Oh NO she ISN'T! Oh YES she IS!

For those of us who spend our time flitting from year to year and place to place examining the tangles and puzzles of history, this has been a busy year, so I suggest it's time we took a break. Since we have the facility at our disposal, I would like to take you to the Drury Lane Theatre

in London, in the early 1920s to enjoy a traditional British pantomime.

Unlike the mummenschanz or mime theater of performers like Marcel Marceau, pantomime became firmly established in England as a children's theater during the later years of Queen Victoria. An annual treat for the youngsters whose parents could afford it. Often taking well-known children's tales as the substance of the drama, and throwing in a few double entendres for the amusement of the adults (who, after all, were the paying patrons).

By 1921 Britain is starting to recover from the awful hardships of the Great War, and the 'flu epidemic that ravaged Europe in 1918 and the mood is decidedly upbeat. But just to be on the safe side, I recommend that we both get "Spanish" 'flu innoculations before we depart.

Principal boy (Vanessa Redgrave)	Dame (Les Dawson)	The Good Fairy	The Demon King
	Two clowns	Pantomime Horse (Dobbin)

While there have been some surprising departures from the typical children's story, such as James Bond, the Pantomime, the typical pantomime storylines have included:

• Aladdin
• Mother Goose
• Jack and the Beanstalk
• Babes in the Wood
• Dick Whittington
• Cinderella
  

While it isn't quite 1921 material (the song first appeared in 1934), the song below should give you a fair idea of the kind of entertainment I have in mind. The sheet music for the song can be downloaded in a PDF file.

