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73-404: In early collections the terms "catch" and "round" were interchangeable and, with part-songs and multi-voice canons, were all indexed as "songs". The catch and round differ from the canon in having a cadence on which the song can terminate after a specified number of repeats or when the leader gives a signal. A catch does not necessarily require the lines of lyrics to interact so that a word or phrase

146-550: A number of short movements contrasted in key and tempo, including so-called word-painting. Their texts can be convivial, fraternal, idyllic, tender, philosophical or even (occasionally) dramatic. Glee composers often turned to near-contemporary poets for their texts on pastoral themes, as well as sources as diverse as Chaucer , Nicholas Breton , Shakespeare and Milton or translations of Classical poets or even Goethe . Some composers also used texts from more Romantic sources such as James Macpherson's Ossianic epics. The form

219-591: A second possibility, a quantitative analysis was performed using the Linguistic Atlas of Late Mediæval English ; out of nine lexemes originally beginning with the letter F, six demonstrably retained that letter in Reading (the other three were unattested), while four retained it in Leominster (four unattested, with fetch evolving into vetch ). The Middle English Dictionary records a personal name Walterus Fartere from

292-497: A sequel of The Wicker Man , Pound's variant of the poem was used in the place of the original. Winter is icumen in, Lhude sing Goddamm, Raineth drop and staineth slop, And how the wind doth ramm! Sing: Goddamm. Skiddeth bus and sloppeth us, An ague hath my ham. Freezeth river, turneth liver, Damm you; Sing: Goddamm. Goddamm, Goddamm, 'tis why I am, Goddamm, So 'gainst the winter's balm. Sing goddamm, damm, sing goddamm, Sing goddamm, sing goddamm, DAMM. The song

365-486: A succinct verse well matched to suitably harmonised and polyphonic music. Names quoted include the prolific Donald Sosin (US) and Uitdenbogerd The catch technique has also migrated into other fields: Dashboard Confessional used a catch in the chorus of the song "Hold On" from the album The Swiss Army Romance . The Art of the Ground Round by P. D. Q. Bach uses several catches. One format which became popular later in

438-450: A supplicio Vite donat et secum coronat in celi solio Observe, Christian, such honour! The heavenly farmer, owing to a defect in the vine, not sparing the Son, exposed him to the destruction of death. To the captives half-dead from torment, He gives them life and crowns them with himself on the throne of heaven. written " χρ̅icola " in the manuscript (see Christogram ). In

511-490: Is a kind of part song . To perform the round, one singer begins the song, and a second starts singing the beginning again just as the first gets to the point marked with the red cross in the first figure below. The length between the start and the cross corresponds to the modern notion of a bar , and the main verse comprises six phrases spread over twelve such bars. In addition, there are two lines marked "Pes", two bars each, that are meant to be sung together repeatedly underneath

584-466: Is a table of "catches and rounds in this book", followed by "a table of the Sacred Hymns and Canons"; however, none of the first section is specifically described as catch or round. In the last section the canons are described as such, and the few "hymns" in three parts have no description; in fact unlike the catches and canons they are very much older than the rest of the contents which had been written in

657-548: Is a type of English part song composed during the Late Baroque , Classical , and early Romantic periods (roughly the Georgian era , taken together). The respectable and artistic character of glees contrasts with the bawdiness of the many catches which continued to be composed and sung well into the early years of the 19th century. The use of the countertenor voice on the upper part(s) in glees composed for men's voices, and on

730-570: Is a vigorous piece for 3 voices (ATB). Webbe's glee took root with the Harvard Glee Club , the oldest such group in America, which still sings this song. Webbe wrote the text as well as the music, and in it he faithfully traced the London Glee Club's history; for the first couple of years, the meetings circulated among members' homes. This is reflected in the second line, which notes that the club

803-416: Is also parodied by " P. D. Q. Bach " (Peter Schickele) as "Summer is a cumin seed" for the penultimate movement of his Grand Oratorio The Seasonings . Carpe diem, Sing, cuckoo sing, Death is a-comin in, Sing, cuckoo sing. death is a-comin in. Another parody is Plumber is icumen in by A. Y. Campbell : Plumber is icumen in; Bludie big tu-du. Bloweth lampe, and showeth dampe, And dripth

