Notes to the Textual Commentary
Prefatory Note
With the exception of the Overture (No. 1 (Music 1a Full score , Music 1a MIDI , Music 1b Full score , Music 1b MIDI , Music 1c Full score , Music 1c MIDI )), where the copy-text is obviously Source C, the main musical text for the edition is Source A. However, in occasional instances where Source B offers a different reading to Source A, the former has generally been preferred, with any divergences between the two sources noted in commentary. All of the secondary sources have been consulted in preparation of the edition; however, as they all derived from Source A or from some other closely related source(s) they offer no new information and therefore have not been collated.
The main source for the text is the 1771 printed word-book (Source D), except in the case of the appended item 36, where Source E is the copy-text; in the few instances where the word-book and musical sources offer audible variants, the latter have been preferred with the variant noted in commentary. In terms of orthography and punctuation, the text has been modernizsed throughout in line with The Cambridge Edition of the Works of Ben Jonson; this has been done without comment, although a diplomatic transcription of the 1771 libretto has been provided.
In Source B clefs and key signatures are only given at the start of each new item (or new page), both are taken as implied throughout, without further comment.
The following abbreviation is used:
part names Orch. = Orchestra
pitch Pitch is indicated by the Helmholtz system (CC-BB, C-B, c-b, c′-b′, c′′-b′′, etc., where c′ = middle C).
system of reference Airs and other concerted items are identified by number, while the intervening recitatives are referred to as ‘Recit.’ or ‘Accompanied Recit.’, followed by the first line. Sources are given in bold, using the sigla explained in the List of Sourcesabove; copy-texts are always listed first. Each entry is given in the following manner: bar number(s), part, position of note(s) or rest(s) within the bar (with tied notes counted individually), error or variant with explanatory note where necessary followed by the source(s) in which it is found (except where a single source is used). Beats of a bar are indicated by superscript roman numerals following the bar number. Initial upbeats are counted as 0; internal upbeats are counted with the previous bar and given the designation ‘b’, for example bar 25b. Accidentals enclosed in brackets indicate that they are to be found either in the prevailing key-signature or as an accidental earlier in the bar, but not as an accidental immediately preceding the note concerned. Thus: 6, First Satyr, 3: f(ª)'' (A) means that in bar 6 of the First Satyr part the reading of Source A differs to that in the other source(s) – in this case only Source B – with symbol 3 consisting of an f(ª)'' where the ª is implied by the key-signature or an accidental earlier in the bar.
Items arranged for solo keyboard are designated ‘Orch.’ with the right- and left-and staves indicated by RH and LH.
Textual Commentary
Part 1
1. Overture
Source: C (supplementary rubrics from A)
Comments:
See also Appendix 1 (Full score , MIDI ) (transcription for keyboard)
‘Violino Primo’; ‘Violino Secondo’, ‘Viola’, ‘Basso’, ‘Basso’, ‘Oboe Primo’, ‘Oboe Secondo’, ‘Corno Primo’, ‘Corno Secondo’
9, Violin1 & Viola: dynamic mark is given under note 1
53, Oboe 2, 3‒5: a(¨)′, b(¨)′, c′′, presumably in error
73, Bassi: dynamic mark is given under note 1
107, Bassi, 3: figures 7 6
111, Oboe 2, 4-5: b¨ aª, in error (out of oboe range)
