miércoles, 19 de noviembre de 2014

005 Los viejos tiempos ahora



005 Los viejos tiempos ahora

La memoria histórica ha sido fundamental en el desarrollo de la humanidad, aunque tantas veces se nos olvide.

La memoria musical suele ser más noble y gracias a la transmisión oral (boca-oído) y posteriormente a la invención de la imprenta y el desarrollo tecnológico de nuestros tiempos, podemos conocer piezas compuestas hace muchos, muchos años.

La idea de esta lista musical es poder escuchar armoniosamente piezas compuestas hace varios siglos junto a piezas compuestas en estas décadas, interpretadas con instrumentos antiguos y modernos, y poder encontrar un pasaje histórico-musical natural.

Duración: 00:53:54



& mibrinco Kemp's Jig
-Trad. Arr. Gryphon-


Gryphon
Gryphon (1973)

Gryphon is the debut album by the progressive rock band Gryphon. It was originally released in 1973 by Transatlantic, catalogue number TRA 262. The album was produced by Lawrence Aston and Adam Skeaping and engineered by Adam Skeaping and Nick Glennie-Smith. It was recorded at Riverside Recordings and Livingston Studios. The gryphon cover illustration is by Dan Pearce. This is the first Gryphon album, with the emphasis still very much on the acoustic and 'early music' instruments.
Brian Gulland - bassoon, crumhorns, recorders, keyboards, vocals Richard Harvey - recorders, crumhorns, keyboards, guitar, mandolin Dave Oberlé - drums, percussion, vocals Graeme Taylor - guitars, keyboards, recorder, vocals
William Kempe (también escrito Kemp), (floreció en torno a 1600) fue un actor y bailarín inglés conocido sobre todo por ser uno de los actores originales en los estrenos de obras de William Shakespeare. Se especializó en papeles cómicos del teatro isabelino, fue considerado en la época el sucesor del gran payaso Richard Tarlton, uno de los Queen's Men.

En su época, Kempe era famoso por sus jigas, tanto como por sus representaciones teatrales. La jiga, una clase de representación rústica que se puede relacionar con la comedia del arte, implicaba hasta cinco intérpretes en un espectáculo parcialmente improvisado de danza y canto. Las jigas representaban historias, a menudo groseras, pero el énfasis estaba en el baile y la comedia física. Dos de las jigas de Kempe sobreviven en inglés, y dos más en alemán. Ejemplos de las jigas pueden verse en la colección de manuscritos de John Dowland (hoy en la biblioteca de la Universidad de Cambridge). Una famosa jiga del siglo XVII llamada "Jiga de Kempe" recibe su nombre por este actor, Will Kempe, y se publicó en el primer libro de The English Dancing Master, obra de John Playford de 1651.
Instrumental

& mibrinco Leilun 'ayib
--


Mudéjar
Al-Son de musulmanes, judios y cristianos en Al-Andalus (2003)



En búsqueda de la letra

& mibrinco Strambotti/Monferrina
--


La Ciapa Rusa
Stranòt d'Amur (1984)



En búsqueda de la letra

& mibrinco Son del repique
--


Eliseo Parra
Tribus hispanas (1998)


Eliseo Parra (voz y percusiones), Elisa Serna (voz), Eduardo Laguillo (guitarra), Dimitri Psonis (ud), Javier Paxariño (saxos y flautas, Pedro Martín (contrabajo) y Juan Alberto Arteche Gual (percusiones)
En búsqueda de la letra

& mibrinco Lady Marion's Galliard
-John David Gladwin-


Amazing Blondel
Evensong (1970)

