19

avid Measham

Produced by

UNICORN-K ANCHANA

Britten’s devotion to the world of childhood was one of the mainsprings of his creativity, and the never-never land of The Prince of the Pagodas — all colour, magic, Christmas- tree glitter and (above all for Britten) uncorrupted innocence — must have made an immediate appeal. It allowed him to pay masterly but unsycophantic tribute to one of his favourite composers: namely Tchaikovsky, for whose great ballet- scores he had an intense and long-standing affection; he once told his friend and biographer Donald Mitchell that were he ever to stand in front of a class of university students and talk about any music of his choice, he would undoubtedly choose the Nutcracker — not only for the brilliance of its.orchestral imagination but for its skill and resourcefulness in the handling of small-scale forms. Both these aspects of Tchaikovsky’s art exerted a powerful influence on The Prince of the Pagodas, as did Tchaikovsky's successors in Russia, i.e. Stravinsky (whose Firebird Britten adored — naturally, for the Prince of the Pagodas is of the same house and lineage — and whose Fairy’s Kiss is actually based on Tchaikovsky) and the Prokofiev of the late Soviet ballets, particularly Cinderella, which represent a return to the Tchaikovsky tradition. Britten in fact was always susceptible to Russian influence — Dr. Mitchell’s researches have revealed Shostakovich as a major, hitherto unsuspected catalyst to the works of his early years, e.g. the song-cycle Our Hunting Fathers, The Temporal Variations for oboe and piano, and Russian Funeral for band. In later life the tie was consolidated through Britten's personal friendship with Shostakovich and with leading Soviet artists such as Rostropovich and Vishnevskaya — all of which led to anumber of works with a pronounced Russian flavour, e.g. the third of the three suites for solo cello and the Pushkin song-cycle The Poets’ Echo. This Russian connection is not mere coincidence; it has to do rather with ways of thinking and feeling musically common to Britten and to Russian composers, in all of whom is a basic naivete; to them the necessarily episodic nature of a ballet-score is temperamentally much more congenial than the type of systematic development, cumulative growth and long- breathed continuity demanded by the symphony in its conventional sense (it’s certainly tempting to think of Tchaikovsky's and Prokofiev’s symphonies as ballet-scores manqués}. And if quasi-oriental atmosphere and colour in large, heady draughts is a recognised part of the Russian fin- de-siécle nationalist tradition, Britten in The Prince of the Pagodas goes one better — he imports authentic oriental music, that is to say as authentic as the percussion department of a Western orchestra will allow it to be. For on his Far East trip of 1955 — 6 Britten visited Bali, and the sound of the Balinese gamelan or orchestra of tuned percussion is to be heard not only in the Pagodas (alas, not in the suite here recorded which for practical or economic reasons omits the gamelan section) but also, and not now as an exotic divertissement but as an integral part of the musico-dramatic design, in the opera Death in Venice, completed many years later in 1973. A natural concatenation of ideas reminds me that Venice was one of Diaghilev’s favourite cities, that he died and (like Stravinsky) was buried there; and that the Prince of the Pagodas could well be reckoned Britten's contribution to the Ballets russes repertoire — delivered some fifty years too late.

Britten’s only original ballet-score was composed to a scenario and choreography by John Cranko and was first performed in the Royal Opera House, Covent Garden, on New Year’s Day 1957 with the composer conducting. The selection here recorded was made by Norman Del Mar with the composer's approval in 1963 and first published in 1981; it comprises material from two main areas of the ballet (which in its complete form lasts over two hours}, i.e. the beginning and the end. Even in so brief a cross-section motivic consistency is well in evidence: for instance in the ‘Variation of Belle Rose’ the Prince’s heroic theme (distant trumpet) is the recipient Of some of Britten’s most felicitously resourceful variation treatment in the immediately succeeding episodes;

BcINJAMIN Bist T TEIN piss KP 8007

STEREO

Prelude and Dances trom

THE PRINCE OF THE PAGODAS Adelaide symonony Orchestra and the first recarding of

Eight British & Five French Folk Songs Arranged and Orchestratad oy BENJAMIN BRITTEN

WestAustalian Symronony Orchestra Conductor DavidMeasham Gerald Englsh-lenor

and in the ‘Prelude’ the ponderous motif of the Prince-as- Salamander (heard over a basso ostinato in the wake of the opening fanfares) returns in majestically-augmented full- orchestra triumph as the climax of the ‘Finale’, jewel- encrusted by these same fanfares now rocketing backwards and forwards with a splendid insouciant grandeur.