174, Bassi, 3: figures 6-5, in error
2. Accompanied Recit. (First Satyr): Chromis? Mnasyl? None appear?
Sources:
B, fol. 65
A, p. 6
Comments:
The scenic description is taken from Source D. The ‘cornet’ tune and accompanying stage direction (‘While the Moon is rising the following is play′d’) prefacing the accompanied recitative (2) are taken from Source B, fol. 65. Though Source B gives the spelling ‘Cornet’ it is not to be confused with the modern trumpet-like instrument. The cornett of Jonson’s original masque was a wooden wind instrument; it was most likely imitated here by an off-stage clarinet
5, Cornett, 1: f(©)′′ given, though the upper appoggiatura a′′ seems more likely; this change has also been applied to the transposed version
B: First Satyr, and bass line only (but without continuo figures and dynamic indications)
2, First Satyr, 2-3: a" e", in error (A)
3, First Satyr, 2-3: quaver g', quaver f(ª)' (A)
4, Bassi, 2: tied to next note (A; B)
6, First Satyr, 3: f(ª)'' ( A)
9-15: The instruction to play the ‘Cornett’ tune again is found in Sources D and B; the latter additionally specifies that ‘he winds his Cornet in – G –’; no music is given but the implication is that the opening tune is to be repeated, at the same pitch
3. Air (Echo): Oh, you wake then! Come away
Sources:
B, fols. 65v-66
A, pp. 6-8
Comments:
B: First Satyr, and bass line (but without continuo figures or dynamics); the top line of the violin parts are also given for bars 11-14 and 42-44
7, First Satyr, 2 (and bar 9, note 2; bar 24, note 3): are] (B)
10, Violin 2, 1: for this bar, a single line is given for both violin parts (indicating unison doubling); the first note is a′, though it seems more likely that the lower part should continue to double a third lower for the first beat of the bar, thus the f(©) is supplied editorially instead of the given a′
11-14, First Satyr: B omits the slurs, and the articulations (on note 5 of each bar)
11-17 & 27-34, First Satyr: ‘play’ is given as a single melisma (A)
18-44: the violin and vocal parts are given on a single stave (A)
25, First Satyr, 1-6: rhythm given as a three-quaver triplet followed by three crotchets, with tr sign over note 4 and a slur from notes 1-5 (A); this seems to have arisen from a misinterpretation of the second ‘3’ figure (indicating the second group of three crotchets) as a tr sign, which in Source B is given between notes 4-5
27-30, First Satyr: B omits the articulations
39, Bassi, 1-4: semibreve (B)
42, Bassi, 1: d' (A)
4. Accompanied recit. (First Satyr): What doth make you thus delay?
Sources:
B, fols. 66-7
A, p. 8
Comments:
Termed ‘Recitative’ in D
In both A and B this item follows directly after 3 with no break
B First Satyr and bass line (lacking articulations, figures etc.); gives first and last notes of the violin line in bars 1-3, and the top line of the violin part for bars 13-15, 18 and 20
1-25: the violin and vocal parts are given on a single stave (A)
1, time signature: omitted (A, B)
13, Bassi, 1: tie omitted (A)
13-15, Violins: B gives the top notes of the violin line only; in A the reading in bar 14 is c'-A semibreve: the reading in B has been preferred and the lower line doubling thus adjusted
19, Bassi, 1: two tied minims, over a split system (A)
24-30: B simply gives the direction ‘He winds his Cornet in D’, presumably referring to the ‘Cornett’ tune from earlier, but transposed to D major: no music is written, nor is there any indication of a time-signature change nor of how many bars are to be played. The word-book (D) simply states that the Satyr ‘Winds a second time’
24 & 31: time signatures are editorial, necessitated by inserting the ‘Cornett’ tune
5. Air (First Satyr and Echo): Idle nymph, I pray thee, be
Sources:
B, fols. 67-8
A, pp. 8-9
Comments:
B: First Satyr, Echo, and bass line (but without the continuo figures, articulation marks and dynamics)
Title ‘Sicilliano’ from B. A siciliana or siciliano refers to a musical style often used for arias and instrumental movements (a slow form of gigue). Most popular in the late seventeenth and eighteenth centuries, the term usually indicated a slow 6/8 or 12/8 metre, characterized by short and clear phrases (usually one or two bars) supported by simple and direct harmonies. During the eighteenth century the siciliana became commonly associated with pastoral scenes or outpourings of melancholy.
Throughout much of this item, in A the rhythms are notated to imply that the first note of the beat is to be shortened and the second note lengthened (e.g. bar 4), though too many beats results results.
