Annotation:From Night 'Till Morn (1): Difference between revisions
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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:From_Night_' | |f_tune_annotation_title= https://tunearch.org/wiki/Annotation:From_Night_'Till_Morn_(1) > | ||
|f_annotation='''FROM NIGHT TILL MORN'''. AKA and see "[[Pauve Madeleine]]," "[[Wine Cannot Cure]]." English, Air (duple time). D Major. Standard tuning (fiddle). One part. A late 18th century dance tune derived from the song "Wine Cannot Cure," a duet performed at the Theatre Royal, Covent Garden, London, where it was sung by "Mr. Johnstone and Mr. Incledon...,and by Mr. Dignum, and Mr. Sedgewick, at the Je Ne Scai Quoit Club" (see sheet music [[http://levysheetmusic.mse.jhu.edu/otcgi/llscgi60]]). The first line of the song, from which the title is taken, goes: "From night till morn (I take my glass In hopes to forget my Chloe)." Printed appearances are numerous, and include vocal, dance and martial versions. It appears in Carr's '''Elegant Extracts''' (1796), Preston & Sons '''Compete Instructions for the Bassoon''' (London, c. 1790), Longman & Broderip's '''A Set of Military Pieces''' {2} (London, c. 1790), George Willis's '''Compleat Tutor for the German Flute''' (published in London about 1792 by T. Cahusac), Logier's '''Introduction to the Art of Playing on the Royal Kent Bugle''' {i.e. the keyed bugle} (Dublin, c. 1813), and Andrews' '''Complete Instructions for the Fife''' (London, 1808). The melody was also wedded to the ancient ballad story "The Maid and the Palmer" on a recording by the group Brass Monkey in 1983. Under the title "Wine Cannot Cure" it was included in the 1801 manuscript tune book of John Jones (Shorpshire, Eng.), and the c. 1800 music copybook of the Welch family (Sussex). | |f_annotation='''FROM NIGHT TILL MORN [1]'''. AKA and see "[[Pauve Madeleine]]," "[[Wine Cannot Cure]]." English, Air (duple time). D Major. Standard tuning (fiddle). One part. A late 18th century dance tune derived from the song "Wine Cannot Cure," a duet performed at the Theatre Royal, Covent Garden, London, where it was sung by "Mr. Johnstone and Mr. Incledon...,and by Mr. Dignum, and Mr. Sedgewick, at the Je Ne Scai Quoit Club" (see sheet music [[http://levysheetmusic.mse.jhu.edu/otcgi/llscgi60]]). The first line of the song, from which the title is taken, goes: "From night till morn (I take my glass In hopes to forget my Chloe)." Printed appearances are numerous, and include vocal, dance and martial versions. It appears in Carr's '''Elegant Extracts''' (1796), Preston & Sons '''Compete Instructions for the Bassoon''' (London, c. 1790), Longman & Broderip's '''A Set of Military Pieces''' {2} (London, c. 1790), George Willis's '''Compleat Tutor for the German Flute''' (published in London about 1792 by T. Cahusac), Logier's '''Introduction to the Art of Playing on the Royal Kent Bugle''' {i.e. the keyed bugle} (Dublin, c. 1813), and Andrews' '''Complete Instructions for the Fife''' (London, 1808). The melody was also wedded to the ancient ballad story "The Maid and the Palmer" on a recording by the group Brass Monkey in 1983. Under the title "Wine Cannot Cure" it was included in the 1801 manuscript tune book of John Jones (Shorpshire, Eng.), and the c. 1800 music copybook of the Welch family (Sussex). | ||
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Latest revision as of 19:57, 7 January 2023
X:1 T:From Night Till Morn [1] C:Welch MS (1800, Sussex, England) M:4/4 L:1/8 K:G |:dc|B2B2B2G2|AGAB G2AB|cBAG GABc|d3e/2c/2 B2dc| B2B2B2G2|AGAB G2AB|cBAG GABG|[1A4G2:|[2A4G4 |:GABc d2d2|d2e2d4|e2d2g2B2|d3e/2c/2 B2dc| B2B2B2G2|AGAB G2AB|cBAG GABc|d3e/2c/2 B2dc| B2B2B2G2|AGAB G2AB|cBAG GABG|A4G4:||
FROM NIGHT TILL MORN [1]. AKA and see "Pauve Madeleine," "Wine Cannot Cure." English, Air (duple time). D Major. Standard tuning (fiddle). One part. A late 18th century dance tune derived from the song "Wine Cannot Cure," a duet performed at the Theatre Royal, Covent Garden, London, where it was sung by "Mr. Johnstone and Mr. Incledon...,and by Mr. Dignum, and Mr. Sedgewick, at the Je Ne Scai Quoit Club" (see sheet music [[1]]). The first line of the song, from which the title is taken, goes: "From night till morn (I take my glass In hopes to forget my Chloe)." Printed appearances are numerous, and include vocal, dance and martial versions. It appears in Carr's Elegant Extracts (1796), Preston & Sons Compete Instructions for the Bassoon (London, c. 1790), Longman & Broderip's A Set of Military Pieces {2} (London, c. 1790), George Willis's Compleat Tutor for the German Flute (published in London about 1792 by T. Cahusac), Logier's Introduction to the Art of Playing on the Royal Kent Bugle {i.e. the keyed bugle} (Dublin, c. 1813), and Andrews' Complete Instructions for the Fife (London, 1808). The melody was also wedded to the ancient ballad story "The Maid and the Palmer" on a recording by the group Brass Monkey in 1983. Under the title "Wine Cannot Cure" it was included in the 1801 manuscript tune book of John Jones (Shorpshire, Eng.), and the c. 1800 music copybook of the Welch family (Sussex).
The melody was popular in America as well as in Britain. It appears in the music manuscripts of Eben Irving (1796, Middletown, New York), later added to by William Irving from 1827-1833, where it is given as "From Night till Morn, or Pauvre Maudelon." Irving's alternate title, "Pauvre Madeleine," is the name of the tune in military march versions, popular in the 1800's. It appears in William Litten's music manuscript copybook of 1800-1802. Little is known about Litten, but apparently he was a resident of Martha's Vineyard, and compiled his copybook at sea. "From Night till Morn" also appears in the music copybook of John Treat (1779, Durham?, also written in several other hands), entitled "Gamut for the Fifes." It was published in Young and Carey's Young's Vocal and Instrumental Musical Miscellany (Philadelphia, 1793, p. 10), where it is labelled "A Favorite Duett."
Nick Barber (2002), whose source was the Welch family mss., remarks that twelve bar second strains are not uncommon in Sussex Hornpipes. (Barry Callaghan (2007) laments the frequent regularizing of the 12-bar 2nd part (as in the Welch manuscript) in modern English sessions, and Barber cautions that the irregular version should not be started in a session "unless you're feeling strong -- the odd phrasing in the 'B' music will confuse anyone who doesn't know the tune."