Britten’s interest in the Balinese gamelan was merely one manifestation of his lifelong interest in folk and traditional music. In his life, as in his work, roots and stability were a matter of paramount concern; and no music is more intricately bound up with roots and ‘belonging’ than folksong. Britten set folksongs from the British Isles, France, and also a selection of Moore’s Irish melodies; the rarely- heard orchestral transcriptions here recorded (all of which, unlike The Prince of the Pagodas, involve quite modest forces) come from the first two collections. His approach to folksong reflects both the influence of Percy Grainger (whose settings he first encountered, admiringly, as a student in the 1930s) and the dramatic, operatic savoir-faire that was so integral a part of his own musical personality. In the words of Peter Pears ‘he wanted to recreate these melodies with their texts for concert performance, to make them art-songs in the tradition of Schubert and even Brahms. He therefore takes the tune as if he had written it himself and thinks himself back as to how he would turn it into a song’. Thus, the singer in O Waly Waly is drowned heart, soul and senses in love as in the sea; and Britten’s accompaniment suggests the ebb and flow of the waters in their deep regardless ever-changing sameness. In Come you not from Newcastle the setting provides as it were an aural counterpart of the text; the tune by itself doesn’t — can’t — depict the two lovers on horseback, riding after each other (and disappearing in the distance — high violin harmonics on the last chord, a lovely, poetic touch) but Britten’s treatment of it can and does. The old woman in Fileuse sits at her spinning-wheel (harp); as it revolves ever faster it mobilises a virtuoso orchestra which engulfs her (and us) in a flood of ecstatic, dancing memories; only to leave her, in a poignant envoi, still spinning forlornly away, Old and unloved. This is one of those settings which takes ON a new dramatic dimension in its orchestral guise; another is The Bonny Earl o’Moray which is transformed into a quasi-Mahlerian Trauermarsch complete with bass drum and cymbals and a basic sonority in which wind and brass, rather than strings, are the protagonists. Elsewhere the orchestration serves more to enhance rather than enlarge upon the piano accompaniments: the solo cello in The Salley Gardens (the text of which is the work not of an anonymous folk-poet — though it might well have been — but by W. B. Yeats) adds an extra note of pathos to the lover's regret; in the refrain of the exquisite Scots lullaby O can ye sew cushions the reedy tang of the oboes brings the bagpipes more immediately to mind, and the ploughboy’s piccolo invests his whistle with a new and delightful piquancy and pertness. However, if we expect that the suggestion of hunting-horns in the accompaniment to Le roi s’en va-t’en chasse will be made flesh, as it were, in the form of the real-life instruments, we'll be disappointed; the part lies out of range and is therefore entrusted to woodwinds. The most extrovert number is Quand j’étais chez mon pére whose galumphing Landler-like rhythm Britten drives to a climax of exultant, earthy dissonance with some marvellous horn-whoops on the downbeats — but then, as The Prince of the Pagodas here serves to remind us, Britten is a master of the symphonic- orchestral dance, whether the scene be rural France or

Pagoda-land. ©CHRISTOPHER PALMER 1983

Copyright exists in all Unicorn recordings. Any unauthorised broadcasting, public performance, copying or re-recording of records under this trade mark in any manner whatsoever will constitute an infringement of such copyright. Applications for public performance licences should be addressed to Phonographic Performance Ltd., Ganton House, 14 — 22 Ganton Street, London W1V ILB.

