IB
IB
B
BB
IB
IB
B
IBB
!IB
1 E 5 E5
G 5
5 !5 !5 5 5 5 5 5 5 !'
5
Move along ...
Oo
E
G B
B
Oo
E
G B
i
Oo
B
E 2 !B
-
E !BB
5 E5
B
Cantabile Anthology LAYOUT.indd 58
B
!B
B
B
B
Oo
E
G 5B
B
B
B
5
!5B
B
B
B
B
B
!5
5
!B
B
!B
B
5
5B
B
B
B
'
!B
'
B
5
5
B !5
!B
!B
'
!'
'
'
'
doo;
'I :
'I :
doo
doo;
doo
'I :
BI
BI
doo
Doo
BI
':
I
doo
IB
Doo
Piano (for
rehearsal
only)
BI
doo;
doo;
!BI
E'I :
'
'I ::
'I :
E' :
doo;
B
B
B
B
BB
B
B
4
5
A
4
5
!
!
A
4 5
!
A
4 5
A
4
4
5
55
!
!
!
10/8/2012 1:07:21 PM
59
1 Definitely in 2
G
5 B 5
10
fog
G
- gy
day
5 B
fog
5
- gy
day
5
G 5 B
i fog - gy
-
G
5
- gy
5
5
in
B:
5
B:
in
B:
day
55
55
B
55 BB
BB ::
B:
B:
15
G B:
B:
2
-
B:
B:
Cantabile Anthology LAYOUT.indd 59
Lon - don
Town
'
f
and had
BB
5 !BB
5
me
55 5
I viewed the mor - ning
'
f
B 5 5 5 B:
I viewed the
'
B
B
!BB
B
mor- ning
mor- ning
5 5 5 B:
55 55 55 BB ::
5
5
5 B:
me
555
5 5
5 5
- larm;
B:
low
55
5
5
5
with
a
with
5 5
B: 5
5 5
5
B 5 5 5 B: !B
I viewed the
'B
'
mor- ning
B
B !B 5 5 5 B : !B
down;
5
55 !5 5
BB
B
5
B
f
f
low
5 5 5 5
B 5 5 5 B:
I viewed the
me
cresc.
Had
'
'
low
5 5
B
Had
'
B
5
5
me
cresc.
'
5
!5
! 55 BB
!55 BB
down;
5
5 B 5
G 5B: 5 B 55
in
low
5 5
Had
Town
5
'
me
me
B
'
!5 B
55
B
Town
5
5 !B 5 5
and had
Had
B
5
Lon - don
down;
down;
!5
Lon - don
in
B
me
5 5
B
Town
5 B
5 B
5 B 5 5
and had
G B:
i
me
Lon - don
5
55
1 5
G 5 B 5 B 5 5
and had
5 B
cresc.
'
cresc.
day
5 B
2 fog
B:
5
with
a
a
- larm;
- larm;
5 5 5 5
with
a
- larm;
!!BBB 555 555
5 5 5 5
The
B:
The
The
5 B 5
The
BBB ::: 55
5 B 55
10/8/2012 1:07:21 PM
60
1 G 5
22
5
5
5
Bri
- tish
Mu
- se
G 5
5
5
5
Bri
- tish
Mu
5
-
G 55
55
1
G 5
I
G 5
I
G 5
i I
5
2 -
55
5
!5
Mu
55
5
5
um
had
5 EB
5
- se
um
-
5
- se
-
55
5
55
5
!5
5
charm.