Evensong was the second album released by the band Amazing Blondel. It featured the style of music which they described as "pseudo-Elizabethan/Classical acoustic music sung with British accents". By this time, the band were touring Britain extensively as part of a package of artists supporting major bands such as Free, and their contrasting style coupled with bawdy anecdotes between songs found favour with rock audiences.
John David Gladwin - lead vocals, lute, theorboe, cittern, double bass Terence Alan Wincott - crumhorn, recorders, pipe-organ, vocals (and occasional lead vocals), tabor pipe, tabor, flute, harmonium, lute, harpsichord Edward Baird - lute, cittern, vocals (and very occasional lead vocals) Chris Karan - percussion Adam Skeaping - viola da gamba, violone
Oh my Lady Marion
I have loved you long
Still you do me wrong
And taunt me with your jests

Oh my Lady Marion
A thousand deaths I die
For you to cast your eye
Declaring love confessed

Turn me not aside this way
When love runs true
Guide my heart lest it should stray
Away from you

Oh my Lady Marion
Knights fight for your hand
Pledge you all their lands
And send you presents fine

Oh my Lady Marion
Riches have I none
Yet hearts can be won
By love as strong as mine

While you keep me waiting
Lovers should be mating
Yet you jilt me
Turn and tilt me
And I know not why

Oh my Lady Marion
Bards tell of your charms
Praise with chants and psalms
So frail a figure fair

Oh my Lady Marion
No verses do I write
Yet win your heart I might
If true love will forbear

& mibrinco Three Jolly Butchers
-Trad. Arr. Gryphon-


Gryphon
Gryphon (1973)

Gryphon is the debut album by the progressive rock band Gryphon. It was originally released in 1973 by Transatlantic, catalogue number TRA 262. The album was produced by Lawrence Aston and Adam Skeaping and engineered by Adam Skeaping and Nick Glennie-Smith. It was recorded at Riverside Recordings and Livingston Studios. The gryphon cover illustration is by Dan Pearce. This is the first Gryphon album, with the emphasis still very much on the acoustic and 'early music' instruments.

It's of three jolly butchers as I've heard many say
They were going to some market town their money for to pay
They rode together for a mile or two and a little more besides
Said Johnson unto Jipson "Stop I heard a woman cry"
"Then stop I won't" said Jipson, "And stop I won't" said Ryde
"Then stop I will" said Johnson, "For I heard a woman cry"
So Johnson he alighted and viewed the place around
And saw a naked woman with her hair tied to the ground
"How came you here?" said Johnson, "How came you here?" said he
"Two highway men have robbed me that you can plainly see"
Then Johnson being a valiant man a man of courage bold
He took the coat from off his back to keep her from the cold
Then Johnson being a valiant man a man of valiant mind
He sat her up upon his horse and mounted up behind
And as they rode along the road as fast as they could ride
She put her fingers to her lips and gave three piercing cries

Out sprang ten bold highwaymen with weapons in their hands
They strode up to young Johnson and boldly bid him stand
"Stand I will" said Johnson "as long as ever I can
For I was never in all my life afraid of any man"
Then Johnson being a valiant man he made those bullets fly
Till nine of them bold highwaymen all on the ground did lie
This wicked woman standing by young Johnson did not mind
She took a knife all from his side and stabbed him from behind
This day it being a market day and people passing by
They saw this woman's dreadful deed and raised a hue and cry
Then she was down to Newgate brought bound down in irons strong
For killing the finest butcher as ever the sun shone on

& mibrinco John Barleycorn
-Roud 164 ; G/D 3:559 ; Ballad Index ShH84 ; trad.-


The John Renbourn Group
A Maid in Beldam (1977)


John Renbourn, guitars, vocals; Tony Roberts, vocals, flute, recorders, oboe, piccolo; Jacqui McShee, vocals; Sue Draheim, fiddle,vocals; Keshave Sathe, tabla, finger cymbals
John Barleycorn is an ancient folksong from Britain. The character "John Barleycorn" in the song is a personification of the important cereal grain crop barley, and of the alcoholic beverages made from it, beer and whisky.

A version of the song is included in the Bannatyne Manuscript of 1568, and English broadside versions from the 17th century are common. Robert Burns published his own version in 1782, and modern versions abound.