3, First Satyr, 3-4: a' dotted-crotchet (B)
3, First Satyr, 3-6: slur omitted (B)
4, First Satyr, 1-2: semiquaver, dotted-crotchet (A)
4, Echo, 2-3: semiquaver, dotted-crotchet (A)
5, First Satyr, 1-5: semiquaver, dotted-crotchet, dotted-crotchet-rest, semiquaver (A)
5, Echo, 2-3: semiquaver, dotted-crotchet (A)
7, Echo, 1-2: b' crotchet (A)
9, Bassi, 1: g (A)
13, Bassi, 2: crotchet, quaver-rest (A)
14, Bassi, 2: crotchet, quaver-rest (A)
17, First Satyr, 1-2: semiquaver, dotted-crotchet (A)
17, Echo, 2-3: semiquaver, dotted-crotchet (A)
18, First Satyr, 1-2: semiquaver, dotted-crotchet (A)
18, Echo, 4-5: semiquaver, dotted-crotchet (A)
21, First Satyr, 1-2: semiquaver, dotted-crotchet (A)
21, Echo, 3-4: semiquaver, dotted-crotchet (A)
23, First Satyr, 1-2: semiquaver, dotted-crotchet (A)
23, Echo, 3-4: semiquaver, dotted-crotchet (A)
25: half-bar (B)
26-32: B simply gives the direction ‘The first Satyr winds his Cornet in G – and his [sic] answer'd by another Satyr’, presumably referring to the ‘Cornett’ tune from earlier: no music is written, nor is there any indication of a time-signature change nor of how many bars are to be played. Word-book (D) states: ‘Winds the third time, and is answer’d by another Satyr.’
6a. Air (Silenus): Satyrs, he doth fill with grace
Source:
A, pp. 10-12
Comments:
After the entry of the First Satyr (and before his next entry, 6b), B indicates ‘34’ + ‘49’ + ‘3’ silent bars in cut-C (one-sharp key signature) with ‘long agon as you spake him long agon’ over it; the numbers 34 and 49 are followed by fermatas. This is immediately followed by Mattocks’ next cue, the one-bar instrumental introduction to 6b. The division of bar numbers seems to refer to 6, where there is a fermata in bar 34 and (49 bars later) in bar 83. However, bar 83 in A is followed by a further five bars of vocal music capped off by a 9-bar instrumental passage. Clearly this does not correlate with the ‘3’ bars indicated in B. The instrumental cue for 6b may give us a further clue; it bears a close resemblance to bar 88 of 6a, the last bar of vocal music and the first bar of the instrumental close. It seems reasonable to suggest that A was slightly amended to account for omitting the chorus, 6b. According to B, the chorus evidently came in four bars after bar 83; bar 83 ends on the dominant and was presumably followed by four bars of tonic harmony the last of which was bar 1 of 6b, of which 6a, bar 88 is a modification
7, Violin 2, 1–2: minim, minim; rhythm has been altered to correspond with the 4–3 suspension indicated by the continuo figures in the second half of the bar
14, Violins, 3 – 21, Violins, 6: ‘con Voce’
30, Violins, 3 – 31, Violins, 8: ‘con Voce’
39, Violins, 1 – 42, Violins, 4: ‘con Voce’
57, Violins, 3 – 58, Violins, 3: ‘con Voce’
61, Violins, 1 – 68, Violins, 4: ‘con Voce’
96, Violins, 2-3: the violin parts are here given on a single stave, with the last beats given as three-note chords, f(©)′′-a′′-d′. This presumably reflects the parts for Violins 1 and 2 as well as for the viola (d′)
6b. Chorus (Satyrs): Oh, that he would come away!
Source:
B, fols. 68v
Comments:
See notes for 6a
D and E only give the text ‘O! that he would come away!’