X:65 % number
T:Nobody loves a Fairy % title
C:Arthur Le Clerq % composer
O:http://www.raspberrytarts.com/fairyfifty.shtml % origin.
P:ABABAB
M:4/4 % meter
L:1/4 % length of shortest note
Q:120 % tempo
%%staves 1 { (2 3) 4 }
V:1 clef=treble name="Voice" sname="Vc." % voice 1
V:2 clef=treble name="Piano" sname="Pno."
V:3 clef=treble
V:4 clef=bass
K:C % key
[P:A verse]
[Q: "allegro " 1/4=120]
[V:1] Z5 |
[V:2] G {B}c G {B} c | [L:1/8] B>^ABd g4 | _A>_e A2 _A>_e A2 | [L:1/4] G {^c}d {^f}g z | z [ECG,] z [ECG,] |
[V:4] C, [ECG,] G,, [ECG,] | D, [FB,G,] G,, [FB,G,] | [_E2C2_G,2] [E2C2G,2] | [D3B,3F,3] (3G,,/A,,/B,,/ | C, z G,, z |
%============================================================================================================================
[V:1] z2 z E | "C" G G "C6" A A | "Cmaj7" B B "C6" A2 | "C" z4 | "G7" z2 z D |
w:1.For years a Fair-y Queen I've bin', For
w:2.For years I reigned in Fair-y Dell, I
[V:2] z [ECG,] z [ECG,] | [GEC] [GEC] [AGEC] [AGEC] | [BGEC] [BGEC] z [CEG] | G {d}e G {d}e |
[f/d/][e/c/][d/B/][c/A/] [BG] D |
[V:3] Z7 | z2 A2 | z4 | z4 |
[V:4] C, z G, z | [C,C,,] z G,, z | [C,C,,] z G,, z | C, [ECG,] G,, [ECG,] | D, [FB,G,] [FB,G,] z |
%=====================================================================================================================================
[V:1] F F G G | "Dm7" A A "G7" G2 | z4 | "C" z2 "C6" z2 | "E7" E ^F ^G E |
w:years I foiled the De-mon king, But a-las I'm
w:waved my wand, and waved it well, If I can't do
[V:2] [FDB,] [FDB,] [GFDB,] [GFDB,] | [AFDC] [AFDC] z [FDB,] | G {c}d G {c}d | [e/c/][d/B/][c/A/][B/G/] [AE] z | [ED] [^FD] [^GD] [ED] |
[V:3] Z | z2 G2 | Z3 |
[V:4][D,D,,] z [G,,] z | [D,D,,] z [G,,] z | D, [DB,G,] G,, [DB,G,] | C, [ECG,] [ECG,] z | B,, E, E,, E, |
%=========================================================================================================
[V:1] "Am" A B c A | "E7" E ^F ^G E | "Am" A2-A z {E} | "D7" D E ^F D | "G" G A "E7" B B |
w:get-ting on, the years have flown some-how,_ And I feel that Fair-y Snow-drop
w:all I did, I'm sat-is-fied be-cos'-I'd soon-er be a "has-been" than I
[V:2] [AC] [BD] [cE] [AC] | [DE] [D^F] [D^G] [DE] |z [EC] [EC] [EC] | [DC] [EC] [^FC] [DC] | [GB,] [AC] [B^GD] [BGD] |
[V:3] Z2 | A4 | Z2 |
[V:4] A,, E, E,, E, | B, E, E,, E, | A,, E, A, =G, | ^F, G, A, F, | G, D, E, E,, |
%=========================================================================================================
[V:1] "Cm" c c "D7" B A | "G" A2-A z | "G7" Z | Z | [L:1/8] "Ab7" Z |[L:1/4] "G7" z2 z |
w:isn'-t want-ed now._
w:would a "nev-er was."_
[V:2] [c=G_E] [cGE] [B^FD] [AFC] | G2-G G | [fcA]/[eBG]/[DAF]/[CGE]/ [BFD] [AEC] | [GDB,] [DAF] [gdB] z | [L:1/8] (3_a_ba g>a _e'>ae'>a |[L:1/4] g z z |
[V:3] Z | z [DB,] [DB,] z | Z2 | [L:1/8] [_ec_G]6 [ecG]2 |[L:1/4] [dBF] z z |
[V:4] A,,2 D, D, | G, {^C,}D, G,, z | Z2 | [L:1/8] Z |[L:1/4] z {^C,}D, G,, |
%=========================================================================================================
P:B chorus
[V:1] [Q: "allegretto " 1/4=240] E |: "C" G E "G7" F D | "C" E G A c | "Fm6" d2 d2-| "G7" d3 e | "C" d c B c |
w:No-bo-dy loves a fair-y when she's for-ty,_ No-bo-dy loves a
[V:2] E |: [GE] [EC] [FB,] [DB,] | [EC] [GEC] [AEC] [cEC] | d2 d2-| d2 d z | [dGD] [cGC] [BGB,] [cGC] |
[V:3] z |: z4 | z4 | z [_AFD] z [AFD] | z [BF] z [eBe] | Z |
[V:4] z |: C, G, G,, G, | C, G, G,, G, | F, C C, C | G, z G,, G, | E, G, G,, G, |
%=========================================================================================================
[V:1] d c G "D#" ^F | "Dm" F4-| "A7" F3 E | "Dm" F F F F | "A7" A A A A |
w:fair-y when she's old._ She may still have a ma-gic power, but
[V:2] [dGD] [cGC] [GC] [^FCA,] | F4-|F3 E | [FDA,] [FDA,] [FDA,] [FDA,] | [AG^CA,] [AGCA] [AGCA] [AGCA] |
[V:3] Z | z [DA,] z [DA,] | z [A,G,] z [^CA,G,] | Z2 |