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876-452: Is growing And the meadow is blooming, And the wood is coming into leaf now, Sing, cuckoo! The ewe is bleating after her lamb, The cow is lowing after her calf; The bullock is prancing, The billy-goat farting, [or "The stag cavorting" ] Sing merrily, cuckoo! Cuckoo, cuckoo, You sing well, cuckoo, Never stop now. Sing, cuckoo, now; sing, cuckoo; Sing, cuckoo; sing, cuckoo, now! The celebration of summer in "Sumer

949-460: Is icumen in" is similar to that of spring in the French poetic genre known as the reverdie (lit. "re-greening"). However, there are reasons to doubt such a straightforward and naïve interpretation. The language used lacks all of the conventional springtime-renewal words of a reverdie (such as "green", "new", "begin", or "wax") except for springþ , and elements of the text, especially the cuckoo and

1022-539: Is icumen in". The children's television show Strange Hill High has the song being sung by the students in The Snide Piper . This piece was parodied under the title "Ancient Music" by the American poet Ezra Pound in 1916 for his collection Lustra , but not published in the first two editions; it was published in the 1917 first American edition. In The Loathsome Lambton Worm , the unproduced script treatment for

1095-443: Is no evident distinction between rounds and catches and no set terminology for part-songs. Though the catches are generally short, one or two take a whole page to print (four parts of 13 bars), and subject matter is varied, including pastoral, descriptive and devotional items, and none that might be described as bawdy. John Hilton 's Catch That Catch Can is described as "A choice collection of Catches rounds and canons". Inside there

1168-449: Is not as secure as the number of editors that have championed it might imply". The evolution of verteþ could not have originated in the unattested Old English feortan , in part because there is a gap of between 100 and 120 years between the first unambiguous usage of that word and its postulated use in Sumer is icumen in . Given that the poem was likely composed in Reading, with Leominster as

1241-454: Is produced from one part in the rests of another. This view became prevalent in the later part of the eighteenth century under the influence of the competitions sponsored by the Noblemen and Gentlemen's Catch Club. Catches were originally written out at length as one continuous melody, and not in score. The change to printing in score was first made in the early eighteenth century, and this is now

1314-797: Is repeated by one person as many times as necessary, pausing at the end. Pes 2: hoc dicit alius pausans in medio et non in fine inmediate repetens principium. - this is sung by another person with a pause in the middle, but not at the end, repeating the beginning straight away. "Sumer is icumen in" in modern notation: Middle English Sumer is icumen in Lhude sing cuccu Groweþ sed and bloweþ med and springþ þe wde nu Sing cuccu Awe bleteþ after lomb lhouþ after calue cu Bulluc sterteþ bucke uerteþ murie sing cuccu Cuccu cuccu Wel singes þu cuccu ne swik þu nauer nu Sing cuccu nu • Sing cuccu. Sing cuccu • Sing cuccu nu Modern English Summer has arrived, Loudly sing, cuckoo! The seed

1387-512: Is required in interpreting the intended voicing of glees in contemporary editions, due to the gradual replacement, taking place at this time, of the C clef with the treble clef but often without the required octave transposition being specified. The term "glee" has been as loosely used as madrigal , from whose rediscovery the impulse for glee composition likely grew (that, at least, was John Callcott 's opinion). Glees, although often in simple binary form , can also be extended pieces consisting of

1460-591: Is the thirteenth century " Sumer is icumen in ". Other early survivals are in manuscripts devoted to topics other than music, and though there may well have been many more over the years, few survived. The first major collection is in the Henry VIII manuscript dated about 1515; but they are really courtly art-songs and too complex to be sung informally. The current catch repertoire dates from the Lant Collection copied around 1580 and containing 57 catches and rounds. This

1533-479: The Reading Rota because the earliest known copy of the composition, a manuscript written in mensural notation , was found at Reading Abbey; it was probably not drafted there, however. The British Library now retains this manuscript. A copy of the manuscript in stone relief is displayed on the wall of the ruined chapter house of Reading Abbey. A rota (Latin for 'wheel') is a type of round , which in turn

