Classic Art Songs

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Classic Song Art

This sheet music was designed to be decorative, not simply functional.
As you see from the heading for the first song, they came out as a set:
« To the R.Hon. the Earl of HALIFAX, these four Plates are humbly Inscrib'd. »
Each song is scored with only melody and figured bass.*
There are some interesting points about this set:

Apparently the artwork and engraving are by G. Bickham, Jr.

The lyrics are written in cursive, virtually unheard of today.

Capitalization and punctuation in the lyrics are inconsistent.

The bass clef sign is somewhat different than our modern one.

There is always a flute part that parallels the melody.

The transposition for the flute is always different.

For a closeup of an image, view alone in separate tab.

THE CHACE
This appears to be the first of the set.
It includes the aforementioned dedication,
as well as an apparent set identifier at the foot.
The notation "Set by Mr. Carey" seems to indicate
the composer wrote music for an existing poem.
The flute part is written up a minor third.

Away away we've Crown'd the Day we've Crown'd the Day
away away we've Crown'd the Day
the Hounds are waiting for their Prey.
The Huntsman's Call Invites ye all
the Huntsman's Call Invites ye all,
Come in Come in Boys while you may,
Come in Come in Boys while you may.
The Jolly Horn, the Rosie Morn, the Rosie Morn
The Jolly Horn the Rosie Morn,
with Harmony of Deep Mouth'd Hounds
These These my Boys, are Heavenly Joys
These These my Boys are Heavenly Joys
A Sportsman's pleasure knows no bounds
a Sportsman's pleasure &c
The Horn shall be the Husband's Fee, the Husband's Fee,
The Horn shall be, the Husband's Fee,
and let him take it not in Scorn.
The Grave and Sage in ev'ry Age,
The Grave and Sage in ev'ry Age
Have not Disdain'd to wear the Horn,
Have not &c.

GENEROUS LOVE
A collection of sweet, romantic thoughts.
Genuine love is better than riches, etc.
This is from back in the day when it was
still fashionable for love to be "chast"!
Notice some of the note heads face the wrong way.
The flute part is written up a perfect fifth.
Love's a gentle generous Passion,
Source of all sublime delights,
When with mutual inclination
Two fond Hearts in one unites,
Two fond Hearts in one unites.
What are titles, pomp or Riches,
If compar'd with true content?
That false joy which now bewitches,
When obtain'd, we may repent,
When obtain'd &c.
Lawless Passion brings vexation,
But a chast & constant Love
Is a glorious Emulation,_
Of the Blissful state above,
Of the &c.

THE LASS OF PATTIES MILL
This publication does not show credits.
It is believed to be from around 1725,
with lyrics by Allan Ramsay
and music by David Rizzio.
A bit risqué in one spot. (There is a
modern version that omits that stanza.)
The flute part is written up a perfect fourth.
The Lass of Patties Mill,
So bony blith and gay
In spight of aw my skill
She stole my Heart away
When tedding of the Hay
Bare Headed on the Green
Love midst her Locks did play
And wanton'd in her Ey'n.
Her Arms white round & smooth
Breasts rising in y^r dawn_
To age it would gi youth_
To press them n^th his Hand
Thro' all my Spirits ran_
An extasie of bliss_
When Ise such sweetness found
Wrapt in a balmy kiss._
Without the help of Art_
Like flow'rs y^t grace y^e wild
She did her sweets impart
When e'er she spoke or smil'd
Her looks they were so mil'd
Free from affected pride_
She me to Love beguiled_
Ise wish'd her for my bride.
Oh! had Ise aw the Wealth_
Hopton's high mountains fill
Insur'd long Life & Health_
And pleasure at my will_
I'd promise and fulfill_
That none but bony she_
The Lass of Patties Mill_
Shou'd share y^e same wi me.

THE RESOLVED LASS
Another rebellious teenager!
This time there's a trill in the
vocal part, not in the flute part.
The flute part is written up a minor seventh.

When parents obstinate & cruel prove,
& force us to a Man we cannot love:
'tis fit we disappoint y^eSordid elves,
& wisely get us Husbands for our Selves;
& wisely get us husbands for our Selves.

