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    Self Banished High

    Uploaded by

    Federico Agustín Alcaraz
    John Blow

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Self Banished High

    Uploaded by

    Federico Agustín Alcaraz
    102 views3 pages
    John Blow

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

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    John Blow

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    102 views3 pages

    Self Banished High

    Uploaded by

    Federico Agustín Alcaraz
    John Blow

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    You are on page 1of 3

    The Self Banished

    A Minuet
    Edmund Waller Dr. John Blow
    (1606-1687) (1649-1708)
    A
    Voice
    3
    4
    It is not that I love you less, than when be fore your feet I lay:

    A
    3
    4
    Basso Continuo
    3
    4
    5 6 [6] [7] [4] [3] [6] 6 [6] 7 6
    5

    Voice

    but to pre vent the sad in crease of hope less love, I keep a way.

    BC

    5 6 [6] [7] [4] [3] [6] 6 [6] 7 6


    5

    17 B
    Voice

    In vain! (a las!) for ev' ry thing, which I have known be long to you,

    BC

    [6] h h # [!] 7 [6] [#] [#]

    25

    Voice

    your form does to my fan cy bring, and makes my old wounds bleed a new.

    BC

    6 5 6 h [2] [6] [6] [7] [6] 6 6 5


    4 3 5 5 4 3

    Edition © 2013 Cathal Twomey


    Edition may be freely downloaded, duplicated, performed or recorded.
    2

    The Self Banished

    It is not that I love you less


    Than when before your feet I lay:
    But to prevent the sad increase
    Of hopeless love, I keep away.

    ||: In vain! (alas!) for ev'ry thing


    Which I have known belong to you,
    Your form does to my fancy bring,
    And makes my old wounds bleed anew. :||

    Who in the Spring from the new Sun


    Already has a fever got,
    Too late begins those shafts to shun,
    Which Phoebus through his veins has shot.

    ||: Too late he would the pain assuage,


    And to shadows thick he doth retire;
    About with him he bears the rage,
    And in his tainted blood the fire. :||

    ||: But vow'd I have, and never must


    Your banish'd servant trouble you;
    For if I break, you may mistrust
    The vow I made to love you, too. :||

    * A lover has withdrawn from the presence of their beloved


    because being near them is too painful.

    * Playing on poetic conventions of the time


    (which often compared beauty to the sun's radiance),
    in stanzas 3 and 4 the lover
    compares being in love to having heat-stroke.

    * This setting was published in ‘Amphion Angelicus’,


    a collection of vocal works by John Blow, printed in 1700.

    * It uses the dance-rhythm of a minuet.


    3

    Performance notes:

    *The title page of 'Amphion Anglicus' indicates that the continuo part is
    ‘for an Organ, Harpsichord, or Theorboe-Lute’.

    *Repeat marks and continuo realisation are editorial,


    as are all bracketed figures in the continuo part.
    Many thanks to David Grealy
    for his kind assistance with the realisation and figuring.

    *The original score gives only the first two stanzas as underlay.
    I have included the rest for those who may wish
    to sing this beautiful poem in its entirety.

    *Performers may notice a problem


    arising from the uneven number of stanzas:
    Stanza 3 may be sung to the A section of the music,
    and 4 to the B section;
    but how may stanza 5 be incorporated?
    A number of solutions are possible:

    1. After singing stanza 4 to the B section’s music,


    the singer might remain silent
    while the continuo player repeats the A section,
    and then begin singing stanza 5
    when the B section is reached.

    2. As solution 1,
    but with a treble instrument (e.g. violin or recorder)
    playing the melody for the A section
    (possibly doubling the voice in the B while stanza 5 is sung).

    3. After stanza 4, repeat stanza 1 to the A music,


    then sing stanza 5 to the B.

    4. Immediately move on to stanza 5


    (i.e. conclude by singing the B section four times,
    the first two with stanza 4, the last two with stanza 5).
    The repetitive nature of this last option makes it my least favourite.

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