[V:4] E, G, E, ^D, | D,2 A,,2 | ^C,2 A,,2 | D, z A,, z | E, z A,, z |
%=========================================================================================================
[V:1] "Dm" F F F F | "A7" A3 G | "D7" ^F ^E F G | A ^G A c | "G" B B "F#" A A |
w:that is not e-nough, They like their bit of ma-gic from a young-er bit of
[V:2] [FDA,] [FDA,] [FDA,] [FDA,] | A3 G | [^FC] [^EC] [FC] [GC] | [A^FC] [^GFC] [AFC] [cFC] | [BGD] [BGD] [A_EC] [AEC] |
[V:3] Z | z [^CA] [CA] z | Z3 |
[V:4] D, z A,, z | E, G, G, z | A,, D, D,, D, | A,, D, D,, D, | G,2 ^F,2 |
%=========================================================================================================
[V:1] "G7" G3 E | "C" G E "G7" F D | "C" E G A c | "Fm6" d2 d2-| "G7" d2 d e |
w:stuff, When once your sil-ver star has lost its glit-ter._ And your
[V:2] G3 E | [GE] [EC] [FB,] [DB,] | [EC] [GEC] [AEC] [cEC] | d2 d2-|d2 [dBF] [eBG] |
[V:3] [DB,]3 z | Z2 | z [_AFD] z [_AFD] | z [BF] z2 |
[V:4] F, D, G,, z | C, G, G,, G, | C, G, G,, G, | F, C C, C | G, z G,, G, |
%=========================================================================================================
[V:1] "C" d c B c | "C7" d c G "C7+" ^G | "F" A4-"A7"| "Dm" A3 e | d c "Dm7" A F |
w:tin-sel looks like rust in-stead of gold._ Your fair-y days are
[V:2] [dGE] [cGE] [BGE] [cGE] | d c G ^G | A4-|A3 [ecAF] | d c A F |
[V:3] Z | [GE]2 [EC]2 | z [FC] z [GC] | z [FD] z [FD] | [AF]2 D2 |
[V:4] C, G, G,, G, | [_B,C,]2 [B,C,]2 | [F,F,,]2 [E,E,,]2 | [D,D,,] A,, D,, z | D,, z [CA,D,]2 |
%=========================================================================================================
[V:1] "G7" E D E F | "C" G G "D#" ^F G | "Ab7" _B _A2 z | "D7" A A ^G A |
w:end-ing when your wand has start-ed bend-ing. No-one loves a
[V:2] E D E F | [GC] [GC] [^FC] [GC] | [_B_AC] [_AGC]2 z | [A^FC] [AFC] [^GFC] [AFC] |
[V:3] B,2 B,2 | Z3 |
[V:4] G, F, G, F, | E, E, ^D, E, | [_A,_E,] [A,E,]2 z | [D,D,,] z [D,D,,] z |
%=========================================================================================================
[V:1] "G7" e d G d |[1 "C" c4-|c z z E :|[2 [L:1/16] "C" c16-|[L:1/4]c2-c z |]
w:fair-y when she's old._ No-
[V:2] [eBF] [dBF] [GF] [dGF] |[1 [cGE] {^f}g {^d}e {b}c | {^F}G z z E :|[2 [L:1/16] c16-|[L:1/4]c2 [c'gec] z |]
[V:3] Z3 :|[2 [L:1/16] [GE]4 [GE]3c [^F^D]3c [=F=D]3c |[L:1/4] [EC]2 z2 |]
[V:4] G,, z G,, z |[1 [C,C,,] z3 | z G,, G,2 :|[2 [L:1/16] C,16-|[L:1/4] [G,C,] [G,G,,] [C,C,,] !D.C.!z |]
%=========================================================================================================
W:Nobody loves a fairy when she's forty,
W:Nobody loves a fairy when she's old,
W:The face of this immortal one to many has appealed,
W:But gone is the illusion once you've had it soled and heeled¹.
W:When you have lost your little fairy dimples,
W:And the moth-holes in your dress let in the cold,
W:The goblins and the pixies turn their backs and say "Hi Nixey,"
W:No-one loves a fairy when she's old.
W:
W:Nobody loves a fairy when she's forty,
W:Nobody loves a fairy when she's old.
W:As far as I can see they try to push you off the map,
W:When once your wand has withered and your wings refuse to flap.
W:When you can't cast a spell without it spilling,
W:And a fairy tale for years you haven't told,
W:You stand there shouting "What-ho!" but they all pass by your grotto.
W:No-one loves a fairy when she's old.
W:
W:Nobody loves a fairy when she's forty,
W:Nobody loves a fairy when she's old.
W:They don't give you an earthly chance to make a livelihood,
W:They're building council houses² now in my enchanted wood.
W:When you are past the age for television,
W:And the air you use is government controlled,
W:It seems that they would sooner listen to a blinkin' crooner!³
W:No-one loves a fairy when she's old.