	This sheet music was designed to be decorative, not simply functional. As you see from the heading for the first song, they came out as a set: « To the R.Hon. the Earl of HALIFAX, these four Plates are humbly Inscrib'd. » Each song is scored with only melody and figured bass.* There are some interesting points about this set: Apparently the artwork and engraving are by G. Bickham, Jr. The lyrics are written in cursive, virtually unheard of today. Capitalization and punctuation in the lyrics are inconsistent. The bass clef sign is somewhat different than our modern one. There is always a flute part that parallels the melody. The transposition for the flute is always different.
	For a closeup of an image, view alone in separate tab.
THE CHACE This appears to be the first of the set. It includes the aforementioned dedication, as well as an apparent set identifier at the foot. The notation "Set by Mr. Carey" seems to indicate the composer wrote music for an existing poem. The flute part is written up a minor third.		Away away we've Crown'd the Day we've Crown'd the Day away away we've Crown'd the Day the Hounds are waiting for their Prey. The Huntsman's Call Invites ye all the Huntsman's Call Invites ye all, Come in Come in Boys while you may, Come in Come in Boys while you may. The Jolly Horn, the Rosie Morn, the Rosie Morn The Jolly Horn the Rosie Morn, with Harmony of Deep Mouth'd Hounds These These my Boys, are Heavenly Joys These These my Boys are Heavenly Joys A Sportsman's pleasure knows no bounds a Sportsman's pleasure &c The Horn shall be the Husband's Fee, the Husband's Fee, The Horn shall be, the Husband's Fee, and let him take it not in Scorn. The Grave and Sage in ev'ry Age, The Grave and Sage in ev'ry Age Have not Disdain'd to wear the Horn, Have not &c.
GENEROUS LOVE A collection of sweet, romantic thoughts. Genuine love is better than riches, etc. This is from back in the day when it was still fashionable for love to be "chast"! Notice some of the note heads face the wrong way. The flute part is written up a perfect fifth.		Love's a gentle generous Passion, Source of all sublime delights, When with mutual inclination Two fond Hearts in one unites, Two fond Hearts in one unites. What are titles, pomp or Riches, If compar'd with true content? That false joy which now bewitches, When obtain'd, we may repent, When obtain'd &c. Lawless Passion brings vexation, But a chast & constant Love Is a glorious Emulation,_ Of the Blissful state above, Of the &c.
THE LASS OF PATTIES MILL This publication does not show credits. It is believed to be from around 1725, with lyrics by Allan Ramsay and music by David Rizzio. A bit risqué in one spot. (There is a modern version that omits that stanza.) The flute part is written up a perfect fourth.		The Lass of Patties Mill, So bony blith and gay In spight of aw my skill She stole my Heart away When tedding of the Hay Bare Headed on the Green Love midst her Locks did play And wanton'd in her Ey'n. Her Arms white round & smooth Breasts rising in y^r dawn_ To age it would gi youth_ To press them n^th his Hand Thro' all my Spirits ran_ An extasie of bliss_ When Ise such sweetness found Wrapt in a balmy kiss._ Without the help of Art_ Like flow'rs y^t grace y^e wild She did her sweets impart When e'er she spoke or smil'd Her looks they were so mil'd Free from affected pride_ She me to Love beguiled_ Ise wish'd her for my bride. Oh! had Ise aw the Wealth_ Hopton's high mountains fill Insur'd long Life & Health_ And pleasure at my will_ I'd promise and fulfill_ That none but bony she_ The Lass of Patties Mill_ Shou'd share y^e same wi me.
THE RESOLVED LASS Another rebellious teenager! This time there's a trill in the vocal part, not in the flute part. The flute part is written up a minor seventh.		When parents obstinate & cruel prove, & force us to a Man we cannot love: 'tis fit we disappoint y^eSordid elves, & wisely get us Husbands for our Selves; & wisely get us husbands for our Selves.

~ FURTHER READING ~

*Figured bass is a simplified notation for indicating harmonies.
It was popular with Bach when he wrote when he wrote his chorales.
It could be said that it is the baroque equivalent of chord changes.

A bass without a number under it indicates a chord in root position.
A digit 6 under the bass note indicates a first inversion chord.
Digits 6 & 4 under the bass note indicate a second inversion chord.