SIDE 1

Prelude and Dances from THE PRINCE OF THE PAGODAS

OP. 57b

| {WP che oe + ck es at 2)

2.Marchand Gavotte ............... 3:14

3. The Four Kings: The King ofthe North . . 1:33 The King of the East. . . . 3:03 The King of the West. . . 1:08 TheKingoftheSouth . . 1:40

4 Belle Epine andGelie Rose... |... 9:06

5. Variations of the Prince & Belle Rose... . 4:13

ee ee ies oa ei 6:17

ADELAIDE SYMPHONY ORCHESTRA conducted by DAVID MEASHAM

SIDE 2

EIGHT BRITISH FOLKSONGS | Pe OH AFT = es 2:22

2.Come you not from Newcastle....... 1:04

3.TheBonnyEarlO’Moray........... 2:28

4 can ye sew cusnions? ............ 1:45

3: UU MOY os bee 35

G: TO Sane CIIGENS 2. eS £54

FM PG NN on 2 a Se 3:05 Be. Conver CIOnMwern ee oe 0:41

FIVE FRENCH FOLKSONGS

|1.Quand/jétaischezmonpére ........ 1:57

2.Labelleestaujardind’amour........ 2:50

Fe a es sy ea we SS 1:58

SPN ne 6 a hi a SE ee en as P42 5.Lerois‘enva-tenchasse ........... 2:30

WEST AUSTRALIAN SYMPHONY ORCHESTRA conducted by DAVID MEASHAM

GERALD ENGLISH, Tenor

Other records conducted by David Measham available on the Unicorn and Unicorn-Kanchana labels.

UNS 256 BARBER Violin Concerto Ronald Thomas, Violin West Australian Symphony Orchestra/Measham

RHS 342 BARBER Symphony No. 1. Essays for Orchestra Nos. | and 2, etc. London Symphony Orchestra/Measham

RHS 346 MIASKOVSKY Symphony No. 21 KABALEVSKY Symphony No. 2 New Philharmonia Orchestra/Measham

KP 8000 SIREUGENE GOOSSENS Symphony No. | Adelaide Symphony Orchestra/Measham

KP 8001 VAUGHAN WILLIAMS On Wenlock Edge JOHN IRELAND The Overlanders etc. West Australian Symphony Orchestra/Measham Gerald English, Tenor

Produced by AUSTRALIAN BROADCASTING COMMISSION

After studying at the Guildhall School of Music in London DAVID MEASHAM joined the BBC Symphony Orchestra as its youngest member. His conducting debut which won high praise from critics was his appearance in 1971 at the Royal Festival Hall with the London Symphony Orchestra. He has Pes conducted many major orchestras in Britain, Europe and merica.

After eight years as the Principal Conductor of the West Australian Symphony Orchestra, a post in which he has enjoyed tremendous success, he is now their Principal Guest Conductor. During his years with the orchestra he has conducted numerous first performances in Western Australia including Britten’s War Requiem, Haydn’s opera Philemon and Baucis (Australian Premiere) and the world premiere of Roger Smalley’s Violin Concerto. He has also conducted all the other major symphony orchestras in Australia and given frequent radio broadcasts of contemporary music as well as the standard classical repertoire.

He is no stranger to the recording studio and has received nine Gold Disc awards and one Grand Prix du Disque for his recordings and those issued by Unicorn and Unicorn- Kanchana are listed on this sleeve. In 1977 he received the Australian National Critics’ Award for services to music.

GERALD ENGLISH is one of the best known and most versatile tenors of today and has appeared in concerts in all the major musical centres of the world. His repertoire is enormous and he is as accomplished an exponent of early as of contemporary music. His work with composers such as Dallapiccola, Stravinsky, Berio and Henze has won him their enthusiastic praise and he has given a number of first performances, including Tippett’s ‘Songs for Dov’. He has always been particularly associated with the works of Britten.

In recent years Gerald English has spent a part of each year in Australia where he has been Artist in Residence at the Universities of Western Australia and New South Wales and in 1978 he was appointed Director of the National Opera Studio in Melbourne. During his time there he has given many concerts in the major centres and appeared at the Sydney Opera House.

Music published by Boosey & Hawkes Music Publishers Ltd

Prelude and Dances from The Prince of the Pagodas. Recorded (1980) in the Adelaide Studios of the Australian Broadcasting Commission.