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].



1."soled and heeled"; earlier generations could not afford to replace footwear for anything less than catastrophic damage, so would take shoes to a cobbler to have the sole and/or heel replaced.
2."council houses"; after World War II, with the institution of the Welfare State in Great Britain, local councils were ordered to build housing to be made available at a fair rent to people unable to afford the expense of a mortgage.
3."Crooning"; a style of singing rooted in the bel canto tradition of Italian opera.

Oh Tannenbaum

Even though no snow has fallen yet, it's a chilly December morning in 1849 and a couple of Bank of England wagons are preparing to depart from Garrard's of London, the Crown Jewellers by appointment to Her Majesty, Queen Victoria. It wasn't too difficult to reproduce some convincing credentials that will identify us as more-or-less legitimate officials of the Bank of England sent to accompany the Garrard's officers who will deliver the silverware, crystal and porcelain for a series of Royal Family Christmas banquets. We also have the requisite forms to account for each item unpacked.
The first stage of our journey from Garrards to Paddington Station is quite chilly, even with the warm mittens and a fur muff, and all the layers of my dress (one of the few visits when I don't have to do drag, and I end up wearing a corset and these frightful button-up boots!). At least by the time the train has reached Windsor station we have had a chance to warm up a little. It's worth noting that the Queen herself first travelled by rail in 1842 and has instituted a number of measures aimed at ensuring the welfare of the railway workers. The station we are going to was only opened last year, after the reservations of the teachers of Eton College were overcome. Apparently, they felt that the proximity of the school to the station would offer opportunities that might encourage the boys to explore undesirable possibilities, whatever that meant!
From Paddington we go by the London and Southwestern Railway to the Windsor and Eton station which will later be known as Royal Windsor, and thankfully it's not a long journey from there to Windsor Castle which has been modernised several times and is now a shining example of nineteenth century technology with "silent valveless toilets" (indeed, under the direction of the Prince Consort, the plumbing throughout the Royal apartments has been thoroughly modernised) and speaking tubes in some of the rooms, rather than bell pulls to summon the servants.
You can see that the Union flag is flying as we approach; indicating that Her Majesty is in residence.
The carters unload the crated porcelain while we, under the eagle eye of Mr.Ironmonger (yes! that really is his name) carefully unpack each crate and place each piece as directed by the senior kitchenmaid. When we get to the last two crates Mr.Ironmonger halts us; we are to convey the small table service to the great dining room to be laid out in preparation for the banquet tonight.
With the plates, dishes and silverware loaded onto serving trolleys and still in their innermost wrappings we are hustled through the castle to the great dining room where Mr.Bulstrode, the butler supervises the laying of the table, occasionally straightening a knife, or rubbing an invisibly tiny speck of grime with his white gloves. We, too, are required to wear gloves in order to handle the service.

