Friday 29 October 2021

Oft In The Stilly Night

 Oft In The Stilly Night is actually a poem written by Thomas Moore. 

Thomas Moore (28 May 1779 – 25 February 1852) was an Irish writer, poet, and lyricist celebrated for his Irish Melodies. Their setting of English-language verse to old Irish tunes marked the transition in popular Irish culture from Irish to English. Politically, Moore was recognised in England as a press, or "squib", writer for the aristocratic Whigs; in Ireland he was accounted a Catholic patriot. Married to a Protestant actress and hailed as "Anacreon Moore" after the classical Greek composer of drinking songs and erotic verse, Moore did not profess religious piety. Yet in the controversies that surrounded Catholic Emancipation Moore was seen to defend the tradition of the Church in Ireland against both evangelising Protestants and uncompromising lay Catholics. Longer prose works reveal more radical sympathies. The Life and Death of Lord Edward Fitzgerald depicts the United Irish leader as a martyr in the cause of democratic reform. Complementing Maria Edgeworth's Castle RackrentMemoirs of Captain Rock is a saga, not of Anglo-Irish landowners, but of their exhausted tenants driven to the semi-insurrection of "Whiteboyism". Today, however, Moore is remembered almost alone either for his Irish Melodies (typically "The Minstrel Boy" and "The Last Rose of Summer") or, less generously, for the role he is thought to have played in the loss of the memoirs of his friend Lord Byron.

Thomas Moore was born to Anastasia Codd from Wexford and John Moore from Kerry over his parents' grocery shop in Aungier Street, Dublin, He had two younger sisters, Kate and Ellen. Moore showed an early interest in music and performance, staging musical plays with his friends and entertaining hope of being an actor. In Dublin he attended Samuel Whyte's English grammar school where he was schooled in Latin and Greek and became fluent in French and Italian. By age fourteen he had had one of his poems published in a new literary magazine called the Anthologia Hibernica (“Irish Anthology”).

Samuel Whyte had taught Richard Brinsley Sheridan, Irish playwright and English Whig politician, of whom Moore later was to write a biography. 

In 1795, Moore was among the first Catholics admitted to Trinity College, Dublin, preparing, as his mother had hoped, for a career in law. Through his friends at Trinity, Robert Emmett and Edward Hudson, Moore was connected to the popular politics of the capital agitated by the French Revolution and by the prospect of a French invasion. With their encouragement, in 1797, Moore wrote an appeal to his fellow students to resist the proposal, then being canvassed by the English-appointed Dublin Castle administration, to secure Ireland by incorporating the kingdom in a union with Great Britain. In April 1798, Moore was acquitted at Trinity on the charge of being a party, through the Society of United Irishmen, to sedition.

Moore had not taken the United Irish oath with Emmett and Hudson, and he played no part in the republican rebellion of 1798, or in the conspiracy for which Emmett was executed in 1803. Later, in a biography of the United Irish leader Lord Edward Fitzgerald (1831), he made clear his sympathies, not hiding his regret that the French expedition under General Hoche failed in December 1796 to effect a landing. To Emmett's sacrifice on the gallows Moore pays homage in the song "O, Breathe Not His Name". 

In 1799, Moore continued his law studies at Middle Temple in London. The impecunious student was assisted by friends in the expatriate Irish community in London, including Barbara, widow of Arthur Chichester, 1st Marquess of Donegall, the landlord and borough-owner of Belfast.

Moore's translations of Anacreon, celebrating wine, women and song, were published in 1800 with a dedication to the Prince of Wales. His introduction to the future Prince Regent and King, George IV was a high point in Moore's ingratiation with aristocratic and literary circles in London, a success due in great degree to his talents as a singer and songwriter. In the same year he collaborated briefly as a librettist with Michael Kelly in the comic opera, The Gypsy Prince, staged at the Theatre Royal, Haymarket,

In 1801, Moore hazarded a collection of his own verse: Poetical Works of the Late Thomas Little Esq.. The pseudonym may have been advised by their juvenile eroticism. Moore's celebration of kisses and embraces skirted contemporary standards of propriety. When these tightened in the Victorian era, they were to put an end to what was a relative publishing success. 

