Good Pennyworths: Love Lust Longing Loss-An Elizabethan Romp
Good Pennyworths
SKU: 24985536
Good Pennyworths: Love Lust Longing Loss-An Elizabethan Romp
Good Pennyworths
SKU: 24985536
Format: CD
Regular price$15.52
$15.52
/
Wanting to order from us over the holiday period but need some more information. We are here to help! Please see our Christmas Shipping page for more information.
On average, orders containing available-to-ship items are processed and dispatched within 1-2 business days, although this is not guaranteed.
Orders containing preorder items will ship as 1 fulfillment once all items in the order are available to ship.
Please note, Tower Records Merchandise and Exclusives are dispatched separately. On average, these items take 3-4 business days to dispatch, although this is not guaranteed.
The estimated shipping times that are displayed at checkout are from the point of dispatch.
See our shipping policy for more information.
We have a 30-day return policy, which means you have 30 days after receiving your item(s) to make a return.
For orders created between November 20th 2024 and December 31st 2024, we have extended our normal return period. For orders made between this period, customers have up to 60 days from the receipt of goods to return an item. Please see our Christmas Returns page for more information.
To be eligible for a return of an unwanted item, your item must be in the same condition that you received it and in its original packaging.
In the unfortunate situation that a product is damaged/faulty/incorrect, let us know and we will endeavor to correct any issue as soon as possible.
Please see our refund policy for more information.
Title: Love Lust Longing Loss-An Elizabethan Romp
Artist: Good Pennyworths
Label: CD Baby
Product Type: COMPACT DISCS
UPC: 700261287201
Genre: Classical Artists
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 constant mind? None but one. And what should that rare mirror be? Some goddess or some queen is she; She, she and only she, She only queen of love and beauty. But could thy fiery poison'd dart At no time touch her spotless heart? Nor come near? She is not subject to Love's bow; Her eye commands, her heart saith no, No, no and only no, One "no" another still doth follow. How might I that fair wonder know, That mocks desire with endless "no"? See the moon? That ever in one change doth grow, Yet still the same, and she is so; So, so and only so, From heav'n her virtues she doth borrow. To her then yield thy shafts and bow That can command affections so. Love is free, So are her thoughts that vanquish thee. There is no queen of love but she, She, she and only she, She only queen of love and beauty. Music & lyrics John Dowland, pub. 1603; written for Queen Elizabeth I Alane Marco, Soprano / Erika Lloyd, Alto Matt Leisy, Tenor / Garald Farnham, Baritone 'There Is a Ladye'* There is a Ladye sweet and kind, Was never face so pleased my mind, I did but see her passing by And yet I love her till I die. Her gesture, motion and her smiles, Her wit, her voice my heart beguiles, Beguiles my heart I know not why, And yet I love her till I die. Her free behavior, winning looks, Will make a Lawyer burn his books, I touched her not, alas not I, And yet I love her till I die. Had I her fast betwixt mine arms, Judge you that think such sports were harms, Wert any harm? No, no, fie, fie, For I will love her till I die. Cupid is winged and doth range Her country, so my love doth change, But change she earth or change she sky, Yet will I love her till I die. Music Thomas Ford, pub. 1607 / lyrics anonymous Garald Farnham, Soloist & Lute *Recorded live at East Carolina University, AJ Fletcher Recital Hall, january 2009 'Dear, Do Not Your Fair Beauty Wrong'* Dear, do not your fair beauty wrong In thinking still you are too young: The rose and lily in your cheek Flourish and no more ripening seek. Inflaming beams shot from your eye Do show Love's Midsummer is nigh; Your cherry lip, red, soft and sweet Proclaims such fruit for taste is meet. Love is still young, a buxom boy, And younglings are allowed to toy. Then lose no time, for Love hath wings And flies away from aged things. Music Robert Johnson ca. 1610 / lyrics anonymous used by playwright Thomas Mays in his play "The Old Couple" ca. 1636 Lute arrangement Garald Farnham & Patrick O'Brien Alane Marco, Soloist / Garald Farnham, Lute *Recorded live at East Carolina University, AJ Fletcher Recital Hall, January 2009 'It Was a Lover and His Lass' It was a lover and his lass (with a hey, with a ho, and a hey nonny, nonny-no) That o'er the green corn fields did pass In springtime, the only pretty ring time, When birds do sing (hey ding a ding a ding), Sweet lovers love the spring. Therefore take the present time (with a hey, with a ho, and a hey nonny, nonny-no) For love is crowned with the prime. In springtime, the only pretty ring time, When birds do sing (hey ding a ding a ding), Sweet lovers love the spring. Music Thomas Morley, pub. 1600 / lyrics attrib. ?Wm Shakespeare, used in "As You Like It" Lute arrangement Garald Farnham & Patrick O'Brien Erika Lloyd, Soprano / Matt Leisy, Tenor / Garald Farnham, Lute 'Barb'ry Ellen' In Scarlet Town where I was born, There was a fair maid dwelling, Made every youth cry, "Well-a-day!" Her name was Barb'ry Ellen. 