X:66 % number
T:O Tannenbaum % title
C:Traditional % composer
O:Stefan Karpiniec (this arrangement) % origin.
S:http://home.iprimus.com.au/karpiniec
M:3/4 % meter
L:1/8 % length of shortest note
Q:120 % tempo
K:F % key
V:1 name="Soprano" sname="S." clef=treble % voice 1
V:2 name="Alto" sname="A." clef=treble
V:3 name="Tenor" sname="T." clef=treble
V:4 name="Bass" sname="B." clef=bass
%===================================
%=============2===============3=============4===============5=============6
[V:1] z z C2 | F>F F2 G2 | A>A A3 A | G A B2 E2 | G2 F2 C2 |
w:O Tan-nen-baum, O Tan-nen-baum, Wie treu sind dei-ne Blät-ter, Oh
w:O Tan-nen-baum, O Tan-nen-baum, Du kannst mir sehr ge-fal-len. Oh
w:O Tan-nen-baum, O Tan-nen-baum, Dein Kleid-will mich was leh-ren, Oh
[V:2] z z C2 | C>C C2 E2 | F>F F3 F | D F G2 C2 | C2 C2 C2 |
[V:3] z z c2 | A>A A2 c2 | c>c c3 c | B d c2 B2 | B2 A2 B2 |
[V:4] z z C,2 | F,>F, F,2 C,2 | F,>F F,3 D, | G, F, E,2 C,2 | E,2 F,2 C,2 |
%--------------------------------------------------------------------------
%==================7==============8===============9============10
[V:1] F>F F2 G2 | A>A A3 A | G A B2 E2 | G2 F2 z c |
w:O Tan-nen-baum, O Tan-nen-baum, Wie treu sind dei-ne Blät-ter. Du
w:O Tan-nen-baum, O Tan-nen-baum, Du kannst mir sehr ge-fal-len. Wie
w:O Tan-nen-baum, O Tan-nen-baum, Dein Kleid will mich was leh-ren. Die
[V:2] C>C C2 E2 | F>F F3 F | D F G2 C2 | C2 C2 z F |
[V:3] A>A A2 c2 | c>c c3 c | B d c2 B2 | B2 A2 z F |
[V:4] F,>F, F2 C,2 | F,>F, F,3 D, | G, F, E,2 C,2 | E,2 F,2 z F |
%--
%=================11============12==============13===============14
[V:1] c A d3 c | c>B B3 B | B G c3 B | B>A A2 C2 |
w:grünst nicht nur zur Som-mer-zeit, Nein auch im Win-ter, wenn es schneit. Oh
w:oft hat nicht zur Weih-nachts-zeit Ein Baum von dir mich hoch er-freut! Oh
w:Die Hoff-nung und Be-ständig-keit Gibt Trost und Kraft zu je-der Zeit. Oh
[V:2] A F B3 A | F>^F G3 G | G E A3 G | E>E F2 C2 |
[V:3] F F F2 F2 | D>D D3 D | CC C2 C2 | G>G F2 C2 |
[V:4] F, F, B,, F, | D,>D, G,3 G, | G, G, C,2 E,2 | C,>^C, D,2 C2 |
%--
%=============15============16============17============18
[V:1] F>F F3 G | A>A A3 A | GA B2 E2 | G2 F2 z2 |]
w:Tan-nen-baum, Oh Tan-nen-baum, wie treu sind dei-ne Blät-ter.
[V:2] F>F F3 E | F>F F3 F | D^F G2 C2 | E2 F2 z2 |]
[V:3] C>C C3 C | C>C C3 C | DD D2 C2 | B,2 A,2 z2 |]
[V:4] A>A A3 G | F,>F, F,3 F | B,A, G,2 C2 | C,2 F,2 z2 |]

O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter! Du grünst nicht nur zur Sommerzeit, Nein auch im Winter, wenn es schneit. O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter! O Tannenbaum, o Tannenbaum! Du kannst mir sehr gefallen! Wie oft hat nicht zur Weihnachtszeit Ein Baum von dir mich hoch erfreut! O Tannenbaum, o Tannenbaum! Du kannst mir sehr gefallen! O Tannenbaum, o Tannenbaum! Dein Kleid will mich was lehren: Die Hoffnung und Beständigkeit Gibt Trost und Kraft zu jeder Zeit. O Tannenbaum, o Tannenbaum! Das soll dein Kleid mich lehren. Lyrics: Ernst Anschütz, 1824

O Christmas tree, o Christmas tree How loyal are your leaves/needles! You're green not only in the summertime, No, also in winter when it snows. O Christmas tree, o Christmas tree How loyal are your leaves/needles! O Christmas tree, o Christmas tree You can please me very much! How often has not at Christmastime A tree like you given me such joy! O Christmas tree, o Christmas tree, You can please me very much! O Christmas tree, o Christmas tree Your dress wants to teach me something: Your hope and durability Provide comfort and strength at any time. O Christmas tree, o Christmas tree, That's what your dress should teach me.

Ever since Her Majesty married the Prince Consort nine years ago, in 1840, England has embraced more and more Germanic traditions and characteristics, and here in the great dining room, the centerpiece of the table, which, in earlier years might have been one of the splendid silver sculptures that Garrard's excel in, is a small fir tree!
As soon as we have finished laying out the table, Mr.Ironmonger retrieves a small strongbox from one of the trollies, from which he proceeds to take and unwrap a number of small, brilliantly enamelled silver figurines, jewelled stars and miniature paintings. Still under his watchful eye we are encouraged to deck the boughs of the fir tree with these delightful ornaments, and Mr.Ironmonger steadies a library chair, evidently brought for the purpose, for Mr.Bulstrode to place the last decorations on the highest boughs. Although he doesn't say anything, I get a faint impression that Mr.Bulstrode regards the tree as quite out of place in a royal dining room.