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1606-447: The Wessex dialect of Middle English . Although the composer's identity is unknown today, it may have been W. de Wycombe or a monk at Reading Abbey , John of Fornsete  [ Wikidata ] . The manuscript in which it is preserved was copied between 1261 and 1264. This rota is the oldest known musical composition featuring six-part polyphony . It is sometimes called

1679-522: The 1670s, glees had not been especially encouraged until the Catch Club started to award prizes. Their encouragement eventually led to the formation of further clubs explicitly devoted to glees, starting in 1783 with the Glee Club and another at Harrow School in 1787. On the whole the glees stimulated by the prizes started with a clearly pastoral or abstract content and developed a style which separates them from

1752-510: The 1938 film The Adventures of Robin Hood , Little John ( Alan Hale Sr. ) is whistling the melody of the song just before he first meets Robin Hood played by Errol Flynn . According to Lisa Colton, "Although it appears only this once, in that fleeting moment the tune serves to introduce the character through performance: the melody was presumably sufficiently recognisable to be representative of medieval English music, but perhaps, more importantly,

1825-493: The 20th century exploited rests at the ends of lines. Probably the most widely known of these is "Liverpool Street Station", beginning, "The girl that I love has given me the shove \\ She says I am too low for her station".. An alternative approach picks out individual syllables from an unrelated text as illustrated by Donald Sosin’s catch, "We Took Off Our Ugly Clothes," devoted to the University of Michigan Men's Glee Club, in which

1898-463: The Alto part(s) in those for mixed voices, is a particular characteristic of the form (the most famous exponent, known for his elegant ornamentation, was William Knyvett ) and serves to distinguish glees from other male voice partsongs, which usually lack countrapuntal writing and have the top part taken by a tenor . This gives them a highest note around a major third below that of men's voice glees. Some care

1971-608: The Apollo Glee Club (Liverpool). Glees such as William Crotch's 'Mona on Snowdon calls' were sometimes introduced into stage productions. As the 19th century progressed, musical tastes changed along with social structures, and the glee as a musical form began to be replaced by the romantic part song , aimed at larger choirs. By the mid-20th century, the glee was seldom performed. Since then, however, professional singing groups have performed and recorded glees with some success. From around 1850, as larger choral societies supplanted

2044-572: The Catch Club was offering four prizes annually—two for glees (one serious, one cheerful), one for a catch and one for a canon. If Warren's Collection is typical, the catches were usually smutty and the canons religious. Participation by Italian musicians resident in London seem to have been welcomed. Other clubs included the Hibernian Catch Club (Dublin), the Gentlemen's Glee Club (Manchester) and

2117-609: The Commonwealth and Catch singing was much practised by displaced choirmen; and so the Playfords encouraged the formation of more catch clubs to buy and sing their music. After the Restoration a new generation of composers included Henry Aldrich , John Blow and Michael Wise , who were employed by the church; and Henry Purcell and John Eccles , whose later work was in the newly revived theatres. Examples include Purcell ("A catch upon

2190-477: The French Overture style and style galant with Affetuoso 3/4 movements and sections of robust Handelian fugal writing as well as short sections for solo or duetting voices. A very few glees have basso continuo or other instrumental accompaniment. A notable example of the simpler sort of glee is Glorious Apollo , by Samuel Webbe Sr., written in 1787 as a theme song for the newly founded London Glee Club, it

2263-536: The President after supper; it was later supplied with alternative lyrics and became more widely known as " The Star-Spangled Banner ". Samuel Webbe won 27 prizes and was especially known as a glee composer, becoming Librarian of the Glee Club at its formation and later Secretary of the Catch Club. It is said that he developed a style which is regarded as the essence of the glee. So, though the City Glee Club dates from

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2336-580: The Warren Collection. Some are anonymous, which accords with the Club's submission rules, though in most cases Warren has supplied a composer. Gladstone writes (p. 41) that "The worst of the literature set to music was either destroyed or suppressed...Catches were still written but not to objectionable words." Nevertheless, catches had from early times exploited the gaps revealed by rests to reveal hidden meanings from other lines, usually with amusing intent. In