Kathleen Herbert draws a link between the mythical figure Beowa (a figure stemming from Anglo-Saxon paganism that appears in early Anglo-Saxon royal genealogies whose name means "barley") and the figure of John Barleycorn. Herbert says that Beowa and Barleycorn are one and the same, noting that the folksong details the suffering, death, and resurrection of Barleycorn, yet also celebrates the "reviving effects of drinking his blood."

In their notes to the Penguin Book of English Folk Songs (London, 1959), editors A L Lloyd and Ralph Vaughan Williams ponder whether the ballad is "an unusually coherent folklore survival" or "the creation of an antiquarian revivalist, which has passed into popular currency and become 'folklorised'". It is in any case, they note, "an old song", with printed versions dating as far back as the sixteenth century.
There was three men come out of the west
Their fortunes for to try,
And these three men made a solemn vow:
John Barleycorn should die.
They ploughed, they sowed, they harrowed him in,
Throwed clods upon his head.
And these three men made a solemn vow:
John Barleycorn was dead.

They let him lie for a very long time
Till the rain from heaven did fall,
And little Sir John sprung up his head
And that amazed them all.
They let him stand till midsummer
And he growed both pale and wan.
Then little Sir John, he growed a long beard
And so become a man.

They hired men with the scythes so sharp
To cut him off at the knee.
And poor little Johnny Barleycorn
They served most barbarously.
They hired men with the sharp pitchforks
To pierce him to the heart.
And the loader, he served him worse than that
For he bound him to the cart.

They wheeled him all around the field
A prisoner to endure,
And in the barn poor Barleycorn
They laid him upon the floor.
They hired men with the crab tree sticks
To cut him skin from bone,
And the miller, he served him worse than that
For he ground him between two stones.

I'll make a boy into a man,
A man into an ass.
I'll change your gold to silver, lass,
And your silver into brass.
I'll make the huntsman hunt the fox
With never a hound or horn.
I'll bring the tinker into gaol
Says old John Barleycorn.

Oh barley wine is the choicest drink
That was ever drunk on land.
It will make a man do miracles
By the turning of his hand.
You can tip your brandy in a glass,
Your whiskey in a can,
But barley corn and his nut-brown ale
Will prove the stronger man.

& mibrinco Prodigal's Resolution
-Anon 18th century-


Maddy Prior & The Carnival Band
Hang Up Sorrow & Care (1995)


Maddy Prior - vocals William Badley - baroque guitar, lute, acoustic guitar, electric guitar, banjo mandolin, vocals Andrew Davis - Double Bass Giles Lewin - violin, recorders, hoboy, mandolin, vocals Andrew Watts - Flemish bagpipes, shalmes, curtals, recorders, melodica, kazoo, vocals Rafaello Mizraki - drums, percussion, cello, Hammond organ, vocals Arrangements by Andrew Watts
Anon. from D'Urfey's Wit and Mirth: or Pills to Purge Melancholy 1719-1720. Tune `Jamaica' also in The Dancing Master 1670.
I am a lusty lively Lad,
Now come to One and Twenty,
My Father left me all he had,
Both gold and Silver plenty;
Now he's in grave, I will be brave,
The Ladies shall adore me;
I'll court and kiss, what hurt's in this,
My dad did so before me.

My Father was a thrifty Sir,
Till Soul and Body sundred,
Some say he was an Usurer,
For thirty in the Hundred;
He scrapt and scratcht, she pincht and patcht,
That in her Body bore me;
But I'll let fly, good cause why,
My Father was born before me.

o many Blades now rant in Silk,
And put on Scarlet Clothing,
At first did spring from Butter-milk,
Their Ancestors worth nothing;
Old Adam and our Grandam Eve,
by digging and by Spinning,
Did all to Kings and Princes give
Their radical Beginning.

Our aged Counsellors would have
Us live by Rule and Reason
`Cause they are marching to their Grave,
And Pleasure's out of Season;
I'll learn to dance the Mode of Francs,
That Ladies may adore me;
My thrifty Dad no Pleasure had,
Tho' he was born before me.