In the hope of future advancement, Moore reluctantly sailed from London in 1803 to take up a government post secured through the favours of Francis Rawdon-Hastings, 2nd Earl of Moira (a man distinct in his class for having, on the eve of the rebellion in Ireland, continued to protest government and loyalist outrages). Moore was to be the registrar of the Admiralty Prize Court in Bermuda. Although as late as 1925 still recalled as "the poet laureate" of the island, Moore found life on Bermuda sufficiently dull that after six months he appointed a deputy and left for an extended tour of North America. As in London, Moore secured high-society introductions in the United States including to the President, Thomas Jefferson. Repelled by the provincialism of the average American, Moore consorted with exiled European aristocrats, come to recover their fortunes, and with oligarchic Federalists from whom he received what he later conceded was a "twisted and tainted" view of the new republic.

Following his return to England in 1804, Moore published Epistles, Odes, and Other Poems (1806). In addition to complaints about America and Americans (including their defence of slavery), this catalogued Moore's real and imagined escapades with American women. Francis Jeffrey denounced the volume in the Edinburgh Review (July 1806), calling Moore "the most licentious of modern versifiers", a poet whose aim is "to impose corruption upon his readers, by concealing it under the mask of refinement." Moore challenged Jeffrey to a duel but their confrontation was interrupted by the police. In what seemed to be a "pattern" in Moore's life ("it was possible to condemn [Moore] only if you did not know him"), the two then became fast friends.

Moore, nonetheless, was dogged by the report that the police had found that the pistol given to Jeffreys was unloaded. In his satirical English Bards and Scotch Reviewers (1809), Byron, who had himself been stung by one of Jeffrey's review, suggested Moore's weapon was also "leadless": "on examination, the balls of the pistols, like the courage of the combatants, were found to have evaporated". To Moore this was scarcely more satisfactory, and he wrote to Byron implying that unless the remarks were clarified, Byron, too, would be challenged. In the event, when Byron, who had been abroad, returned there was again reconciliation and a lasting friendship.

In 1809, Moore was elected as a member to the American Philosophical Society in Philadelphia.

To download the easy alphanotes and chords sheet music, look here. Enjoy!


Lyrics: 

Oft, in the stilly night,
Ere slumber’s chain has bound me,
Fond memory brings the light
Of other days around me;
The smiles, the tears,
Of boyhood’s years,
The words of love then spoken;
The eyes that shone,
Now dimm’d and gone,
The cheerful hearts now broken!
Thus, in the stilly night,
Ere slumber’s chain hath bound me,
Sad memory brings the light
Of other days around me.

When I remember all
The friends, so link’d together,
I’ve seen around me fall,
Like leaves in wintry weather;
I feel like one
Who treads alone
Some banquet-hall deserted,
Whose lights are fled,
Whose garlands dead,
And all but he departed!
Thus, in the stilly night,
Ere slumber’s chain has bound me,
Sad memory brings the light
Of other days around me. 
































Tuesday 26 October 2021

The Snowy-Breasted Pearl

The Snowy-Breasted Pearl, these words are translated from the Irish by George Petrie (who wrote Ancient Music of Ireland (1855). The tune appears in A General Collection of the Ancient Irish Music by Edward Bunting (1796). It is there credited to Turlough O’Carolan.
Some would say that the person writing/thinking/singing these words, in today’s world, would be very unusual, but when you think of them in the context of the time, they are beautiful. 
To download the easy alphanotes and chords sheet music, look here. Enjoy!
Lyrics:
There's a colleen fair as May
For a year and for a day
I have sought by every way
Her heart to gain
There's no art of tongue or eye
Fond youths with maidens try
But I've tried with ceaseless sigh
Yet tried in vain

If to France or far off Spain
She crossed the wat'ry main
To see her face again the seas I'd brave
And if it's heaven's decree
That mine she'll never be
May the Son of Mary me in mercy save
But a kiss with welcome bland
And the touch of thy fair hand
Are all that I demand
Would'st thou not spurn
For if not mine, dear girl
My snowy breasted pearl
May I never from the fair
With life return


















Monday 25 October 2021

Down By The Salley Gardens

 "Down by the Salley Gardens" (Irish: Gort na Saileán) is a poem by William Butler Yeats published in The Wanderings of Oisin and Other Poems in 1889.

Yeats indicated in a note that it was "an attempt to reconstruct an old song from three lines imperfectly remembered by an old peasant woman in the village of BallisodareSligo, who often sings them to herself." The "old song" may have been the ballad The Rambling Boys of Pleasure which contains the following verse:

"Down by yon flowery garden my love and I we first did meet.
I took her in my arms and to her I gave kisses sweet
She bade me take life easy just as the leaves fall from the tree.
But I being young and foolish, with my darling did not agree."