1, Violin, 3: g'?, unclear
Recitative (Satyrs and Silenus): Farewell, Bacchus! We will serve
Source:
B, fol. 69
Comments:
2 & 3, Continuo, 1: g tied to g, in error
6, Continuo, 1: d©, presumably in error
8. Air and Chorus (Satyrs): And, to answer all things else
Sources:
A, pp. 13-14
B, fols. 69v-70
Comments:
All designations of the individual satyrs taken from B; none are given in A, where the vocal line is simply headed ‘Satyr’. D gives the following order: Second Satyr (bars 0-4); Fourth Satyr (bars 8-12); Third Satyr (bars 16-19); First Satyr (bars 20-26). B gives Third Satyr for bars 8-12 and Second Satyr for bars 16-19
B gives the First Satyr part, with unfigured bass line for bars 19ii-27; the top line of the instrumental part is given for 19ii-20i, 26ii-27 (no slurs etc.). The opening 18 bars are indicated as silent bars
0-4ii, Bassoons: given on a single stave, an octave higher than transcribed here; described as ‘The Bassoons Transpos′d’
16, Bassi, 2: crotchet (dot omitted, in error) (A)
20, First Satyr, 3: accidental omitted, in error (B)
21-22, Bassi: supplied from B; the reading in A appears to be a bar out (through the insertion of an extra c′ dotted-crotchet): c′ dotted-crotchet, dotted-crotchet rest, g, g, g, g, g, g quavers (A)
23-26: unique to B; after ‘timbrel’ there is an extra line and a half in B not included in A: ‘Of the timbrel; when we carry | Bacchus up, his pomp to vary’; the text is given in D
27, Bassi, 1-2: six repeated quavers (A)
28-37: A gives only the part for [Satyr 3] here; in B, Satyr 1 is given and at bar 28 is headed ‘Chorus’
42-43, First Satyr: both bars given as dotted-minims (B)
9. For the entrance of the Sylvans
Source:
A, pp. 38-39
Comments:
There are few indications of scoring in the piece (bars 17: ‘Hautboys & Bassoons’ and 25: ‘Violins’), though the style of the opening strongly suggests strings
5-8ii, Orch.: the bassoon part is given an octave higher; there is no indication of instrumentation here, though the passage clearly corresponds to bars 17ff, where oboes and bassoons are called for
6, Orch. RH, lower line, 1 & 4: crotchets; altered to correspond with bar 18
18, Orch. RH, upper line, 1‒2: the slur begins on the last beat of the previous bar, which seems to be an error
19-20iii, Orch.: the bassoon part is written an octave higher
25, Orch. LH, 1: e
41, Orch. LH, 3: crotchet-rest
10. Chacoon
Source:
A, pp. 40-41
Comments:
56, Orch. RH, 3: top note is e¨′, in error
47, Orch. LH, 2: top note is b(¨), in error
Recitative (Silenus and Satyrs): Mark, my satyrs, what a show!
Source:
B, fol. 70
Comments:
The third entry of the Third Satyr is given as for the Fourth Satyr in B where the next two entries (for Third and First satyrs: ‘Let's try, whether is more dead . . .’) are omitted
The text between bars 2 and 3 is taken from D; omitted in B
3-4a, Fourth Satyr: B gives the entry for the Fourth Satyr, while D
The text between bars 4a and 4b is taken from D; omitted in B, where bars 4a-b are uninterrupted
7-8, Continuo: editorial, empty staves in B
11. Catch (Satyrs): ‘Buzz’, quoth the blue fly
Sources:
A, p. 15
B, fols. 70v-71
Comments:
Title: ‘Moderato’ (B); ‘With mod[erat]e. Spirit’ (A)
B gives the tune (Violin1) and Bassi only for bars 1-8
3, Violin 1, 1-3: g′′ quaver (with tr), f′′ semiquaver, g′′ semiquaver (A)
4, Violin 2, 2: e", in error (A)
8, Bassi: reading from B; c minim, minim-rest (A)
9-16, Bassi: supplied from (and unique to) B
10, Voice [3], 4: B gives ‘Ear’ (A and D give ‘nose’)
Recitative (Silenus, Satyrs, Sylvan, First Nymph): How now, sylvans! Can you wake?
Source:
B, fol. 71
Comments:
8, Continuo, 2: A, presumably in error given the implied harmony of the vocal line
12. Air (First Nymph): See, see, oh, see, who here is come a-maying!
Source:
A, pp. 15-18
Comments:
In A the First Nymph is implied but not specified; instrumentation is only specified at bar 77;
Tempo: ‘Allo. modo.’
63, First Nymph, 1: sing] wing (D)
77-88, Violins & Flute: both parts are given on a single stave, introduced by the rubrics ‘Flute’ and ‘Vio.’