I'll to the Court, where Venus Sport
Doth revel it in Plenty,
I'll deal with all, both great and small,
From twelve to five and twenty;
In Play-houses I'll spend my Days,
For they're hung round with Plackets,
Ladies make room, behold I come,
Have at your knocking Jackets.

So I get wealth, what care I if
My Grandsir were a Sawyer,
My Father proved to be a chief,
And subtile, Learned Lawyer:
By Cook's Reports and Tricks in Courts,
He did with Treasure store me,
That I may say, Heavens bless the Day,
My Father was born before me.

& mibrinco Le Garcon Jardinier
--


Malicorne
Malicorne II (1975)



Où allez-vous la belle avant soleil levé ?
je m'en vais à la messe
l'avez-vous entendue sonner
beau garçon jardinier

Attendez-moi la belle je vous y conduirai
l'a pris par sa main blanche
au jardin il l'a emmenée
à l'ombre du rosier

Cueillez cueillez la belle la fleur que vous voudrez
la belle a pris la rose
et puis elle se mit à pleurer
à l'ombre du rosier

Qu'a-vous qu'a-vous la belle qu'a-vous à tant pleurer ?
je pleure mon coeur volage
galant que vous m'avez volé
à l'ombre du rosier

Pleurez pas tant la belle je vous le renderai
c'est pas une chose à rendre
galant comme de l'argent prêté
beau garçon jardinier

& mibrinco Riturnella
--


Eugenio Bennato e Carlo D'Angío
Musicanova (1978)



Tu rìnnina chi vai
Tu rìnnina chi vai
Lu maru maru
Oi riturnella
Tu rìnnina chi vai lu maru maru

Ferma quannu ti dicu
Ferma quannu ti dicu
Dui paroli
Oi riturnella
Ferma quannu ti dicu dui paroli

Corri a jettari lu
Corri a jettari lu
Suspiru a mari
Oi riturnella
Corri a jettari lu suspiru a mari

Pe’ vìdiri se mi rišpunna
Pe’ vìdiri se mi rišpunna
Lu mio beni
Oi riturnella
Pe’ vìdiri se mi rišpunna lu mio beni

Non mi rišpunna, annò
Non mi rišpunna, annò
È troppu luntanu,
Oi riturnella
Non mi rišpunna, annò, è troppu luntanu

È sutt’ a na frišcura
È sutt’a na frišcura
Chi sta durmennu
Oi riturnella
È sutt’a na frišcura chi sta durmennu

Poi si rivigghja cu
Poi si rivigghja cu
lu chjantu all’occhi
Oi riturnella
Poi si rivigghja cu lu chjantu all’occhi

Si stuja l’occhi e li
Si stuja l’occhi e li
Passa lu chjantu
Oi riturnella
Si stuja l’occhi e li passa lu chjantu

Piglia lu muccaturu
Piglia lu muccaturu
Lu vaju a llavu
Oi riturnella
Piglia lu muccaturu, lu vaju a llavu

Poi ti lu špannu a nu
Poi ti lu špannu a nu
Peru de rosa
Oi riturnella
Poi ti lu špannu a nu peru de rosa

Poi ti lu mannu a Na
Poi ti lu mannu a Na
puli a stirare
Oi riturnella
Poi ti lu mannu a Napuli a stirare

Poi ti lu cogliu a la
Poi ti lu cogliu a la
Napulitana
Oi riturnella
Poi ti lu cogliu a la napulitana

Poi ti lu mannu cu
Poi ti lu mannu cu
Ventu a purtari
Oi riturnella
Poi ti lu mannu cu ventu a purtari

Ventu và portacellu
Ventu và portacellu
A lu mio beni
Oi riturnella
Ventu và portacellu a lu mio beni