2409-441: The amateur gentlemen. Much of the music was for men's voices, and any soprano parts were usually sung by a small group of boys (church choristers). Ladies were rarely present except as listeners. Glees were scored for from three to eight voices and the more elaborate of them are ideally intended to be sung a cappella , one to a part, by professional choral or solo singers. The first of the great Georgian clubs specifically to embrace

2482-713: The calendar of the close rolls of 1234, and another name Johannes le Fartere from the Leicestershire lay subsidy rolls of 1327. This also implies the existence of a word farten or ferten in Middle English, both with an initial letter F . Beneath the Middle English lyrics in the manuscript, there is also a set of Latin lyrics which consider the sacrifice of the Crucifixion of Jesus : Perspice Christicola que dignacio Celicus agricola pro vitis vicio Filio non parcens exposuit mortis exicio Qui captivos semiuiuos

2555-463: The children of England from indecency. Similarly, Arthur K. Moore states: The older anthologists sometimes made ludicrous attempts to gloss 'buck uerteth' in a way tolerable to Victorian sensibilities. Most recent editors have recognized what every farm boy knows—that quadrupeds disport themselves in the spring precisely as the poet has said. To the fourteenth century, the idea was probably inoffensive. According to Platzer, "this traditional reading

2628-756: The church. Subject matter of the catches continued as before but began to reflect theatrical work in the way that Purcell had done. Various continental composers wrote in a similar vein, but all called their work canons. The most prolific was Michael Haydn , whose work remained unpublished until very recently. He encouraged his neighbours in Salzburg , the Mozarts, to sing and write canons, and several by Wolfgang are extant, including two MS originals in BL. Likewise Michael's brother Joseph wrote some amusing pieces including Crab Canons that can be sung upside down (and thus back to front) at

2701-528: The compositions before a selection committee, so this became very expensive. Callcott's popular catch "Sir John Hawkins' History of Music" [2] ridiculed Sir John Hawkins ' work by comparison with a similarly intended work by Charles Burney . John Stafford Smith won six prizes from 1773. His output was mostly glees, but his song " To Anacreon in Heaven " was written for the Anacreontic Society and sung by

2774-538: The earlier part-songs published in catch collections. Many other clubs existed under a variety of titles, including the Hibernian Catch Club (Dublin, late C17 and still extant), harmonic societies, Anacreontic societies and so forth. The Canterbury Catch Club (1779 to 1865) has resurfaced as a website with transcripts and recordings of a selection of catches and glees from the archives left in Canterbury . Possibly

2847-470: The early eighteenth century, as other forms of music became more popular. Less significant figures such as Richard Brown and John Church helped to bridge the gap into the new century, but it was Maurice Greene who dominated this period, despite the presence of opera composers such as Handel and Bononcini . Greene became Master of the King's music when Eccles died (1735), and he changed the way in which catch music

2920-464: The extent that many began to believe that this is the essence of the catch. Of the many composers associated with the Catch Club, three stand out. John Wall Callcott submitted his first glee at the age of 18 and the following year, 1784, carried off three of the prizes, and was a frequent prize-winner until their abolition in 1794. He may well have assisted in their abolition by submitting nearly 100 compositions in one year. Singers were hired to try out

2993-442: The fact that Little John is whistling the song emphasizes his peasant status...In Robin Hood , Little John's performance of 'Sumer is icumen in' locates him socially as a contented, lower class male, a symbol of the romanticized ideal of the medieval peasant". The rendition sung at the climax of the 1973 British film The Wicker Man is a mixed translation by Anthony Shaffer : Sumer is Icumen in, Loudly sing, cuckoo! Grows

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3066-420: The farmyard noises, potentially possess double meanings. "It is the wrong bird, the wrong season, and the wrong language for a reverdie , unless an ironic meaning is intended". The translation of "bucke uerteþ" is uncertain. Some (such as Millett 2003d , in the version given above) translate the former word as "buck-goat" and the latter as "passes wind" (with reconstructed OE spelling feortan ). Platzer, on