Before Mr.Bulstrode can even dismount the chair, the Prince Consort himself enters the room, and everybody bows, or curtsies to his royal highness who surveys the table, and the arboreal centerpiece with a critical eye, a smile finally lighting his features.
When he speaks, it is with a slight German accent which seems to emphasise his straight aristocratic bearing.
"Excellent! Most delightful! I congratulate you, Mr.Ironmonger, I am sure our guests tonight will be most pleased." And with those encouraging words, he leaves the room once more.
Had we only been able to visit a couple of years earlier, we might have had an opportunity to meet Felix Mendelssohn, another of Queen Victoria's German friends, with whom she studied piano. But I notice, as we return to the servant's stairway, a portrait of the late Felix draped with black chiffon. Clearly, the people whom her majesty befriends, are counted as very dear to her.

X:23
T:Silent Night
C:Franz Gruber
M:6/8
L:1/8
R:carol
Q:60
K:Bb
"Bb"F>G F D3|F>G F D3|"F"c2 c A3|"Bb"B2 B F3|
w:Stil-l-e Nacht! Hei-li-ge Nacht! Al-les schläft; ein-sam wacht
"Eb"G2 G B>A G|"Bb"F>G F D3|"Eb"G2 G B>A G|"Bb"F>G F D3|
w:Nur das trau--te hei-li-ge Paar. Hol-der Knab_ im lock-ig-ten Haar,
"F7"c2 c e>c A|"Bb"B3 d3|BFD "F7"F>E C|"Bb"B,3 z3||
w:Schlafe in himm-lisch-er Ruh!_ Schl-afe in himm-li-scher Ruh!

Stille Nacht! Heilige Nacht! Alles schläft; einsam wacht Nur das traute heilige Paar. Holder Knab im lockigten Haar, Schlafe in himmlischer Ruh! Schlafe in himmlischer Ruh! Stille Nacht! Heilige Nacht! Gottes Sohn! O wie lacht Lieb´ aus deinem göttlichen Mund, Da schlägt uns die rettende Stund´. Jesus in deiner Geburt! Jesus in deiner Geburt! Stille Nacht! Heilige Nacht! Die der Welt Heil gebracht, Aus des Himmels goldenen Höhn Uns der Gnaden Fülle läßt seh´n Jesum in Menschengestalt, Jesum in Menschengestalt. Stille Nacht! Heilige Nacht! Wo sich heut alle Macht Väterlicher Liebe ergoß Und als Bruder huldvoll umschloß Jesus die Völker der Welt, Jesus die Völker der Welt. Stille Nacht! Heilige Nacht! Lange schon uns bedacht, Als der Herr vom Grimme befreit, In der Väter urgrauer Zeit Aller Welt Schonung verhieß, Aller Welt Schonung verhieß. Stille Nacht! Heilige Nacht! Hirten erst kundgemacht Durch der Engel Alleluja, Tönt es laut bei Ferne und Nah: Jesus der Retter ist da! Jesus der Retter ist da! Josef Mohr, cir­ca 1816-1818

Silent night, holy night, All is calm, all is bright Round yon virgin mother and Child. Holy Infant, so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace. Silent night, holy night, Shepherds quake at the sight; Glories stream from heaven afar, Heavenly hosts sing Alleluia! Christ the Savior is born, Christ the Savior is born! Silent night, holy night, Son of God, love’s pure light; Radiant beams from Thy holy face With the dawn of redeeming grace, Jesus, Lord, at Thy birth, Jesus, Lord, at Thy birth. Silent night, holy night Wondrous star, lend thy light; With the angels let us sing, Alleluia to our King; Christ the Savior is born, Christ the Savior is born!

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Ode by a Christmas Pudding at Sea

Sometimes, words are superfluous (except for the lyrics of course).