The similarity to the first verse of the Yeats version is unmistakable and would suggest that this was indeed the song Yeats remembered the old woman singing. The rest of the song, however, is quite different.

Yeats's original title, "An Old Song Re-Sung", reflected his debt to The Rambling Boys of Pleasure. It first appeared under its present title when it was reprinted in Poems in 1895.

It has been suggested that the location of the "Salley Gardens" was on the banks of the river at Ballysadare near Sligo where the residents cultivated trees to provide roof thatching materials. "Salley" or "sally" is a form of the Standard English word "sallow", i.e., a tree of the genus Salix. It is close in sound to the Irish word saileach, meaning willow.

The verse was subsequently set to music by Herbert Hughes to the traditional air The Moorlough Shore (also known as "The Maids of Mourne Shore") in 1909. In the 1920s composer Rebecca Clarke (1886–1979) set the text to her own music. The composer John Ireland (1879–1962) set the words to an original melody in his song cycle Songs Sacred and Profane, written in 1929–31. There is also a vocal setting by the poet and composer Ivor Gurney, which was published in 1938. Benjamin Britten published a setting of the poem in 1943, using the tune Hughes collected. In 1988, the American composer John Corigliano wrote and published his setting with the G. Schirmer Inc. publishing company.

To download the easy alphanotes and chords sheet music, look here. Enjoy!


Lyrics: 

Down by the Salley gardens, my love and I did meet
She passed the Salley gardens with little snow-white feet
She bid me take life easy, as the leaves grow on the trees
But I, being young and foolish, with her I did not agree
In a field by the river, my love and I did stand
And on my leaning shoulder she placed her snow-white hand
She bid me take love easy, as the grass grows on the weirs
But I was young and foolish and now I am full of tears
Down by the Salley gardens, my love and I did meet
And she passed the Salley gardens with little snow-white feet
She bid me take life easy, as the grass grows on the weirs
But I was young and foolish and now I am full of tears



















Sunday 24 October 2021

Cockles and Mussels / Molly Malone

"Molly Malone" (also known as "Cockles and Mussels" or "In Dublin's Fair City") is a popular song set in Dublin, Ireland, which has become its unofficial anthem.

A statue representing Molly Malone was unveiled on Grafton Street by then Lord Mayor of Dublin, Ben Briscoe, during the 1988 Dublin Millennium celebrations, when 13 June was declared to be Molly Malone Day. In July 2014, the statue was relocated to Suffolk Street, in front of the Tourist Information Office, to make way for Luas track-laying work at the old location.

The song tells the fictional tale of a fishwife who plied her trade on the streets of Dublin and died young, of a fever. In the late 20th century, a legend grew up that there was a historical Molly, who lived in the 17th century. She is typically represented as a hawker by day and part-time prostitute by night. In contrast, she has also been portrayed as one of the few chaste female street hawkers of her day.

There is no evidence that the song is based on a real woman in the 17th century or any other time. The name "Molly" originated as a familiar version of the names Mary and Margaret. Many such "Molly" Malones were born in Dublin over the centuries, but no evidence connects any of them to the events in the song. Nevertheless, the Dublin Millennium Commission in 1988 endorsed claims made for a Mary Malone who died on 13 June 1699, and proclaimed 13 June to be "Molly Malone Day".

The song is not recorded earlier than 1876, when it was published in BostonMassachusetts. Its placement in the section of the book titled "Songs from English and German Universities" suggests an Irish origin. It was also published by Francis Brothers and Day in London in 1884 as a work written and composed by James Yorkston, of Edinburgh, with music arranged by Edmund Forman. The London edition states that it was reprinted by permission of Kohler and Son of Edinburgh, implying that the first edition was in Scotland, but no copies of it have been found. According to Siobhán Marie Kilfeather, the song is from the music hall style of the period, and one cannot wholly dismiss the possibility that it is "based on an older folk song", but "neither melody nor words bear any relationship to the Irish tradition of street ballads". She calls the story of the historical Molly "nonsense". The song is in a familiar tragicomic mode that was then popular and was probably influenced by earlier songs with a similar theme, such as Percy Montrose's "Oh My Darling, Clementine", which was written in about 1880.

A variant, "Cockles and Mussels", with some different lyrics, appeared in Students' Songs: Comprising the Newest and Most Popular College Songs As Now Sung at Harvard, Yale, Columbia, ... Union, Etc in 1884.

