Track Listing & Identification for «Purcell: Musick’s Hand-maid (The Harp Consort) Astrée E 8564»

Here is the listing of tracks, with appropriate (i.e., ‘Z’ numbers) identification, as promised in the post below.  My apologies for the archaic orthography and letters; this information was taken directly from my iTunes tags for this album.  As mentioned below, the identifications are based on the catalogue record for this recording at the Bibliothèque nationale de France; their online catalogue is a marvellous resource, and is available in English and Spanish, as well as French. The tenors on the individual tracks are not identified, but Ellen Hargis (soprano) sings on track 20, and Harry Van der Kamp (bass) on track 4.  The recording was made in March of 1995 at St Georgs-Kirche in Sengwarden, Niedersachsen (Lower Saxony in Germany).

1 of 30 | A ſingle Song in Edipus. Muſick for a while, ſhall all your Cares beguile Z583/2 From the music for a 1692 revival of ‘Œdipus’. Published in the Second Book (1702) of Playford’s ‘Orpheus Britannicus’.

2 of 30 | Air ZT676 Originally published in ‘Muſick’s Hand-maid’, the Air later formed part of the incidental music for Congreve’s 1693 play, ‘The Double-Dealer’.

3 of 30 | Air Z665/2 The Almand from the Suite in C major, published in Playford’s ‘The Second Part of Muſick’s Hand-maid’, 1689.

4 of 30 | The Reſurrection: Out of Mr. Cowley’s Pindaricks. Z183 Incipit: ‘Begin the song, and strike the living lyre’ Hymn on lines in Cowley’s Pindarick Ode of the same title. First published in the Second Book of ‘Harmonia Sacra’.

5 of 30 | Prelude Z652 Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

6 of 30 | Almand Z661/2  Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

7 of 30 | Corante Z661/3  Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

8 of 30 | Saraband Z661/4  Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

9 of 30 | A New Ground (Here the deities approve) ZT682 Transcription of ‘Here the deities approve’ from the Cecilian ode ‘Welcome to All the Pleasures’ of 1683. First published in the Second Part of ‘Muſick’s Hand-maid’.

10 of 30 | Round-O ZT684 Later the Rondeau (Z570/2) in the incidental music for the 1695 version of ‘Abdelazer: or, The Moor’s Revenge’. Published in ‘Second Part of Muſick’s Hand-maid’, 1689.

11 of 30 | Strike the Viol, touch the Lute, a ſingle Song Z323/4 From the ode ‘Come Ye Sons of Art, Away’ for Queen Mary’s 32nd birthday, on 30 April 1694. The song was published in the first book of Playford’s ‘Orpheus Britannicus’.

12 of 30 | Prelude Z720 Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

13 of 30 | Almand Z643 A variant of the Almand in Suite Z660.

14 of 30 | Courante Z644 Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

15 of 30  A New Scotch Tune Z655 The tune originally appeared as ‘A Scotch Tune in Fashion’, in ‘Apollo’s Banquet’, 1687. Also known as ‘Peggy, I must love thee’, from the words set to it in later times.

16 of 30 | Air Z641 Published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’ in 1696.

17 of 30 | Gavott ZD220 The authorship of this piece is uncertain.

18 of 30 | A New Iriſh Tune Z646 Purcell’s arrangement of the melody from the popular song ‘Lilliburlero’, which had a great vogue at the time. Published in Playford’s ‘Muſick’s Hand-maid’, 1689.

19 of 30 | A Ground in Gamut Z645 Published in Playford’s ‘The Second Part of Muſick’s Hand-maid’ in 1689.

20 of 30 | An Evening Hymn. On a Ground (Now that the Sun hath veil’d his Light) Z193 Subtitled ‘Words by Dr William Fuller, late Lord-Bishop of Lincoln’. Published in Playford’s ‘Harmonia Sacra’ of 1688.

21 of 30 | Almand very ſlow Bell-barr Z668 First movement of the suite in D minor, as published in Playford’s ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet’, 1696.

22 of 30 | Air ZT675 Arranged from the final Air (Z630/22) in the incidental music for ‘The Indian Queen’, this was published in ‘A Choice Collection of Leſsons’, in 1696.

23 of 30 | Minuet & Sefauchi’s Farwell ZT688 & Z656 Sefauchi (Giovanni Francesco Grossi, detto ‘Siface’) was a castrato who was in England in 1687. Both published in ‘Muſick’s Hand-maid’, 1689.

24 of 30 | Ground ZT681 Arranged from ‘With him he brings the partner of his throne’ in ‘Yᵉ tuneful Muſes’ (Z344), this was published in ‘The Second Part of Muſick’s Hand-maid’.