Producer: Roger Parker

Recording Engineer: Michael FitzHenry

Eight British Folksongs and Five French Folk Songs. Recorded (1979) in the Perth Studios of the Australian Broadcasting Commission.

Producer: Ray Irving

Recording Engineers: Peter Burnett, Edo Brandt

Front Cover: Temple rubbings from Thailand Reproduced by kind permission of Donald Mitchell

Sleeve layout: Arran Studios, Leicester

Sleeve printed in W. Germany r 496g

This leaflet accompanies UNICORN-KANCHANA RECORD NO. KP 8007

EIGHT BRITISH FOLKSONGS UNICORN-KANCHANA

& FIVE FRENCH FOLKSONGS Arranged and Orchestrated toy BENJAMIN BRITTEN

1. Little Sir William (Somerset)

Easter day was a holiday

Of all the days in the year,

And all the little schoolfellows went out to play

But Sir William was not there.

Mamma went to the Jew’s wife house

And knocked at the ring,

Saying “‘Little Sir William if you are there

Pray let your mother in.”

The Jew’s wife open’d the door and said:

“He is not here today.

He is with the little schoolfellows out on the green

Playing some pretty play.’’

Mamma went to the Boyne water

That is so wide and deep,

Saying, ‘‘Little Sir William, if you are there,

Oh pity you mother’s weep.”

“How can | pity your weep, mother,

And | so long in pain?

For the little penknife sticks close to my heart

And the Jew’s wife hath me slain.

Go home, go home my mother dear

And prepare my winding sheet,

For tomorrow morning before eight o'clock,

You with my body shall meet.

And lay my prayerbook at my head, And my grammar at my feet,

That all the little schoolfellows as they pass by

May read them for my sake.”’

2. Come you not from Newcastle? (Northumberland)

Come you not from Newcastle?

Come you not there away?

O met you not my true love

Riding on a bonny bay?

Why should | not love my love?

Why should not my love love me?

Why should | not speed after him,

Since love to all is free?

3. The Bonny Earl O’Moray (Scotland}

Ye Hielands and ye Lowlands,

O where hae ye been?

They hae slain the Earl o’ Moray,

And laid him on the green.

He was a braw gallant

And he rade at the ring;

And the bonnie Earl 0’ Moray

EIGHT BRITISH FOLKSONGS

He might hae been a king.

O lang will his Lady

Look frae the castle doune,

Ere she see the Earl o’ Moray

Come soundin’ thru’ the toon.

O wae tae ye Huntley,

And wherefore did ye sae?

| bade ye bring him wi’ you

And forbade ye him to slay.

He was a braw gallant

And he played at the glove;

And the bonnie Earl o’ Moray

He was the Queen’s lovel

O lang will his Lady

Look frae the castle doune,

Ere she see the Earl o’ Moray

Come soundin’ thru’ the toon.

4.O can ye sew cushions? (Scotland)

O can ye sew cushions and can ye sew sheets

And can ye sing ballulow when the bairn greets?

And hie and baw, birdie, and hie and baw, lamb,

And hee and baw birdie, my bonnie wee lamb.

(Refrain)

Hieo wieo what will | do wi’ ye?

Black’s the life that | lead wi’ ye.

Many 0’ you, little for to gi’ ye,

Hieo wieo what will | do wi’ ye?

I've placed my cradle on yon hilly top

And aye as the wind blew my cradle did rock.

O hushabye baby, O baw lily loo,

And hee and baw birdie, my bonny wee doo.

(Refrain)

5. The Ploughboy

A flaxen-headed cowboy, as simple as may be,

And next a merry ploughboy, | whistled o’er the lea;

But now a saucy footman | strut in worsted lace,

And soon I'll be a butler, and whey my jolly face.

When steward I’m promoted I'll snip the tradesmen’s bill,

My master’s coffers empty, my pockets for to fill.

When lolling in my chariot so great a man I'll be,

You'll forget the little ploughboy who whistled o’er the lea.

I'll Duy votes at elections, and when I’ve made the pelf, I'll stand poll for the parliament, and then vote in myself.