A copy of Apollo's Medley, dating from around 1790, published in Doncaster and rediscovered in 2010, contains a song referring to "Sweet Molly Malone" on page 78 that ends with the line "Och! I'll roar and I'll groan, My sweet Molly Malone, Till I'm bone of your bone, And asleep in your bed." Other than this name and the fact that she lives in Howth, near Dublin, this song bears no resemblance to Molly Malone. The song was later reprinted in the collection The Shamrock: A Collection of Irish Songs (1831) and was published in The Edinburgh Literary Journal that year with the title "Molly Malone".

Some elements of the song appear in several earlier songs. A character named Molly Malone appears in at least two other songs. The song "Widow Malone," published as early as 1809, refers to the title character alternately as "Molly Malone," "Mary Malone" and "sweet mistress Malone". An American song, "Meet Me Miss Molly Malone", was published as early as 1840. The song "Pat Corney's Account of Himself", published as early as 1826, begins, "Now it's show me that city where the girls are so pretty" and ends, "Crying oysters, and cockles, and Mussels for sale." During the 19th century, the expression "Dublin's fair city" was used regularly in reference to Dublin, and the phrase "alive, alive O" is known to have been shouted by street vendors selling oysters, mussels, fish and eels.  

Molly is commemorated in a statue commissioned by Jurys Hotel Group and designed by Jeanne Rynhart, erected to celebrate the city's first millennium in 1988. Originally placed at the bottom of Grafton Street in Dublin, this statue is known colloquially as "The Tart with the Cart" or "The Trollop With The Scallop(s)". The statue portrays Molly as a busty young woman in 17th-century dress. Her low-cut dress and large breasts were justified on the grounds that as "women breastfed publicly in Molly's time, breasts were popped out all over the place."

The statue was later removed and kept in storage to make way for the new Luas tracks. In July 2014, it was placed outside the Dublin Tourist Office on Suffolk Street. 

To download the easy alphanotes and chords sheet music, look here. Enjoy!


Lyrics:


In Dublin's fair city,
Where the girls are so pretty,
I first set my eyes on sweet Molly Malone,
As she wheeled her wheel-barrow,
Through streets broad and narrow,
Crying, "Cockles and mussels, alive, alive, oh!"
"Alive, alive, oh,
Alive, alive, oh,"
Crying "Cockles and mussels, alive, alive, oh".
She was a fishmonger
But sure 'twas no wonder
For so were her father and mother before
And they each wheel'd their barrow
Through streets broad and narrow
Crying "Cockles and mussels alive, alive oh!"
(chorus)
She died of a fever,
And no one could save her,
And that was the end of sweet Molly Malone.
But her ghost wheels her barrow,
Through streets broad and narrow,
Crying, "Cockles and mussels, alive, alive, oh!"
(chorus) ×2 


























Saturday 23 October 2021

Depression Blues

Depression Blues song is about a coal miner, tells of hard times in the Great Depression of the 1930s. Miners go to work hungry, ragged and shoeless; when they go to the office for scrip, they're told they're behind and owe the company as the scale boss cheats them of their pay. The National Recovery Act offers hope, but the Supreme Court rules it unconstitutional. Roosevelt declares a bank holiday; John L. Lewis wins the miners' battle; the singer urges listeners to join the U.M.W., saying the Depression is now gone.

To download the easy alphanotes and chords sheet music, look here. Enjoy!

Lyrics: 

1.If I could tell my troubles,
it may would give my po' heart ease,
If I could tell my troubles,
it may would give my po' heart ease,
But depress ions got me,
somebody help me please.

2. If I don't feel no better,
than I feel today,
 If I don't feel no better,
than I feel today,
I'm gonna pack my few clothes
and make my gateaway.






















Friday 22 October 2021

1913 Massacre

 1913 Massacre  is a topical ballad written by Woody Guthrie, and recorded and released in 1941 for Moses Asch's Folkways label. The song originally appeared on Struggle, an album of labor songs. It was re-released in 1998 on Hard Travelin', The Asch Recordings, Vol.3 and other albums. The song is about the death of striking copper miners and their families in Calumet, Michigan, on Christmas Eve, 1913, in what is commonly known as the Italian Hall disaster.

