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File:Queen Marys Lamentation.mp3 Queen Mary’s Lamentation

Scottish, Air (3/4 time). G Major. Standard tuning (fiddle).

AAB. The air was published in several late 18th century sources, including Benjamin Carr’s The Caledonian Muse (Philadelphia, 1798).

It was a composition of Tommaso Giordani (1730–1806), a Neapolitan composer who spent much of his mature career in London and Dublin.

He came to London with his father’s opera company, where he presented his first opera in 1756.

In the next twenty years, still based in London, he composed three other operas, plus arranged other works; he then removed to Dublin and produced seven more operas.

His output included sacred music, songs, cantatas, canzonets and chamber music, and his keyboard music was very popular in his time, rivaling J.C. Bach’s, particularly with amateur musicians. {{safesubst:#invoke:string|rep|
|2}}

...more at: Queen Mary’s Lamentation - full Score(s) and Annotations

@@ Line 1: / Line 1: @@
 {{SheetMusic
-|f_track=Lovely Nancy.mp3
+|f_track=Queen Marys Lamentation.mp3
-|f_pdf=Lovely Nancy.pdf
+|f_pdf=Queen Mary's Lamentation.pdf
-|f_artwork=Maybe James Oswald.jpg
+|f_artwork=Tommaso Giordani 1.jpg
-|f_tune_name=Lovely Nancy
+|f_tune_name=Queen Mary’s Lamentation
-|f_track_title=Lovely_Nancy_(1)
+|f_track_title=Queen Mary’s Lamentation
-|f_section=X10
+|f_section=abc
-|f_played_by=[https://soundcloud.com/alison-melville Alison Melville]
+|f_played_by=[https://soundcloud.com/john-gibbons-4 John Gibbons]
-|f_notes=Maybe James Oswald (1710–1769)
+|f_notes=Tommaso Giordani (Napoli c. 1730 – Dublin 1806).
-|f_caption=We have no known portrait of Oswald and we sometimes wonder whether the flautist shown on the frontispiece of the Caledonian Pocket Companion might not be him.
+|f_caption=Giordani undoubtedly contributed to the spread of Italian music in Britain and Ireland, leaving the most significant expressions of his intense compositional activity in the theatrical field.
-|f_source=[https://soundcloud.com/alison-melville/lovely-nancy Soundcloud]
+|f_source=[https://soundcloud.com/john-gibbons-4/queen-marys-lamentation Soundcloud]
 |f_pix=420
 |f_picpix=200
-|f_article=[[Lovely_Nancy_(1) | '''Lovely Nancy''']]
+|f_article=[[Queen Mary’s Lamentation | '''Queen Mary’s Lamentation''']]
-John Glen ('''Early Scottish Melodies''', 1900) and Purser (1992) attributed the tune to the Scottish composer and publisher James Oswald [[wikipedia:James_Oswald_(composer) | James Oswald ]] (1710–1769), who included it in his '''Caledonian Pocket Companion''' (vol. II, c. 1745), although Chappell would only credit the variations to him.
-It also appears previous in Oswald's '''Curious Scots Tunes for a Violin and Flute''' (1742), albeit with no claim to authorship. Chappell concluded: "I have seen many half-sheet copies of the song 'Lovely Nancy' but never with an author's name, and I doubt whether any one could properly claim it, fir it seems to be only an alteration of 'Ye virgins so pretty'."
+Scottish, Air (3/4 time). G Major. Standard tuning (fiddle).
-Glen also finds the song in '''Calliope, or English Harmony''' (1739, p. 176) under the title '''Strephon's Complaint''', which begins "How can you, Lovely Nancy." It is the same air, although Glen believes it was contributed to the collection by Oswald before he left Edinburgh.
+AAB. The air was published in several late 18th century sources, including Benjamin Carr’s '''The Caledonian Muse''' (Philadelphia, 1798).
-A hugely popular melody, "Lovely Nancy" was printed in numerous mid-18th century collections and tutors, such as Longman's '''Compleat Instructions for the German Flute''' (1796), Thompson's '''Compleat Tutor for the French Horn''' (1755), and '''Calliope, or English Harmony''' (1746).
+It was a composition of [[wikipedia:Tommaso_Giordani | Tommaso Giordani]] (1730–1806), a Neapolitan composer who spent much of his mature career in London and Dublin.
-"Lovely Nancy" even can be heard today on a musical clock made by Joseph Ellicott in Bucks County, Pa., around the 1770's. It was employed by the British military in America as a signal for retreat (Purser, 1992) [Ed.: note that' retreat' meant the ceasing of the days activities in the evening at camp, not a withdraw from combat], and was similarly employed by American fifers in the Revolutionary War (Keller, 1992).
+He came to London with his father’s opera company, where he presented his first opera in 1756.
+In the next twenty years, still based in London, he composed three other operas, plus arranged other works; he then removed to Dublin and produced  seven more operas.
+His output included sacred music, songs, cantatas, canzonets and chamber music, and his keyboard music was very popular in his time, rivaling J.C. Bach’s, particularly with amateur musicians.
 }}