89-117, Flute: no indications in the score to identify this as for flute alone; however, it is a reprise of the flute part beginning at bar 77
102-107, Flute & First Nymph: both parts are written on a single stave, as a single vocal melisma on ‘record’; the flute part is given as silent bars
112, Bassi, 4: g (figured 6-4)
113, Bassi, 1: the first two figures appear to have been misplaced in previous bar, where the 5-3 is placed under note 3, and the 7-2 is aligned with the end of the bar (quaver beat 6)
118-125, Violins & Flute: both parts are on separate staves, with the rubric ‘Flute’ given for the top stave; the upbeat to the violin line at the end of bar 117 is implied but not written
15. Chorus: Hail, fair knighthood; let our lays
Source:
B, fols. 72-72v
Comments:
After the recitative on fol. 130, B simply reads ‘Dance’; it then proceeds with a text cue ‘– dwells Knighthood with a crowned brow’ and continues the First Satyr part for ‘Hail, fair knighthood; let our lays’. As usual, the text cue (the last line of the recitative ‘Stay! the cheerful Chanticleer’) is written above the stave. 15 begins with 16 silent bars for the First Satyr: no music is given, simply the number ‘16’. This presumably indicates an instrumental introduction to 15, for which no music survives
16. Accompanied recitative (Second Nymph): Let our shows be new, as strange
Source:
A, p. 19
Comments
Given as ‘Recit.’ only in A, where the instrumental treble parts and vocal part are all given on the same stave
17. Air (Second Nymph): Let us play and dance and sing
Source:
A, pp. 19-21
Comments:
Instruments are first indicated at bar 34
47, Violins, 1 – 52, Violins, 6: ‘con Voce’
62, Second Nymph, 1 (also bars 66 and 71, note 1): sound] sounds (E)
65, Second Nymph, 1 (also bars 69 and 73, note 1): joy] joys (E)
72, Violin 1: ‘1°. con voce’
86 & 87, Horn 2, 1: grace notes are editorial
92-94, 96-98, 100-102i, Violins: empty staves, with a direct doubling the first note of the vocal line at the start of each passage, implying ‘con voce’ (although the rubric is not used)
104 & 105, Horn 2, 1: grace notes are editorial
18. Duetto and Chorus (Nymphs): Now all the air shall ring
Sources:
A, pp. 22-7
B (partial), fols. 73-73v
Comments:
B: gives First Satyr part only (bars 25ff), only; indications for rests correspond to A: after a quaver-rest upbeat, ‘Sym: 7’ followed by one silent bar containing the rubric ‘Solo’, and ‘16’. The cue ‘ – the happy ground to beat’ is crossed-out above the piece. B omits dynamic marks, except for those given in bars 60 and 62. The First Satyr part corresponds to the tenor part of the Chorus is found in the A; in B it is given in a g2 clef, i.e. an octave higher than the transposing g2 clef of the edition (this clef at pitch); in A the clef is c4; all relevant entries below refer to written, not sounding, pitch.
1, Violin 2: empty stave, doubling of Violin1 indicated by the sign // (A)
6, Violin 2, 1-19: empty stave, doubling of Violin 1 indicated by the sign // (A)
8, Violin 2, 1-20: empty stave, doubling of Violin 1 indicated by the sign // (A)
8, Voice 1, 1 (also 12, Voice 2, 4): Now] Whilst (D, E)
25-65, Bass & Bassi: both given as a single voice in the Chorus passages (A)
25 (and etc.), Voices: God save the King] LONG LIVE THE KING! (D, E)
26, Tenors, 3: b (A)
30, Tenors, 2-4: e'' dotted-crotchet, e'' quaver (B)
37, Trebles (upper line), 3: semiquaver-rest, semiquaver (A)
37, Tenors, 4: Now] whilst (B)
38, Tenors, 4-5: tr sign and slur omitted (B)
39, Tenors, 4-5: slur omitted (B)
41, Tenors, 1-4: e'' dotted-crotchet, b' quaver (B)
44, Continuo, 3: figure is 9, in error (A)
54, Tenors, 4: e', in error (A)
57, Tenors, 1-3: a' dotted-crotchet, a' quaver (B)
64, Tenors, 3-6: a' dotted-crotchet, a' quaver (B)
19. A troop of fairies
Source:
A, p. 28
Comments:
Violins designated ‘V. 1.’ and ‘V. 2.’