Mera pe’ nun ti cara
Mera pe’ nun ti cara
Pe’ supra mari
Oi riturnella
Mera che nun ti cara pe’ supra mari

Ca perda li sigilli
Ca perda li sigilli
De chistu cori
Oi riturnella
Ca perda li sigilli de chistu cori

& mibrinco The Unquit Grave
--


Gryphon
Gryphon (1973)

Gryphon is the debut album by the progressive rock band Gryphon. It was originally released in 1973 by Transatlantic, catalogue number TRA 262. The album was produced by Lawrence Aston and Adam Skeaping and engineered by Adam Skeaping and Nick Glennie-Smith. It was recorded at Riverside Recordings and Livingston Studios. The gryphon cover illustration is by Dan Pearce. This is the first Gryphon album, with the emphasis still very much on the acoustic and 'early music' instruments.

Cold blows the wind to my true love and gently drops the rain
I only had but one true love and in greenwood she lies slain
I'll do as much for my true love as any young man may
I'll sit and mourn along her grave for a twelve-month and a day
When the twelve months and one day was past the ghost began to speak:

"Why sit thou'st here along my grave and will not let me sleep?"
"There's one thing that I want sweetheart, there's one thing that I crave
And that is a kiss from your lily white lips then I'll go from your grave"
"My lips they are as cold as clay my breath smells earthy strong
And if you kiss my cold clay lips your days they won't be long
Go fetch me water from the desert and blood from out of stone
Go fetch me milk from a fair maid's breast that a young man never had known"

'Twas down in Cupid's Garden where you and I would walk
The finest flower that ever I saw is withered to a stalk
The stalk is withered and dry sweetheart the flower will ne'er return
And since I lost my one true love what can I do but mourn?
"When shall we meet again sweetheart? When shall we meet again?"
"Ere the oaken leaves that fall from the trees are green and spring up again"

& mibrinco Hunting Song
--


The Pentangle
Basquet of Light (1969)



As I did travel all on a journey
Over the wayside and under a dark moon
Hanging above a mountain

I spied a young man riding a fine horse
Chasing a white hart and all through the woodland
Head of a hunting party

And there followed after ten kings and queens
Laughing and joking, the white hart they'd seen
Bloodied running into the bushes

I plume to his helmet, a quiver and a bow
There's nowhere to run now, there's no place to go
The hunt is cast and ready

Still farther I journeyed through the hills and the valleys
Until upon the verge of despair I sat and rested
And there did pass a princely knight poursuite [pursued] by a lady
And this she did say:

"Oh may I ask you kind sir where you are going?
And pray tell unto me sir why you do hurry
Strange that I should meet you here, come sit by me".

"I have here a magic horn to deliver
And one drop from this silver and gold horn I hold, sir
Shall prove all to be false, lovers beware!"

"The gift that you bear for your brother the king
I gladly would carry to the banquet this even'
What fair sport this would be for the maidens at court."

Wearily I crossed the stream to the castle
Where I found shelter from the cold wintry wind
And food did I have and plenty
But the Lord and Lady seemed so sad
For these words they did say unto each other:

"My good lord, all off to war in thy armor
Leaving me here alone to weep and to worry
Take care lest misadventure
Shall overcome thy kindly heart
My good lord, all off to war in thy armor."

"My lady, you have no need for to worry
I'll return victorious and true unto thee
Take care, lest misadventure
Shall stain your heart and lead to woe
My fair lady you have no need for to worry."

. . . la la la . . .

While underneath the spreading oak a knight with white device
Upon a shield of black, and deep in grief and sorrow sings
His unrequited love

"Young noblewoman riding by, pray tell me have you seen
Queen Azelda the fairest maid, in company she rides
For I swear to have revenge."

A thousand days have come and passed, the Lord returns this night
The victor from the bloody wars proven his fearsome might
As ever he would claim

But fate has played its wanton game, the circle come full turn
The magic horn has done its work, cried "Falseness is found out!"
The sorrowed quest is over.

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