had
B
lost
5
5
B
5
!B
5 5
'
B
5
lost
its
um
had
lost
its
B
EBB
555
BB
55
I
G 55
5
5
a
stran - ger
in
the
5 5 5I 5 5 5
stran - ger
I
5 5 5 5 5 5
was
a
in
the
5 5 I5 5 5 5
was
a
stran - ger
stran - ger
was
a
5
!55
55 !555
5 I
5 5I
5
Cantabile Anthology LAYOUT.indd 60
55
5
5
had
B
I
5 5 5 5 5 5
was
in
the
!BB
5 5 B:
ci
- ty;
5 5 B:
- ty;
5 5 B:
ci
ci
- ty;
5 5 B:
the
ci
55
5
55
5
55
5
5
B
5
in
5
lost
its
um
5
5
'
B
-
B
5
Ease back, but fluid (straight 8s)
26
- tish
5
-
5 5 5
G 5
i Bri - tish Mu - se
5 !5 5 5
2 Bri
B
5
- ty;
55
5
5
BB ::
B:
B:
its
5
5
5
charm.
B
charm.
5
'
charm.
!55
5
5
'B
5
5
5
Out
of
town
'
'
5 E5
Out
B
of
5
town
5
5
5
Out
of
town
5
5
Out
of
town
55
E55
55
5
5
5
5
5
5
5
5 5
were
the
5 5
were
the
5 5
were
the
5 5
were
the
55 !55
5
!5
5
5
10/8/2012 1:07:21 PM
66
Lullaby (Hush Macushla)
from the album Lullabyes and Goodbyes
Cantabile – The London Quartet
1 E
G 0
0
0
0
E
G 0
0
0
0
q = 90
Soprano
Alto
Tenor
Bass
2
Piano
E
G i
E 2
E
E
G 4
0
4
5 5
555
5 5 5
4
0
4
55
5
5 5
5 5
5 5
4
0
4
BBB
5:
5 5
555
5 5 5
0
0
0
0
0
0
0
5 5
B
don’t you
5 5 5 5 5
cry;
0
BBB
E 5 5 :
5
Cantabile Anthology LAYOUT.indd 66
0
0
E5
G
5 5
i cush - la,
E
BBB
:
5 5 5
sempre mp
E 5
0
0
E
G 4
1 E
G
G
0
sempre mp
The
stars are
0
4
5 5
555
5 5 5
in
BBB
5:
55
5
5 5
5
B
5 5
the
sky;
Hush, Ma -
0
4
55
5
5 5
5 5
Hush, Ma -
0
B5
B
5 B
5
55
5
55
10/8/2012 1:07:23 PM
67
1 E
G
9
G
2
E
0
0
0
0
0
0
0
E
G 5 5 5 5 5 5 B
i
E
cush - la,
13
E
4
BBB
5 5
Be
E
5
Cantabile Anthology LAYOUT.indd 67
555
5 5 5
Hush, Ma
- cush - la,
0
55
BBB :::
5
5 5 B:
!B :
555
5 5 5
- cush - la,
don’t you
don’t you
cry;
5 5
BBB
5
5 5 5 5 5 5
0
The moon is float
0
- ing
5 5 5 5 5 5
The moon is float
0
4
0
:
5 5 5
cry;
0
4
55
BBB
5
5 5
:
5 5 5
fly.
4
= 5 5 5 5 5 5 5
B
Hush, Ma
B:
0
5 5 5 5 5 5 5
B
0
E
G 4
- lieve your dreams and
sempre mp
4
0
E
G 5:
i
E
sigh;
0
:
5 5 5
1 E
G 4
G
now don’t you
5 5 5 5 5 5
0
E
G 4
E
2
0
555
5 5 5
- ing
0
4
55
BBB
5
5 5
:
5 5 5
5
10/8/2012 1:07:24 PM
72
Myfanwy – Pronuncation Guide
Paham mae dicter, O Myfanwy,
pɑː-hɑm mɑi d k-tɛr oː mǝ-vɑn-uːi
Yn llenwi’th lygaid duon di?