3139-473: The first half of the seventeenth century. The contributors were generally church musicians such as Hilton himself, Nelham and Holmes, or court composers such as the Lawes brothers, Henry and William , and Simon Ives . There is evidence that the catches were sung by the composers and their friends in off-duty hours, especially the taverns and ale houses around Parliament Square . The subject matter includes more in

3212-406: The first part continues from 1663 with the usual updates and omissions. The second part is headed simply The Musical Companion and contains part-songs and may be the first use of " glee " in this sense, and certainly seems to have established a general outline of use for some time. Playford, with his son Henry , dominated music publishing until the end of the century. Music meetings had begun during

3285-524: The first volume of the Collection is an epitaph by Giardini (p. 29) which exploits the division of syllables "in a count-ry churchyard" in this way, so perhaps members reading the lyrics, and not the music, did not find them objectionable. This seems to have set the tone for a revival of this style of catch since there are many more in this vein. Similarly, glees had not been especially singled out before this period, and their encouragement eventually led to

3358-458: The formation of clubs explicitly devoted to glees, starting in 1787 with the Glee Club in London and another at Harrow School . On the whole the glees stimulated by the prizes started with a clearly pastoral or abstract content and developed a style which separates them from the earlier part-songs published in catch collections. Catches on the other hand increasingly exploited the gaps revealed by rests which reveal hidden meanings from other lines, to

3431-535: The glee as previously known was overshadowed. Unlike the glee clubs founded in the United States, there seem to be few clubs founded in the 20th century specifically for singing catches. The only known exceptions are The Aldrich Catch Club (London 1954) and the Catch Society of America . [more information needed] On the other hand, the extension of musical education and easier methods of dissemination, especially

3504-464: The glee was the Noblemen and Gentlemen's Catch Club of London, founded in 1761. Societies to sing, listen to and judge glees whilst dining and drinking became popular in the 18th century and remained so well into the 19th century. Glee clubs were at their most active during the second half of the 18th century, encouraging the production of new glees by awarding prizes to their composers. For example, in 1763

3577-400: The internet, have revealed an active community of people writing canons and rounds. Perhaps a drawback is that many of the older rounds and catches so disseminated have become detached from their origins and composers, though they can be re-connected as time goes by. Nevertheless, comparison of newer materials with 17th and 18th century catches reveal the difficulty, as in epigrams , of choosing

3650-471: The last to stagger on into the 20th century was the Round Catch and Canon Club (London 1843–1911). By the nineteenth century the Noblemen and Gentlemen's Catch Club sang few catches, and its repertoire consisted largely of glees sung by professional members. This was true elsewhere, and choral societies began to absorb the interests of amateur musicians. There was a revival of interest in madrigals so that even

3723-654: The main verse. These instructions are included (in Latin) in the manuscript itself: Hanc rotam cantare possunt quatuor socii. A paucio/ribus autem q u am a tribus u e l saltem duobus no n debet/ dici pret er eos qui dicu n t pedem. Canit ur aute m sic. Tacen/tibus ceteris unus inchoat cu m hiis q u i tene n t pede m . Et cu m uenerit/ ad p r imam notam post cruce m , inchoat alius, et sic de ceteris./ Singuli de ue ro repausent ad pausac i ones sc r iptas et /n on alibi, spacio unius longe note. Four companions can sing this round. But it should not be sung by fewer than three, or at

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3796-423: The members joining in at the refrain, "Thus then combining...". The term glee comes from gleo , an Old English word referring both to the more common senses of "glee" and to the performance of music. A related term is gleeman , meaning a wandering musician or poet. The first song to be described as a glee was Turn, Amaryllis, to thy Swain by Thomas Brewer and a few so-called glees were produced during

3869-475: The more rowdy characters drinking and singing catches late at night, of which one is said to begin "Hold thy peace, thou knave." John Playford who published Hilton's collection continued to do so after Hilton's death (1656) with further versions of Catch that Catch Can in 1658 and 1663 with some omissions and replacements. This changed in 1667 when he included a much larger "second book containing dialogues glees , ayres & ballads ". The list of catches in