Throughout the 1940s, Guthrie recorded hundreds of discs for Moses Asch, the founder of Folkways Records. One was “1913 Massacre”. According to Pete Seeger, Guthrie was inspired to write the song after reading about the Italian Hall disaster in We Are Many (1940), the autobiography of Ella Reeve Bloor, also known as Mother Bloor, a labor activist whose granddaughter was married to Hollywood actor and activist Will Geer who performed with Guthrie in the 1930s. Guthrie's notes indicate that he got the idea for the song "from the life of Mother Bloor", an eyewitness to the events at Italian Hall on Christmas Eve, 1913.

A socialist and labor organizer from the East Coast, Bloor was in Calumet working on the miners' behalf with the Ladies Auxiliary of the Western Federation of Miners. She was assisted by Annie Clemenc, also known as "Big Annie of Calumet" – the "lady" in Guthrie's song who hollers "'there's no such a thing! / Keep on with your party, there's no such a thing.'" Bloor tells the story of the Calumet strike and the Italian Hall disaster in the first half of a chapter called "Massacre of the Innocents." She devotes the second half of the chapter to events in Ludlow, Colorado in 1914, the subject of another Guthrie song — "Ludlow Massacre."

Guthrie's song echoes the language of Bloor's account in many places. The historian Arthur W. Thurner has found similar accounts in English and Finnish-language newspapers from the period; these accounts, he says, probably originated with Clemenc. (Many Finnish miners settled and worked in Michigan's Upper Peninsula, including Calumet.)

There are conflicting stories about what happened that Christmas Eve and who yelled "fire" in Italian Hall. These conflicts may never be resolved. They are, according to Thurner, evidence of a "war between capital and labor" in the Copper Country in 1913. This war included a dispute about what transpired that Christmas Eve in Italian Hall.

The debate over what the event means (or should mean) is ongoing. Guthrie's song counts as one of the more powerful —and certainly one of the best-known – interpretations of the tragedy. While "1913 Massacre" never became a folk standard, the song has been recorded and performed by many artists, including Guthrie's son Arlo; Ramblin' Jack Elliot; Scottish folksinger Alex Campbell; and Bob Dylan.

Dylan performed "1913 Massacre" at Carnegie Chapter Hall in 1961. Dylan set his tribute to Guthrie —"Song To Woody" released in early 1962 — to the tune of "1913 Massacre." 

The song revolves around a tragedy that took place on the evening of December 24, 1913, in Calumet's Italian Hall when more than five hundred striking miners and their families gathered for a Christmas party. The hall was on the second story and was reached by climbing a steep set of stairs. The only other exit was a poorly marked fire escape which could be reached by climbing out the windows.

The trouble began when someone yelled "fire!". Even though there was no fire, people panicked and rushed toward the steep stairway which led to the street entrance. Seventy-three people were trampled to death, including fifty-nine children. 

To download the easy alphanotes and chords sheet music, look here. Enjoy!


Lyrics:
Take a trip with me in nineteen thirteen
To Calumet, Michigan, in the copper country.
I'll take you to a place called Italian Hall
Where the miners are having their big Christmas ball.

I'll take you through a door, and up a high stairs.
Singing and dancing is heard everywhere,
I will let you shake hands with the people you see
And watch the kids dance round that big Christmas tree.

You ask about work and you ask about pay;
They'll tell you that they make less than a dollar a day,
Working the copper claims, risking their lives,
So it's fun to spend Christmas with children and wives.

There's talking and laughing and songs in the air,
And the spirit of Christmas is there everywhere,
Before you know it, you're friends with us all
And you're dancing around and around in the hall.

Well, a little girl sits down by the Christmas tree lights
To play the piano, so you gotta keep quiet.
To hear all this fun you would not realize
That the copper-boss thug-men are milling outside.

The copper-boss thugs stuck their heads in the door
One of them yelled and he screamed, "There's a fire!"
A lady, she hollered, "There's no such a thing!
Keep on with your party, there's no such a thing."

A few people rushed, and it was only a few
"It's only the thugs and the scabs fooling you."
A man grabbed his daughter and carried her down
But the thugs held the door and he could not get out.

And then others followed, a hundred or more
But most everybody remained on the floor.
The gun-thugs they laughed at their murderous joke,
While the children were smothered on the stair by the door.

Such a terrible sight I never did see
We carried our children back up to their tree.
The scabs outside still laughed at their spree
And the children that died there were seventy-three.

The piano played a slow funeral tune
And the town was lit up by a cold Christmas moon,
The parents they cried and the miners they moaned,
"See what your greed for money has done."