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Boston Camerata, Joel Cohen - New Britain

Erato 2292-45474-2 (1990)

JOEL COHEN, BOSTON CAMERATA / 27. NEW BRITAIN

The Roots of American Folksong

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American civilisation came in large part from old Europe. So we all know -- but do we? For the myth of modern, industrial America, that brand-new, technology-driven, rootless place is strong in the contemporary mind. American music, we tend to think, is a product of modern times and big cities. Yet those who know and love American folk traditions are aware that the "newness" of the new world is sometimes more apparent than real. Great was the joy of English folksong collectors when, a couple of generations back, they began notating splendid versions of Elizabethan ballads from the mouths of semi-literate peasants in the Southern Appalachians. And many of the country melodies collected in Québec before the first World War have antecedents in the French songbooks of the early Renaissance. This unorthodox recording, an intentionally provocative mix of early art song and modern folksong, is meant first of all to give pleasure -- but it is also a meditation on history, on archetypes, and on the transmission of human culture. Much of the culture of Renaissance Europe, both "high" and popular, survived in the countryside: in the Old World, of course, but also in the New. What the impatient, novelty-seeking elites of the cities and courts had rejected remained to delight rural folk even into our own time. As we have seen so often in America (and perhaps elsewhere, too) the taste of ordinary people can be at least as good -- or better than -- the judgements of an official coterie. In our roots lies our strength! Buy It at Lowest Price on Amazon

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New Britain

Las Raíces del Folk Norteamericano

Erato 2292-45474-2 (1990)

grabado en 1988

I. PROLOGUE

01 - 2.41

Judicii signum (Anon., Southern Europe, 10th c) (WH)

The great day (Anon., The Sacred harp, Philadelphia, 1860) (men)

02 - 6.19

Calenda maia (Anon., Provence, ca. 1200) (AA)

Cuando por el oriente (Anon., New Mexico, 1953) (ensemble)

II. VIEILLE FRANCE ET NOUVELLE FRANCE

03 - 1.50

Rossignolet du bois joli (Anon., Québec, 1914) (KF)

BORLET (ca. 1400) - Rossignolet del bos jolin (ensemble)

04 - 2.47

Dans Paris y-a-t-un' barbière (Anon., Québec, 1914) (DSJ)

Loyset COMPÈRE, ca. 1500 - Allons-nous faire faire la barbe (instruments)

05 - 2.55

Mon père m'a mariée (Anon., Québec, 1914) (RA)

Mon père m'a mariée (Anon., ca. 1500) (KF WH DSJ DR, instruments)

06 - 3.25

Gabriel Nazareth (Anon., sung in Huron,Canada, ca. 1900) (men)

Jean PLANSON, 1587 - Une nymphe jolie (WH, instruments)

07 - 2.45

C'est en passant par Varennes (Anon., Québec, 1914) (women)

Jacob ARCADELT, ca. 1568 - Margo labourés les vignes (AA DR, instruments)

08 - 3.07

Jean Baptiste BESARD, 1603 - Bransles de village (instruments)

Il était une Cendrillon (Anon., Québec, 1914) (tenors)

09 - 2.33

C'est dans la ville de Bytowm (Anon., Québec, 1914; Amsterdam, ca. 1620; Belgium 20th) (ensemble)

III. WANDERING SONGS AND BALLADS

10 - 2.44

Il est venu le petit oysillon (Anon., France, ca. 1475) (AA)

An jenem Tag, nach Davids sag (Anon., Germany, 1619) (tenors)

Barbara Allen (Anon., England, 1859) (WH)

Barbara Allen (Anon., Tennessee, 1937) (HH)

Heavenly dove (Anon., Georgia, 1855) (chorus)

11 - 2.16

Chevy Chase (Anon., Virginia, 1931) (DSJ)

The kinges hunt is upp (Anon., England, ca. 1550) (DR)

The English hunt's up (Anon., England, ca. 1590) (Cohen inst.)

12 - 2.25

My love gave me a cherry (Anon., Scotland, ca. 1650) (Hershey, instruments)

I gave my love a cherry (Anon., Nova Scotia, 1950) (KF)

13 - 0.45

Thomas RAVENSCROFT, 1611 - Hey, ho, nobody at home (chorus)

14 - 4.59

There were three crows (Anon., Texas, 1950) (FR)

Thomas RAVENSCROFT, 1611 - There were three ravens (RA, ensemble)

15 - 4.50

Lady Cassilles lilt (Anon. "The Gypsy Laddie", Scotland, ca. 1620) (MR, MB)

Gipsy Davy (Anon., Ohio, 1925) (DR, ensemble)

16 - 0.56

The Jolly Beggar (Anon., ancestor of "Dixie", Scotland, 1790) (Jeppesen, instruments)

17 - 2.54

Billy boy (Anon., Thaunton, Mass., 1934) (MS)

Billy boy (Anon., Northern England, ca. 1920) (JCohen, men)

18 - 2.54

Diego ORTIZ, 1553 - Ricercada primera (Jeppesen, instruments)

Betty Anne (Anon., North Carolina, 1916) (ShK, ensemble)

IV - SINGING SCHOOL [The Social Harp (Georgia 1855)] & Folk Polyphony in the US

19 - 2.00

Singing school ("The Blue Bells of Scotland", Anon.,) [The Social harp, Georgia, 1855] (ShK, ensemble)

20 - 2.37

William BILLINGS (Boston, 1794) - Thomas-Town (tenors, ensemble)

21 - 4.19

New Britain (Amazing grace) (Anon.,) [The Sacred Harp, Philadelphia, 1860) (ensemble)

22 - 3.19

Parting friends [based on "Wayfaring stranger", The Social harp] (RA, DSJ, WH, DR, instruments)

23 - 3.37

Hallelujah [The Social Harp] (ensemble)

RA Roberta Anderson, soprano

AA Anne Azéma, soprano

ShK Sharon Kelley, soprano

Margaret Swanson, soprano

KF Kenneth Fitch, counter-tenor

FR Fred Raffensperger, counter-tenor

WH William Hite, tenor

DSJ Don Saint-Jean, tenor

HH Herman Hildebrand, baritone

DR David Ripley, bass

Marilyn Boenau, dulcian, krumhorn, recorder, shawm, bassoon

Joël Cohen, baritone, lute, guitare

Jane Hershey, treble viol, tenor viol, recorder, violon

Laura Jeppesen, treble viol, bass viol

Carol Lewis, treble viol, bass viol

Mark Ramsey, alto horn, sackbut, flute recorder, lute

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