3942-409: The normal method of presentation. In the score for a catch the different voices are usually labelled "1", "2", "3", etc. This indicates that voice "1" sings its part first and continues to part 2. When part 1 has been completed it is sung by voice "2" and so on. A common mistake in performance is for all parts to start together as though the score were to indicate a part song. The earliest secular round

4015-463: The other hand, views the latter, more vulgar, gloss as informed by "prejudices against mediæval culture" and suspects that those preferring it "may have had an axe to grind". Erickson derided "linguistic Galahads" for promoting more decent translations, suggesting: Editorial prudishness has kept that fine little Middle English poem, the Cuckoo Song, out of many a school-book, all because the old poet

4088-444: The publications discussed so far have a basic similarity in their printed appearance. Thomas Cross regularised an engraving system, and the commercial advantages were seen by John Walsh from the beginnings of his business in 1695. From there Walsh dominated music publishing through the first half of the 18th century. Further, the new method was cheaper and quicker, so publications diversified and increased in number. Though Walsh preferred

4161-599: The remainder of the 17th century but the heyday of the glee was in the years between 1750 and 1850. The form began to grow in importance with the establishment in the early 18th century of gentlemen's singing, or vocal music clubs in London from around 1726 when the Academy of Vocal Music (renamed the Academy of Ancient Music in 1731) was established. These clubs comprised select groups of enthusiasts whose members and guests included well-known musicians, in particular organists and professional singing men from major churches in addition to

4234-584: The same time as forwards. Some surprisingly jocular pieces exist from the hand of Ludwig van Beethoven , all of which have been published. Even so, the idea of a group meeting regularly seems not to have taken root as it did in Britain. An event which changed matters substantially in England was the formation of the Noblemen and Gentlemen's Catch Club in 1761, and especially its decision to award prizes. Notwithstanding its name, glees featured strongly in its repertoire from

4307-415: The seed and blows the mead, And springs the wood anew; Sing, cuckoo! Ewe bleats harshly after lamb, Cows after calves make moo; Bullock stamps and deer champs, Now shrilly sing, cuckoo! Cuckoo, cuckoo Wild bird are you; Be never still, cuckoo! In the children's television programme Bagpuss , the mice sing a song called "The Mouse Organ Song (We Will Fix It)", to a tune adapted from "Sumer

4380-488: The sort of anthology published in the previous century, it gradually became more common to see single-composer collections. Those anthologies that appeared usually also included glees, printed in score as compared with the separate parts which prevailed for example in 1667. With increasing prosperity more music was printed and, though plates were initially more expensive to engrave, it was their re-use in new anthologies which kept costs down. Even so, catches seem less popular in

4453-513: The start, as they did for most clubs of the period. Nevertheless, the award of prizes may have altered the balance. In 1762 prizes were awarded for catch, canon, serious glee, and cheerful glee. In 1768 Italian catch was added, and later we find ode , canzonet , and madrigal as well as the more frequent glee and catch. The first secretary of the Club was Thomas Warren (later Warren-Horne after an inheritance) who published an annual collection of catches and glees from 1762 to 1793, generally known as

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4526-418: The unison", but the sections are headed "rounds or catches of 3 (&c) voices". Deuteromelia introduces part-songs labelled as "Freemens songs". Melismata divides the contents into City Rounds and Country Rounds as contrasted with part-songs labelled Court varieties, City Conceits and Country pastimes. The Ravenscroft catches have no identified composers save for two that are known to be by Lassus . There

4599-510: The very least, two in addition to those who sing the pes . This is how it is sung. While all the others are silent, one person begins at the same time as those who sing the ground. And when he comes to the first note after the cross [which marks the end of the first two bars], another singer is to begin, and thus for the others. Each shall observe the written rests for the space of one long note [triplet], but not elsewhere. Pes 1: hoc repetit unus quociens opus est faciens pausacionem in fine. - it