25 of 30 | Cupid, the ſlyeſt rogue alive Z367 Cantata set to an anonymous translation of the poem, ‘Love stealing Honey’, attributed to Theocritus. Published in the Second Book of Playford’s ‘Theater of Muſic’.

26 of 30 | Jigg ZT693 A transcription (or borrowing) of a gigue by Thomas Morgan, about whom nothing is known. Published in ‘A Choice Collection of Leſsons’.

27 of 30 | Hornpipe ZT685 Transcription from the Hornpipe (Z607/4) in the incidental music for Congreve’s comedy ‘The Old Batchelour’. Published in ‘A Choice Collection of Leſsons’.

28 of 30 | Jigg ZT686 A transcription from the Jig (Z530/7) in ‘Abdelazer’. Published in Playford’s ‘A Choice Collection of Leſsons’.

29 of 30 | Here, let my life with as much ſilence ſlide Z544 From the Ode ‘If ever I more riches did deſire’ ca 1687, in the British Library’s R.M. MS 20.h.8. This part is upon lines from Cowley’s essay III ‘Of Obscurity’.

30 of 30 | Thou knoweſt, Lord, the ſecrets of our hearts Z58/C Setting by Purcell, for the obsequies of Queen Mary II, to supply a missing sentence in Morley’s ‘Funeral Sentences’. First printed in ‘Musica Sacra’, 1724.

Purcell: Musick’s Hand-maid (The Harp Consort) Astrée E 8564

There are some gifts that just keep on giving. Like a St Bernard puppy; awfully cute, with its huge head and spindly legs, but then when it is fully grown and devouring a tractor-trailer load of beef weekly, one begins muttering dark things about the giver.
So it is with some music recordings, like the wonderful performance of [insert the name of your favourite work here] that you listened to over and over again as a child. You are given an original copy (perhaps even the original copy, unearthed from some attic or basement), and you dust it off and place it on your turntable, lower the arm, and there it is; hideous noise that you don’t remember. So, off you go and spend the next two weeks assembling a maze of wires from your system to the computer, then sitting with earphones for hours on end, listening to the same thing over and over again, as you try to clean it up with Audacity, or its equivalent. By the time you’ve finished, you don’t really ever want to hear it again, and the result is not quite what you wanted anyway.
Someone recently gave me an example of  ‘Musick’s Hand-maid’ (by the Harp Consort and Andrew Lawrence-King) in absolutely mint condition, never played or even looked at.  I was delighted, until I played it, and only recognized half the pieces on it.  Were these previously unknown pieces, recently found in some new Purcell manuscript?  I opened the booklet.  Nope.  All selections from ‘The Second Part of Muſick’s Hand-maid’ and ‘A Choice Collection of Leſsons for the Harpſichord or Spinnet  Compoſed by yᵉ late Mʳ Henry Purcell’.  Obviously, many of them were transcriptions, as Lawrence-King hit upon the notion of substituting his beloved harp for the keyboard instrument, and I just didn’t recognize them in their new clothing.  Sadly, no Z numbers (from the thematic catalogue by Franklin B. Zimmerman) are given for any of the pieces, so I can’t even identify them that way.  What’s worse, some of the unconventional instrumentation didn’t come over very well, like the prelude played on a chamber organ; this may have sounded wonderful inside an eight-by-ten ‘closet’, when one was sitting on a turkey-work covered chair, fourteen inches away, but recorded inside of St Georgs-Kirche, it sounds like incidental music for a particularly depressing scene in Kurosawa’s ‘Hidden Throne of Blood Fortress’.  Microphone placement is very important in these situations.
So there we are.  The bloody thing is in my iTunes, and I play it now and again, and worry at it.  I should just delete it, of course, but it nags at me.  If anyone ever reads this (stuff on WordPress doesn’t turn up much in searches; try it, if you don’t believe me) and knows, beyond a shadow of a doubt, which is what, take pity on a poor old soul and let me know, OK?  Update, 23 April: Thanks to M. ‘J.M.T.’, of the Bibliothèque nationale de France, who courteously directed my attention to their catalogue listing of this recording, where every single track is fully and correctly identified, I have satisfied my curiosity.  Although I utilize the BnF’s website (as well as their digital initiative, the wondrous Gallica) quite frequently, I must confess that it didn’t occur to me to look there.  I should have known.  The BnF is everything that a library should be, and our pathetic Library of Congress (and the sadly diminished British Library) does not come even close.  I will be listing the information I gleaned later, in a separate post, in case someone else is interested.

