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Calliope: Beautiful Voice, Volume the First (Works by Purcell, Handel, Carey, etc.)

Calliope: Beautiful Voice, Volume the First (Works by Purcell, Handel, Carey, etc.)

The Frolick Ensemble

CDs: 2
Tracks: 52
Length: 2:26:28

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AVIE Records
Rel. 12 Jun 2006

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Calliope: Beautiful Voice, Volume the First (Works by Purcell, Handel, Carey, etc.) The music on this two-disc set can fairly be said to represent the taste of the average London entertainment consumer in the middle of the eighteenth century. All of it is taken from a songbook called Calliope, published in 1739; English contralto Emma Curtis devised the whole concept, sings songs from both female and male perspectives, is shown in the 80-page booklet in an entertaining variety of period costumes, and wrote all the booklet notes herself. The song texts and the main body of the booklet are translated into French and German, but Curtis' individual notes to each song are not—and it's here that the real fun begins. Curtis is the type of presenter who overflows with both knowledge and enthusiasm for her subject, and she is extraordinarily successful here in taking the listener into the world she knows. These songs might be called semi-popular. Composers like Handel and Purcell share the book's pages with Henry Carey, John Frederick Lampe, and the famed Anonymous. Many of the pieces by the "name" composers are instrumental tunes to which someone later added words (an example is A Song to a Favorite Minuet of Geminiani, CD 1, track 9). Curiously the book seems not to have included anything from the top homegrown hit of the day, The Beggar's Opera, although several songs come from productions that gave it competition. Some of the songs were freestanding entities (or have come down to us as such), but most were part of stage entertainments—songs from plays, pastoral comedies, masques, or operas, all of which had both spoken and musical aspects. Many songs' comic and melancholy takes on love wouldn't be too far out of place on today's pop charts if you replaced the kisses with sexual encounters, but others comment on the entertainment scene itself. The triumph of English over Italian music forms the subject of several songs—the leading castrati, who fascinated female audiences, had left England by the late 1730s, and a few of these hit songs lamented their departure (The Lady's Lamentation for the Loss of Senesino, CD 2, track 3, is one). Other songs seem to adumbrate details of later popular song traditions: the country girl who puts on big-city styles in order to snag herself a prosperous husband makes several pert appearances, the Scotch songs that hit their peak a century later are already in abundance here, and even Corrina, the woman beloved of bluesmen, makes an offstage appearance. Many songs are flat-out funny; Maurice Greene's The Fly and The Flea just have to be heard to be believed. As for flies in the ointment, tracks 8 and 20 of CD 1, both called The Coquet (The Coquette) are reversed in the booklet. Other coquettes worthy of the Britney Spears of "Oops! I Did It Again" are delivered with maximum effectiveness by Curtis, who sings directly and clearly in a voice that one imagines was perfectly appropriate for the London drawing-rooms in which these songs would originally have been performed—the voice of a young and talented stage actress, perhaps, the equivalent of the musical-theater newcomer of our own time. This is apparently the first volume of an eventual set; one awaits subsequent releases as Phyllis awaits her handsome swain—with bated breath.

© James Manheim, All Music Guide
Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
AMG
CD 1 of 2
1 Cupid and Venus One Day Strove, song 2:36
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2 2.Song: Celia has a thousand charms 4:57
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3 Divinest Fair, O Ease My Care, song 1:31
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4 Too Lovely Fair One, song 2:13
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5 O my pretty Punchinello 3:42
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6 5.How is it possible 6:49
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7 Guardian Angels Now Protect Me, song 2:20
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8 Crouds of Coxcombs Thus Deluding, song 1:43
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9 A Song to a Favourite Minuet of Geminiani's (Know, Madam, I never was born; vocal arrangement) 1:07
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10 Farewell, Ye Hills and Valleys, song 3:06
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11 Bird of May 2:09
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12 With Early Horn Salute the Morn, song 4:59
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13 'Twas on a River's Verdant Side, song 3:29
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14 Stella, Darling of the Muses, song 2:20
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15 Little Syren of the Stage, song 2:40
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16 Sad Musidora All in Woe, song 1:55
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17 Whilst Endless Tears and Sighs Declare, song 2:31
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18 Down the Burn Davie ("When Trees Did Bud & Fields Were Green"), song 5:17
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19 The Miller of Mansfield, song 2:41
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20 From White's and Will's, song 1:37
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21 The Forsaken Maid ("Fond Echo"), song 3:42
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22 On Dear Zelinda's Charms I Gaze, song 1:48
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23 Busy Curious Thirsty Fly, song 0:46
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24 My Jolly Companion, Thou Hast a Good Face, song 1:47
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25 Blow On, Ye Winds, song 5:25
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CD 2 of 2
1 Oft on Ye Troubled Ocean's Face, song 2:09
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2 19.'Twas when the seas were roaring 3:32
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3 As Musing I Rang'd in Ye Meads, song 6:08
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4 Pensive Alone the Desert Plains I Trace, song 3:24
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5 Linco Found Damon Lying, song 1:44
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6 Love's a Gentle, Gen'rous Passion, song 1:47
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7 Waft Me Some Soft and Cooling Breeze, song 4:13
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8 Whilst Strephon on Fair Cloe Hung, song (attrib. "Seignr. Anglosini") 2:10
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9 Frown Not, My Dear, song 2:53
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10 Corn Riggs Are Bonny ("My Patie is a Lover Gay"), song 2:30
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11 Flocks Are Sporting, song 1:26
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12 Genteel in Personage, song 2:03
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13 Why Do You Fix Your Eyes on Mine, song 2:33
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14 Too Plain, Dear Youth, song 4:18
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15 A Swain of Love Despairing, song 2:19
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16 What Tho' They Call Me Country Lass, song 1:38
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17 Charming Chloe, Look with Pity, song 3:30
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18 To Thee, O Gentle Sleep, song 2:19
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19 What Dire Misfortune (England's Lamentation for the Loss of Farinelli), song 3:39
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20 He's a Man Ev'ry Inch I Assure You (On Gallant Moor of Moorhall), song 1:46
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21 Dumbarton's Drums ("Dumbarton's Drums Beat Bonny-O"), song 2:34
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22 Cupid, God of Gay Desires, song 2:34
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23 Glide Swiftly On, Thou Silver Stream, song 1:57
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24 How wretched is a maiden's fate (song) 1:32
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25 Little Flea, Why So Bloodthirsty, song 1:17
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26 If the Glasses They Are Empty, song 4:21
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27 The Praise of Bacchus (concert aria), for 2 voices, flute, and continuo 3:02
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