Whatever's good for me, sir, | never will oppose:

When all my ayes are sold off, why then I'll sell my noes.

I'll joke, harangue and paragraph, with speeches charm the ear,

And when I'm tired on my legs, then I'll sit down a peer.

In court or city honour so great a man I'll be,

You'll forget the little ploughboy who whistled o’er the lea.

6. The Salley Gardens (Ireland)

Down by the Salley gardens my love and | did meet,

She passed the Salley gardens on little snow-white feet.

She bid me take love easy, as the leaves grow on the tree,

But | being young and foolish with her did not agree.

In a field by the river my love and | did stand,

And on my leaning shoulder she laid her snow-white hand;

She bid me take life easy as the grass grows on the weirs,

But | was young and foolish, and now am full of tears.

Down by the Salley Gardens (W. B. Yeats)

from Collected Poems published by Macmillan London Ltd

by kind permission of Michael and Anne Yeats.

7.O Waly, Waly (Somerset)

The water is wide, | cannot get o’er,

And neither have | wings to fly.

Give me a boat that will carry two,

And both shall row, my love and 1.

O down in the meadows the other day,

A-gathering flowers both fine and gay,

A-gathering flowers both red and blue,

| little thought what love can do.

| leaned my back up against some oak

Thinking that he was a trusty tree;

But first he bended and then he broke;

And so did my false love to me.

A ship there is, and she sails the sea,

She's loaded deep as deep can be,

But not so deep as the love I’m in:

| know not if | sink or swim.

O love is handsome and love is fine,

And love's a jewel while it is new,

But when it is old, it groweth cold

And fades away like morning dew.

8. Oliver Cromwell (Suffolk)

Oliver Cromwell lay buried and dead,

Hee-haw buried and dead,

There grew an old apple tree over his head,

Hee-haw over his head.

The apples were ripe and ready to fall,

Hee-haw ready to fall.

There came an old woman to gather them all,

Hee-haw gather them all.

Oliver rose and gave her a drop,

Hee-haw gave her a drop.

Which made the old woman go hippety hop,

Hee-haw hippety hop.

The saddle and bridle they lie on the shelf,

Hee-haw lie on the shelf.

If you want any more you can sing it yourself,

Hee-haw sing it yourself.

EIGHT BRITISH FOLKSONGS & FIVE FRENCH POLKSONGS Arranged and Orchestrated by BENJAMIN BRITTEN

FIVE FRENCH FOLKSONGS

1. Quand j’étais chez mon pére

Quand j’étais chez mon pére, apprenti pastoureau,

Il m’a mis dans la lande, pour garder les troupiaux.

(Refrain:) Troupiaux, troupiaux, je n’en avais gueére;

Troupiaux, troupiax, je n’en avais biaux.

Mais je n’en avais guere, je n’avais qu’trois agneaux;

Et le loup de la plaine m’a mangé le plus biau.

(Refrain:)

Il était si vorace n’a laissé que la piau,

N’a laissé que la queue, pour mettre a mon chapeau.

(Refrain:)

Mais des os de la béte me fis un chalumiau

Pour jouer a la féte, a la fét’ du hamiau.

(Refrain:)

Pour fair’ danser I’village, dessous le grand ormiau,

Et les jeun’s et les vieilles, les pieds dans les sabiots.

(Refrain:)

2. La belle est au jardin d'amour

La belle est au jardin d’amour

La belle est au jardin d’amour

!ly aun mois ou cing semaines

Laridondon, laridondaine.

Son peére la cherche partout

Son pére la cherche partout.

Son amoureux qui est en peine.

Laridondon, laridondaine.

“Berger, berger, n’as tu point vu,

Berger, berger, n’as tu point vu

Passer ici celle que j‘aime?”’

Laridondon, laridondaine.

“Elle est la-bas dans ce vallon,

Elle est la-bas dans ce vallon,

A un oiseau conte ses peines.””

Laridondon, laridondaine.

Le bel oiscau s’est envolé,

Le bel oiseau s’est envolé,

Et le chagrin bien loin emméne.