'Twas in the merry month of May, When the green buds they were swelling, Sweet William on his deathbed lay, For the love of Barb'ry Ellen. He sent his servant to the town, To the place where she was dwelling, "My master bids you come to him, If your name be Barb'ry Ellen." Then slowly, slowly got she up, And slowly went she nigh him. And as she drew the curtains back, "Young man, I think you're dying." "Oh yes, I'm sick, I'm very sick,And I never will be better, Until I have the love of one, The love of Barb'ry Ellen." "Oh ken ye not in yonders town, In the place where
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]
Artist: Good Pennyworths
Label: CD Baby
Product Type: COMPACT DISCS
UPC: 700261287201
Genre: Classical Artists
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 constant mind? None but one. And what should that rare mirror be? Some goddess or some queen is she; She, she and only she, She only queen of love and beauty. But could thy fiery poison'd dart At no time touch her spotless heart? Nor come near? She is not subject to Love's bow; Her eye commands, her heart saith no, No, no and only no, One "no" another still doth follow. How might I that fair wonder know, That mocks desire with endless "no"? See the moon? That ever in one change doth grow, Yet still the same, and she is so; So, so and only so, From heav'n her virtues she doth borrow. To her then yield thy shafts and bow That can command affections so. Love is free, So are her thoughts that vanquish thee. There is no queen of love but she, She, she and only she, She only queen of love and beauty. Music & lyrics John Dowland, pub. 1603; written for Queen Elizabeth I Alane Marco, Soprano / Erika Lloyd, Alto Matt Leisy, Tenor / Garald Farnham, Baritone 'There Is a Ladye'* There is a Ladye sweet and kind, Was never face so pleased my mind, I did but see her passing by And yet I love her till I die. Her gesture, motion and her smiles, Her wit, her voice my heart beguiles, Beguiles my heart I know not why, And yet I love her till I die. Her free behavior, winning looks, Will make a Lawyer burn his books, I touched her not, alas not I, And yet I love her till I die. Had I her fast betwixt mine arms, Judge you that think such sports were harms, Wert any harm? No, no, fie, fie, For I will love her till I die. Cupid is winged and doth range Her country, so my love doth change, But change she earth or change she sky, Yet will I love her till I die. Music Thomas Ford, pub. 1607 / lyrics anonymous Garald Farnham, Soloist & Lute *Recorded live at East Carolina University, AJ Fletcher Recital Hall, january 2009 'Dear, Do Not Your Fair Beauty Wrong'* Dear, do not your fair beauty wrong In thinking still you are too young: The rose and lily in your cheek Flourish and no more ripening seek. Inflaming beams shot from your eye Do show Love's Midsummer is nigh; Your cherry lip, red, soft and sweet Proclaims such fruit for taste is meet. Love is still young, a buxom boy, And younglings are allowed to toy. Then lose no time, for Love hath wings And flies away from aged things. Music Robert Johnson ca. 1610 / lyrics anonymous used by playwright Thomas Mays in his play "The Old Couple" ca. 1636 Lute arrangement Garald Farnham & Patrick O'Brien Alane Marco, Soloist / Garald Farnham, Lute *Recorded live at East Carolina University, AJ Fletcher Recital Hall, January 2009 'It Was a Lover and His Lass' It was a lover and his lass (with a hey, with a ho, and a hey nonny, nonny-no) That o'er the green corn fields did pass In springtime, the only pretty ring time, When birds do sing (hey ding a ding a ding), Sweet lovers love the spring. Therefore take the present time (with a hey, with a ho, and a hey nonny, nonny-no) For love is crowned with the prime. In springtime, the only pretty ring time, When birds do sing (hey ding a ding a ding), Sweet lovers love the spring. Music Thomas Morley, pub. 1600 / lyrics attrib. ?Wm Shakespeare, used in "As You Like It" Lute arrangement Garald Farnham & Patrick O'Brien Erika Lloyd, Soprano / Matt Leisy, Tenor / Garald Farnham, Lute 'Barb'ry Ellen' In Scarlet Town where I was born, There was a fair maid dwelling, Made every youth cry, "Well-a-day!" Her name was Barb'ry Ellen. 'Twas in the merry month of May, When the green buds they were swelling, Sweet William on his deathbed lay, For the love of Barb'ry Ellen. He sent his servant to the town, To the place where she was dwelling, "My master bids you come to him, If your name be Barb'ry Ellen." Then slowly, slowly got she up, And slowly went she nigh him. And as she drew the curtains back, "Young man, I think you're dying." "Oh yes, I'm sick, I'm very sick,And I never will be better, Until I have the love of one, The love of Barb'ry Ellen." "Oh ken ye not in yonders town, In the place where
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]