1 of 30 | A ſingle Song in Edipus.  Muſick for a while  Z583/2
2 of 30 | Air   ZT676 (from Z592/7)
3 of 30 | Air  [Which bloody air?  Delightful tune, infuriatingly familiar.]
4 of 30 | The Resurrection: Out of Mr. Cowley’s Pindaricks.   Z183
5 of 30 | Prelude Z663
6 of 30 | Almand Z663
7 of 30 | Corante Z663
8 of 30 | Sarabande Z663
9 of 30 | A New Ground (Here the deities approve) ZT682
10 of 30 | Round-O ZT684 (from Z570)
11 of 30 | Strike the Viol, touch the Lute, a ſingle Song Z323/4
12 of 30 | Prelude [?]
13 of 30 | Almand [?]
14 of 30 | Courante [?]
15 of 30 | A New Scotch Tune Z655
16 of 30 | Air [?]
17 of 30 | Gavott [?]
18 of 30 | A New Irish Tune Z646
19 of 30 | Ground in Gamut Z645
20 of 30 | An Evening Hymn. On a Ground   Z193
21 of 30 | Almand very slow Bell-barr Z668
22 of 30 | Air [?]
23 of 30 | Minuet Sefauchi’s Farewell Z656
24 of 30 | Ground [?]
25 of 30 | Cupid, the slyest rogue alive Z367
26 of 30 | Jigg [?]
27 of 30 | Hornpipe [?]
28 of 30 | Jigg [?]
29 of 30 | Here, let my life with as much silence slide Z544
30 of 30 | Thou knoweſt, Lord, the ſecrets of our hearts Z58/C

The Hobby Shops: Park Slope Hobby Center

In 1960 they were located on 7th Avenue, across the street from Methodist Hospital, and next door to All Saint’s Episcopal Church (although I believe that at one time, probably in the late fifties, they were located a little further north on 7th Avenue), but it’s difficult to say what the exact number was, as all of the small shops on that block were thrown together when the Bohack supermarket opened there in 1962 or 1963. It was a small shop, but they had a nice stock of plastic kits and perhaps even some model trains. Rockets and missiles were very big back then, and the shop window had a display of the various Revell, Aurora, and Adams kits, nicely assembled and neatly painted. At that time, this was the only shop in Brooklyn that stocked the Airfix HO-OO plastic figures, including the ‘Civilians’ (most of the others in the line were soldiers), which were quite difficult to find. Yes, Bobbies really did look like that then-a-days.






The Birth of El Eggo

All throughout the 1970s there was an intriguing pseudo-surrealist mural painted on the façade of a ground floor shop at 281 West Broadway (today part of a restaurant) betwixt Canal Street and Lispenard Street, entitled ‘The Birth of El Eggo’. It depicted a Daliesque gentleman gazing sardonically at a perfectly shaped, perfectly white egg, floating mysteriously before him. There were other elements as well, but these were the primary ones. Does anyone remember this besides me, and perhaps even have a photograph of it?

Nomar Records

‘All in My Mind’ was recorded in September of 1960, at the Allegro Sound Studio in the basement of 1650 Broadway.  Maxine Brown had met an enterprising charmer named Mal Williams (whom she later married) at a club on Linden Boulevard in Jamaica, Queens, and whatever faults he may have had (and there were reportedly many), he was a man who recognized talent when he saw it, and arranged for Maxine to record a demo during a shared session at Allegro.  Having accomplished this, he was unable to interest anyone in it, until one bright afternoon in October, when Maxine and Mal where standing outside of the Brill Building on Broadway at quitting time, and Tony Bruno of Nomar Records came walking out.  Bruno had a slight acquaintance with Mal, and when he learned that he was trying to promote Maxine and her song, he asked them to come by the next day and play it for him.  He loved the song and it was released later that month.  This was quite a brave thing for Tony Bruno to do, because Nomar Records was nothing more than a front for a New Jersey bookmaker, or ‘bookie’, as we say in America, and the attendant publicity of releasing a big hit like ‘All in My Mind’ was probably the last thing that bookie wanted.  The office was there for the convenience of gentlemen placing wagers on horse races and sporting events, and Bruno was the man who collected the money and handed out the betting slips.  If the guys from the Plainclothes Division didn’t get their envelope, or if the P.C.C.I.U. was breathing down the precinct Captain’s neck and someone had to be thrown to the wolves for appearance’s sake, Bruno would have been the one to get locked up.  The bookie has been identified by Bruno on various occasions as one ‘Joe Romano’, but the real name is distinctively Central European.

† Police Commissioner’s Confidential Investigations Unit


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