Laridondon, laridondaine.

3. Eho! Eho!

Eho! Ehol Ehol Les agneaux vont aux plaines.

Ehol Eho! Ehol Et les loups vont aux bois.

Tant qu’aux bords des fontaines

Ou dans les frais ruisseaux,

Les blancs moutons s‘y baignent, Y dansant au préau.

Ehol Ehol Ehol Les agneaux vont aux plaines.

Ehol Eho! Ehol Et les loups vont aux bois.

English translations by Iris Rogers

1. Heigh ho, heigh hi!

Oh | lived with my daddy, An apprentice was |,

Just a poor shepherd laddie, to my sheep | did cry.

Heigh ho, heigh hi, they weren't very many,

Heigh ho, heigh hi, they weren't very spry.

Oh they weren't very many, And the lambs they did die,

For the wolf swallowed daily all the best and most spry.

Heigh ho, heigh hi etc.

O the wolf was so greedy, only bones he let lie,

Only tails he did leave me, ‘roun’ my hat for to tie.

Heigh ho, heigh hi, etc.

So a pipe | did make me of the bones white and dry,

For to sing and make merry when the springtime is nigh.

Heigh ho, heigh hi, etc.

Then the young and the pretty, O, their skirts they let fly,

And the old and the ugly for to dance they did try,

Heigh ho, heigh hi, etc.

2. Beauty in love’s garden

Beauty in love’s garden is bound,

Beauty in love's garden is bound.

Full thirty nights and many a morning.

Hey derry down, hey down a-downing.

Father is searching all around,

Father is searching all around.

And Colin weepeth for his darling.

Hey derry down, hey down a-downing.

“Shepherd say where can she be found,

Shepherd say where can she be found.

Hast thou not seen my dear a passing?

Hey derry down, hey down a-downing.

“She's by the fountain down below,

She's by the fountain down below.

And to her dove she is complaining”

Hey derry down, hey down a-downing.

The pretty bird hath ta’en her woe,

The pretty bird hath ta’en her woe,

And with it far away he’s flying.

Hey derry down, hey down a-downing.

3. Eho! Eho!

Ehol Eho! Eho! Keep your lambs in the valley.

Ehol Eho! Ehol For the wolf's in the wood.

The white lambs they do dally,

By the fountain and spring,

As they bathe and skip gladly,

All around in a ring.

Ehol Ehol etc.

©Copyright 1946 by Boosey & Hawkes Ltd

Mais queud’ fois par vingtaine

Y s‘éloign’ des troupeaux,

Pour aller sous les chénes,

Aux herbages nouveaux.

Eho! etc

Et les ombres lointaines

Leurz’y cach’ leurs bourreaux,

Malgré leurs plaintes vaines

Les loups mang’ les agneaux

Eho! etc.

T’es mon agneau, ma reine,

Les grand’ vill’ c’est le bois;

Par ainsi Madeleine,

t’en vas pas loin de moil

Ehol etc.

4. Fileuse

Lorsque j’étais jeunette je gardais les moutons,

Tirouli, tiroula, tirouli tiroulou,

Tirouli tiroula, tirouli, rouli, roule.

N’€étais jamais seulette a songer par les monts.

Tirouli etc.

Mais d'autres bergerettes avec moi devisaient.

Tirouli etc.

Parfois de sa musette un berger nous charmait.

Tirouli etc.

Il nous faisait des rondes, joli’ rondes d’amour.

Tirouli etc.

Mais me voila vieille, reste seule toujours.

Tirouli etc.

5. Le roi s’en va-t’en chasse

Le roi s‘en va+t’en chasse, dans le bois des Bourbons,

Dans le bois des Bourbons, mon aimable bergeére,

Dans le bois des Bourbons, bergére Nanon.

Ne trouve rien en chasse, ni cailles ni pigeons,

Ni cailles ni pigeons, mon aimable bergére,

Ni cailles ni pigeons, bergére Nanon.

Rencontre une bergére qui dormait dans les joncs,

Qui dormait dans les joncs, mon aimable bergére,

Qui dormait dans les joncs, bergére Nanon.

