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English Echoes: English Country Dance Favorites

It may be possible to do without dancing entirely. Instances have been known of young people passing many, many months successively, without being at any ball of any description, and no material injury accrue either to body or mind; — but when a beginning is made — when the felicities of rapid motion have once been, though slightly, felt — it must be a very heavy set that does not ask for more.
Emma

This CD anyone who’s ever wanted to hear (or even dance) the dances that Jane Austen was familiar with. Dancing plays an integral part in all of Austen’s romances, from Darcy leading Lizzy to the floor at Netherfield, to Mr. Knightley’s “not so much brother and sister” at the Crown Inn.Henry Tilney first engages Catherine Morland’s notice at an assembly in Bath and Willoughby’s duplicity with Miss Grey is discovered at a similar assembly in London.

English Echoes features 14 dance length country dances and waltzes that would have been well known to the Austen family. Several are by John Playford, of Playford’s Dancing Master fame. Another, Shrewsburry Lasses, (by Charles and Samuel Thompson, 1765, Dances as they are performed at Court, Bath, and all Publick Assemblys.) is familiar from the 1995 Pride and Prejudice. Discerning listeners will recall Lizzy and Mr. Collin’s failed attempt at dancing at the Netherfield ball (“Other way, Mr. Collins!)*.

All in all, it is a delightful collection, evocative of “Jane Austen movies – at times smooth and elegant, others bouncy and lively – this music accompanies dancing that has been enjoyed since the 1600’s. Becky, Liz, and Colleen weave together sweet harmonies with lively rhythmic punctuation.” The CD may be ordered from CDbaby.com. The full track listing may also be downloaded in mp3 format from Amazon.com.

From the Liner Notes:
Becky Ross, Liz Donaldson, and Colleen Reed play regularly as part of a vibrant and talented community of musicians at the weekly English Country Dance sponsored by the Folklore Society of Greater Washington in Glen Echo, MD. They have found an easy chemistry as a trio, weaving together sweet harmonies and melodies with lively rhythmic punctuation.

English Country Dancing is thought to have taken place as early as the 16th century, but became all the rage in the 1600’s and continued well into the 18th century. In the early 1900’s, reinterpretations of historic dances sparked renewed interest. All the while, new dances are continually being devised so that today’s dance community enjoys a vast repertory of modern and old dances, with music from the 1500’s to the present.

English Echoes represents a selection of our favorite tunes offering a variety of meters (jigs, reels, waltzes, 3/2 time) and moods, from elegant and smooth to bouncy and lively. We ordered the dance-length selections as a dance program representing a variety of styles and dance formations. We hope you will also enjoy this recording for general listening.

Tracks include:

  1. Take A Dance
  2. Mr. Isaac’s Maggot (Playford)
  3. Honeysuckle Cottage
  4. Collier’s Daughter (Playford)
  5. Halsway Manners
  6. Peace Be With You
  7. Newcastle (Playford)
  8. Newcastle Reprise
  9. The MollyAndrew
  10. Key to the Cellar
  11. Shrewsbury Lasses
  12. Alice
  13. Money in Both Pockets
  14. Well Hall

Fourteen selections with Liz Donaldson, piano, Becky Ross, fiddle, Colleen Reed, flute and Bruce Edwards, bassoon. Approximately 56 minutes of music. Copyright 2007.

* Download the sheetmusic for Shrewsbury Lasses. Just right click and save.

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John Playford: The English Dancing Master

Dancing Master John Playford

John Playford: The English Dancing Master

John Playford was born in Norwich in 1623, and died in London in 1686. His father

was a mercer, also named John. Local records show that he was one of a large family, many of whom were scriveners or stationers. While his brother Matthew was recorded at a grammar school, there is no record that John did so. It is likely that his education came from the almonry, or choir-school, which was attached to the cathedral, and it was here he probably acquired a knowledge of music and the “love of Divine Service”.

After his father’s death in 1639, Playford was apprenticed to John Benson, a London publisher of St. Dunstan’s Churchyard on Fleet Street. After seven years, he earned his freedom and became a member of the Yeomanry of the Stationer’s Company in 1647, which enabled him to trade as a publisher. Playford secured the tenancy of a shop in the porch of the Temple Church, the place from where all his publications were issued until his retirement in 1684. His publications included political tracts, miscellaneous non-musical works, music theory, lessons for various instruments, collections of songs, and psalms. His books had a ready market with the law students of the Inns of Court, or Law School, that passed his shop each day.

By personal inclination and family, Playford was a Royalist. One of his political tracts was The Perfect Narrative of the Tryal of the King, as well as others relating to the executions of royalist nobility. In November of 1649 a warrant was issued for his arrest as well as his associates. Nothing was heard of him for a year until, on November 7, 1650, a stationer’s register was entered for The English Dancing Master. Apparently things had cooled off enough for him to return.

While it was theoretically obligatory to register works, Playford registered so few of his music books before publication, it is not known whether The Dancing Master was his first music book or not. It was certainly not his last, for seventeen editions of that work alone were published.

As well as a bookseller and music publisher, in 1653 Playford was admitted clerk to the Temple Church, an office he held to the end of his life. He devoted himself to the repair and maintenance of the building, and also promoted the seemly ordering of the services there. He was also vicar-choral of St. Paul’s Cathedral.

It was about this time he married Hannah Allen, daughter of Benjamin Allen, a publisher of Cornhill. The Playfords moved to Islington in 1655, where his wife established a boarding-school for girls. She maintained this school until her death in 1679, upon which Playford returned to London, taking a house in Strand.

An examination of the court books of the Stationer’s Company shows that in 1661, Playford was called to the livery. In 1681, the king wrote a letter to the master and wardens that Playford and others listed be admitted to the court of assistants. He retired in 1684 in favor of his son Henry and another young man, Richard Carr, although a number of books retained his imprint until 1686. Henry also published from the same shop in the Temple Church until 1690.

Playford’s will requested that he be buried in either the Temple Church or in St. Faith’s, the stationer’s chapel in the undercroft of St. Paul’s. Unfortunately no record of his burial is known in either place.

More about The English Dancing Master:

In 1651 Charles I was under arrest and about to be beheaded. People of Royalist leanings were persecuted. Between political unrest and the periodic outbreaks of plague that threatened the city of London, people were beginning to seek refuge, education and leisure either in their homes or away from the city. A do-it-yourself book on social dancing was long overdue.


It is fairly well known that John Playford was a bookseller and publisher, not a dancing master. It is also fairly well accepted that he did not write The English Dancing Master. Scholars have determined that six to eight different contributors actually wrote the book, some covering dances known for years, while others may have been penned specifically for the book. A fair number of typographical errors still cause confusion today, but for the most part, the steps are clear.

Playford published the first seven editions between 1651 and 1686, his son Henry published the eighth to twelfth editions, and John Young the remaining six. In A Musical Banquet, a 1651 Playford publication, The English Dancing Master is advertised “… to be played on the Treble Violl or Violin”.

Sources
Sadie, Stanley, editor. New Grove Dictionary of Music and Musicians. Macmillan Publishers Ltd., London.

Keller, Kate van Winkle and Shiner, Genevieve. The Playford Ball, 103 Early English Country Dances. A Capella Books and the Country Dance and Song Society, Chicago.

Barlow, Jeremy. The Complete Country Dance Tunes from Playford’s Dancing Master (1651 – ca. 1728). Faber Music Ltd., London.

Millar, John Fitzhugh. Elizabethan Country Dances. Thirteen Colonies Press, Williamsburg, Va.

Written by Fidelico de Rocheforte for Volume 3 of Letter of Dance.