‘A Troop of Faries’ A; ‘A TROOP OF FAIRIES’ (D)
1-2, Violin 2: empty stave, doubling of Violin 1 indicated by the sign //
5-6, Horns: written an octave higher (on same line as violins)
11, Violin 2: empty stave, doubling of Violin 1 indicated by the sign //
13, Violin 2, 2-14: empty stave, doubling of Violin 1 indicated by the sign //
15, Violin 2, 2 – 18, Violin 2, 9: empty stave, doubling of Violin 1 indicated by the sign //
21. Air (First Fairy): Tho' the moon be gone to bed
Source:
A, pp. 29-31
Comments:
6, Bassi, 4: figures misplaced with notes 1-2 of bar 7
10-11, Violins: ‘con Voce’
22. Duetto (Fairies): Seek you majesty to strike?
Source:
A, pp. 32-4
Comments:
Instruments designated as ‘Clar. 1’ and ‘Clar. 2’; ‘V. 1.’ and ‘V. 2.’
28, Violin 1, upper note: crotchet (dot omitted, in error)
27, Nymphs, 3: the] their (D)
35, Nymphs, 4 (etc.): and] at (D)
73, Clarinets, 1 – 95, Clarinets, 1: ‘with the Voices’
77-96, Nymphs: this couplet is offset in D; it is possible that this section was originally sung by a Chorus
24. Air (Second Fairy): Melt earth to sea, sea flow to air
Source:
A, pp. 34-5
Comments:
5-8, Violin 2: empty stave, doubling of Violin 1 indicated by the sign //
37, Violins & Second Fairy: all grace notes are semiquavers, here altered to quavers to correspond with the previous passages
44, Violins, 3: both parts are given as a single line with the direction ‘Unis.’; last note given as three-note chord, b(¨)′-d′-b(¨), here divided between the violins (assuming the lowest note played by the violas)
29. Duetto (Principal Fairies): Nay, nay, You must not stay
Source:
A, pp. 36-8
Comments:
Only instrument designation is at bar 12, ‘V. 2.’
11ii-12, Violin 2: empty stave, doubling of Violin 1 implied
16, Violin 2: empty stave, doubling of Violin 1 implied
31, Bassi, 3 – 34, Bassi, 2: c', b(¨), crotchet-rest, quaver-rest, a, g, c', c©', apparently in error (perhaps resulting from misreading a c4 clef as an f4)
39 (and etc.), Fairies, 3: Nor] Or (D, E)
46, Bassi: figures ‘6’ and ‘5’ aligned with note 1
76-78, Violins: here the vocal parts are given on separate staves, with both melodic instrumental parts given on a single stave; there is no indication in the score that the violins should double (or rest, for that matter), however in the first similar statement of the same text the violins do double
81, Violin 2, 2: tremolo is editorial
83, Violin 2: tremolos are editorial
85-86, Violins: ‘with the Voices’
32. The first air played at the dinner
Source:
A, p. 45
Comments:
Dynamic indication: ‘2.d time P’
33. The favourite minuet played at the dinner
Source:
A, p. 45
Comments:
4, Orch. RH, 1: upper note is g", in error
23, Orch. RH, lower line 2-3: quaver, quaver (altered to correspond with similar passages)
35. APPENDIX 1: Overture
Source:
A, pp. 1-5
Comments:
Title: ‘The new Overture to the Fairy Prince, Adapted for the Harpsichord or Piano Forte.’
36. APPENDIX 2: Text for Additional Scene (‘Battle of Cressy’)
Source:
E, p. 238
Comments:
The scene was introduced at the twenty-ninth performance (16 January 1772). The description of Cipriani’s scene is found in contemporary newspaper reports; however, Colman’s Works (E) appears to be the sole source for the additional text. In E, lines 3-4 of 16a are reversed and followed by a new recitative for Silenus explaining the scene; this is followed by the last two lines of the original 16, which are sectioned off as a separate recitative in E. In A, 16 is an accompanied recitative (although only termed ‘recitative’ in the sources).
ACKNOWLEDGEMENTS
The editor would like to thank the governing bodies of the following libraries for their permission to consult, transcribe and publish the materials involved in this edition: the Bodleian Library, Oxford; the British Library, London; the Royal College of Music, London, the Alexander Turnbull Library, Wellington, New Zealand; Trinity College, Dublin; Special Collections, Main Library, University of Birmingham, Birmingham; the Library of Congress, Washington. Thanks are also due to the trustees of The Andrew W. Mellon Foundation for research funding. Finally, particular thanks are due to the moderator Prof. Peter Holman, and to the general editors, Profs Martin Butler, Ian Donaldson, and David Bevington, for their advice and assistance.