“Voulez-vous étre reine dedans mes beaux donjons?

Dedans mes beaux donjons, mon aimable bergére,

Dedans mes beaux donjons, bergére Nanon.”’

“V/ous aurez des carrosses et de I’or a foison,

Et de I’or a foison, mon aimable bergére,

Et de I’or a foison, bergére Nanon.”’

“Et cour de grandes dames, de ducs et de barons,

De ducs et de barons, mon aimable bergére,

De ducs et de barons, bergére Nanon.”

“Merci, merci beau Sire, mais j’aime un pauv’ garcon,

Mais j‘aime un pauv’ garcon, qui aime sa bergére,

Mais j'aime un pauv’ garcon qui aime Nanon|”

But perchance there are twenty,

From the flock far will stray,

As they search for new country,

Where a young lamb may play.

Eho! Ehol! etc.

But this perilous country,

Is the home of the foe,

And the wolf he is hungry,

For this lamb white as snow.

Eho! Eho! etc.

Little lamb my sweet Chloe.

Do not stray far and wide,

For the wolf's in the city,

Just you stay by my sidel

Ehol Ehol etc.

4. Fileuse

When | was young and pretty, | watched over my flock,

Tirouli, tiroula, tirouli, tiroulou,

Tirouli, tiroula, tirouli, rouli, roule.

| never wandered lonely o'er the mountains and rocks,

Tirouli etc.

But we did gossip blithely, maidens silly and gay.

Tirouli etc.

With songs a shepherd laddie stole our young hearts away, Tirouli etc. ©

He'd pipe a jolly ditty and of love sing a song.

Tirouli etc.

But now I'm old and ugly, And I've lain alone too long.

Tirouli etc.

5. The King is gone a-hunting

The King is gone a-hunting Beneath the greenwood tree,

Beneath the greenwood tree, My adorable maiden,

Beneath the greenwood tree, Sweet maiden Marie.

He's caught no bird a-hunting, No pigeon catcheth he,

No pigeon catcheth he, My adorable maiden,

No pigeon catcheth he, Sweet maiden Marie.

But he’s found a shepherd maiden Asleep beneath a tree,

Asleep beneath a tree, My adorable maiden,

Asleep beneath a tree, Sweet maiden Marie.

“And wilt thou be my queen, And live in state with me,

And live in state with me? My adorable maiden,

And live in state with me? Sweet maiden Marie.”

“Oh thou shalt have a carriage And gold in quantity,

And gold in quantity, My adorable maiden,

And gold in quantity, Sweet maiden Marie.”

“At court I've stately ladies, Two barons one grandee,

Two barons, one grandee, My adorable maiden,

Two barons one grandee, Sweet maiden Marie.”

“| thank you, Sir, most kindly, | love a lad,” said she,

“I love a lad,” said she, My adorable maiden,

“Tlove a lad,” said she, “And he loves Marie!”

Reprinted by permission of the Copyright Owners.

Q » & §

BENJAMIN BRITTEN (1913-1976) Prelude and Dances from The Prince of the Pagodas Op.57b

Published Boosey & Hawkes Ltd

= ~~

. S =

1. Prelude: 2:27 2. March and Gavotte: 3:14 3. The Four Kings 7:34 4. Belle Epine and Belle Rose 9:06

5. Variations of the Prince and Belle Rose 4:13 6. Finale 6:17

ADELAIDE SYMPHONY ORCHESTRA conducted by DAVID MEASHAM

Produced in the Studios of the Australian Broadcasting Commission, Adelaide {1980}

_ Blo 1982

BENJAMIN BRITTEN (1913-1976)

Eight British Folksongs 16:15 Five French Folksongs 11:12 {Arranged/Orchestrated Benjamin Britten) Pub. Boosey & Hawkes Ltd

KP 8007 (KP 8007:2) Made in W/.Germany

WEST AUSTRALIAN SYMPHONY ORCHESTR conducted by DAVID MEASHAM

GERALD ENGLISH, Tenor

Produced in the Studios of the Australian Broadcasting Commission, Perth {1979)