ǝn łɛn-wiθ lǝ-gaid diː-ɔn diː
A’th ruddiau tirion, O Myfanwy,
ɑːθ riː-ðjɑi ti-rjɔn oː mǝ-van-uːi
Heb wrido wrth fy ngweled i?
heb wriː-dɔ wrθ vǝ ŋwɛ-lɛd iː
Pa le mae’r wên oedd ar dy wefus
pɑː le mɑir wen ɔið ar dǝ we-vis
Fu’n cynnau ‘nghariad ffyddlon ffôl?
viːn kǝ-nai ka-rjad fǝð-lɔn foːl
Pa le mae sain dy eiriau melys,
pɑː le mɑi sain dǝ ai-rjai mɛ-lis
Fu’n denu’n nghalon ar dy ôl?
vin dɛ-ni ŋ̊ɑ-lon ar dǝ oːl
Pa beth a wneuthum, O Myfanwy
pɑː-beθ ɑː wnai-θim oː mǝ-van-uːi
I haeddu gwg dy ddwyrudd hardd?
iː hai-ði guːg dǝ ðuːi-riːð harð
Ai chwarae oeddit, O Myfanwy
ai χwa-rair ɔi-ðit oː mǝ-vɑːn-uːi
 thanau euraidd serch dy fardd?
ɑː θa-nai ai-raið sɛrχ dǝ varð
Wyt eiddo im drwy gywir amod
uːit ai-dɔ im druːi gǝ-wir a-mɔd
Ai gormod cadw’th air i mi?
ai gɔr-mɔd ka-dwθ air iː miː
Ni cheisiaf fyth mo’th law, Myfanwy,
niː vǝ-nav b θ mɔθ law mǝ-van-uːi
Heb gael dy galon gyda hi.
heb gail dǝ ga-lɔn gǝ-da hiː
Myfanwy boed yr holl o’th fywyd
mǝ-van-uːi bɔid ǝr oːł oːθ vǝ-wid
Dan heulwen ddisglair canol dydd.
dɑːn hail-wɛn ðis-glair ca-nɔl diːð
A boed i rosyn gwridog iechyd
ɑː bɔid i rɔ-sin gwriː-dɔg jɛ-χid
I ddawnsio ganmlwydd ar dy rudd.
iː ðawn-siɔ gan-mluːið ar dǝ riːð
Anghofia’r oll o’th addewidion
a-ŋhɔ-vjar oːł oːθ ɑː-ðǝ-wi-djɔn
A wnest i rywun, ‘ngeneth ddel,
ɑː wnǝst i r -win ɛ-nɛθ ðɛl
A dyro’th law, Myfanwy dirion
ɑː dǝ-rɔθ law mǝ-van-uːi di-rjɔn
I ddim ond dweud y gair “Ffarwél”.
iː ðim ɔnd dwaid ǝ gair far-wɛl
Notes
A sound which might be unusual to English, but not German speakers, would be the ‘ch’, as in the Scots ‘loch’ or the
Yinglish ‘chutzpah’.
A sound which might be unusual to most non-Welsh speakers would be the ‘ll’, which is somewhere between the voiceless
‘l’ in English ‘please’ and the ‘tl’ in ‘antler’. You can produce it thus: go to pronounce a letter ‘l’, stop as the tip of the tongue
touches the roof of the mouth, and blow around the sides of the tongue.
The ‘dd’ (functioning in Welsh as a single letter – should always have a note going through it; pronounce it as the ‘th’ in
the English ‘this’, not as in ‘think’.
In this song the most important sound to get right is the last syllable of ‘Myfanwy’; there is much more ‘w’ (English ‘oo’)
than ‘y’ (English ‘ee’)!
There are several variants on the text of ‘Myfanwy’. We have chosen the oldest generally available version (1882), with
certain spellings modified to comply with modern usage. The most obvious variant one hears these days is in the second
verse: ‘Ni cheisiaf fyth mo’th law, Myfanwy...’ for the original ‘Ni fynaf byth mo’th law, Myfanwy...’. We are most grateful
for the help given us in this by Tŷ Cerdd – Music Centre Wales, The National Library of Wales, Dr. Gethin Matthews and
Dr. E. Wyn James.
Cantabile Anthology LAYOUT.indd 72
10/8/2012 1:07:25 PM