4672-601: The viol" ), Wise ("A catch upon the midnight cats" ); and Eccles ("My man John" ). The biggest change in subject matter was politics, sometimes explicitly and at others hidden deep in allegory and allusion, especially in the 1680s. This accounted for the largest number of catches circulated anonymously in MS (to avoid arrest) though some were openly party propaganda. New habits were also covered; smoking (Aldrich) and congested water travel (Isaak), though conviviality (wine, women and song) accounted for an even greater share than before. Purcell

4745-612: The way of street cries and conviviality than in the Ravenscroft catches, and 37 (of 138) are devotional hymns and canons, only a few of which are in Latin. "Here dwells a pretty maid" by Cranford, another church musician, is the sort of minority contribution that made some nineteenth commentators consider all catches to be bawdy; it is said that a soldier singing this three-part catch (alone?) was heard by Cromwell and hauled before his colonel. Shakespeare 's play Twelfth Night features some of

4818-508: The words "University of Michigan Men's Glee Club" can be heard at this link . Sumer is icumen in " Sumer is icumen in " is the incipit of a medieval English round or rota of the mid-13th century; it is also known variously as the Summer Canon and the Cuckoo Song . The line translates approximately to "Summer has come" or "Summer has arrived". The song is written in

4891-451: The wud thru. Bludie hel, boo-hoo! Thaweth drain, and runneth bath; Saw saweth, and scrueth scru; Bull-kuk squirteth, leake spurteth; Wurry springeth up anew, Boo-hoo, boo-hoo. Tom Pugh, Tom Pugh, well plumbes thu, Tom Pugh; Better job I naver nu. Therefore will I cease boo-hoo, Woorie not, but cry pooh-pooh, Murie sing pooh-pooh, pooh-pooh, Pooh-pooh! Notes References Sources Glee (music) A glee

4964-607: Was "wand'ring to find a temple for his praise." It finally found its "temple" when the club's meetings moved to the Newcastle Coffee House. Webbe's references to the gods of the Greek pantheon were part and parcel of the Georgian gentlemen's singing clubs' identification with the learning and leisure activities of the classical world. Webbe structured the poem so that the first two couplets of each verse were sung by solo voices, with all

5037-431: Was familiar with English barn-yards and meadows and in his poem recalled those sights and sounds. He knew that bullocks and bucks feel so good in the springtime that they can hardly contain themselves, and he set down what he saw and heard, leaving it to squeamish editors to distort one of his innocent folk-words into a meaning that he would not recognise. One suspects that scholarly ingenuity has been overworked [...] to save

5110-495: Was followed by the first printed collections edited by Thomas Ravenscroft , which include most of the Lant pieces and most of those in the Melvil collection. Taking all three sources together this amounts to about 145 catches or rounds with a few part-songs. The contents list in all three Ravenscroft publications refer to "the songs in this book". Pammelia has a running page header "Canons in

5183-532: Was presented. Hitherto it had been written in a continuous line, but Greene had it printed in score. Moreover, he published only his own catches, a practice followed by Hayes and others. William Hayes was representative of a larger group of composers born in the early part of the century, many still employed by the church but increasingly in the theatre or pleasure gardens. This included Arne , Baildon, Boyce , and Nares , and immigrant musicians such as Marella, Lampe , Berg and Festing , who worked entirely outside

5256-416: Was probably the most prolific contributor with 53 catches to his name including two that are bawdy and many more wrongly attributed to him, most of which are bawdy. John Playford retired in 1684, and his place was taken initially by Henry Playford working with Richard Carr, but they were overtaken by new technology. Hitherto there had been little change in music printing since the mid sixteenth century; all of

5329-664: Was very flexible and text-driven and could therefore be a great deal more complex in terms of variety of texture and freedom of expression than that of the post-Mendelssohnian, Romantic part song which largely superseded the glee and was intended to be sung by choirs. Several glee composers wrote pieces they described as madrigals, in imitation of the Renaissance style, the most famous being Thomas Linley Snr's 'Let me careless and unthoughtful lying'. Many glees in fact use madrigalian contrapuntal procedures as part of their tapestry of effects. Other composers successfully juxtaposed sections in

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