X:62 % number
T:Ode by a Christmas Pudding at Sea % title
C:Myscha Aiken % composer
O:Lyric by Arthur Lockyer % origin.
M:C % meter
L:1/4 % length of shortest note
Q: % tempo
K:G % key
V:1 % voice 1
"D7"z3 D | "G"G G "D7"F A | "G"G G "D7"D D | "G"G G "D7"F A | "G"G2 G D |
w:To all you pud-dings now on shore I write to give a no-tion of
"G"G G "D7"F A | "G"G G "D7"D D | "G"G G "D7"F A | "G"G2 G B/B/ |
w:what mis-haps there are in store for pud-dings born on O-cean; it_
"C"c c e c | "G"B B d B/B/ | "D7"A G F E | "D7"F E D D/D/ |
w:blew a gale from sou-sou-west but the skip-per's wife she did her best as she
"C"E E/E/ "D7"F F/F/ | "G"G G "C"c c/c/ | "G"B G "D7"A F | "G"G3 z |]
w:knea-ded the dough on her own sea-chest with a fal-lal-lal-lal-la!
W:
W:The vessel gave a lurch, a wave
W:right down the hatchway came;
W:the skipper's wife stood stout and brave,
W:I wish I'd done the same;
W:for I roll'd in a fright along the floor,
W:and the skipper coming in at the door
W:gave me a kick, which my jacket tore, with a fal-lal lal-lal la
W:
W:His good wife gathered up the bits
W:and put my limbs together;
W:says she "I must have lost my wits
W:to cook in such foul weather;
W:but sailor boys they love good cheer
W:and Christmas comes but once a year,
W:so I won't be beat, I'll persevere", with a fal-lal lal-lal la
W:
W:The galley fire burnt bright and clear
W:as she put me in the pot;
W:Thinks I "it suits me being here
W:I feel so jolly hot".
W:But a great green sea burst over the deck,
W:and I fancied myself a perfect wreck,
W:in cold salt water up to my neck! with a fal-lal lal-lal la
W:
W:Cries cook "The pudding's surely spoiled!"
W:"No! No!" says the skipper's wife,
W:"That Christmas pudding shall be boiled
W:if I sacrifice my life!"
W:With her own fair hands she lit the fire
W:and though the waes rose higher and higher
W:at last she accomplished her desire, with a fal-lal lal-lal la
W:
W:And here they are, these sailor boys,
W:all full of mirth and glee;
W:They sit in a ring with lots of noise
W:and they're going to eat poor Me!
W:When smash! there comes a roaring squall,
W:a lurch, and into the scuppers fall
W:sailor boys, Christmas pudding and all, with a fal-lal lal-lal la-

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Music in the Starlight

Coming as we did, from an age of flashlights and central heating, I had serious doubts about being able to see properly with a candle-lantern but now that my eyes have adapted it's quite surprising how much light it provides. My fingers are still a little sore from touching the hot lid, that's one mistake I won't make again.
I would have preferred to visit the city of Strasbourg in daylight, we might have been able to visit the unfinished cathedral although Erwin von Steinbach, the architect, stonemason and engineer whose name has been credited with much of the work of building the cathedral died more than 90 years ago.
While we make our way through these narrow, dark (and sometimes astonishingly stinky) streets, stay alert for the possibility of footpads. In a later age they would be known as muggers, but their methods and motives are no different. The night is their turf and the city watchmen never seem to be around when the footpads strike. Our destination is the house of Doctor de Raeve, a flemish physician who rents rooms to students at the University of Strasbourg.
The door is opened to us by the doctor's manservant, a portly fellow with a ruddy complexion. Having explained to him that we come in search of the English student, Master Dunstaple, the servant leads us up the steep stairs through the doctor's house while explaining that Master Dunstaple is not like the typical students; when most young men spend their evenings carousing in the taverns or gambling away their inheritances, Master Dunstaple prefers the company of his books and instruments.
"At least", he says "he isn't the one that wakes up chilled to the bone on the front steps, demanding that the door be unlocked to him an hour before the sunrise".
At the top of the house, in an attic apartment, Master Dunstaple receives us with a slightly bewildered look. I explain that we are fellow students who have come to request some help with a latin translation that is proving particularly difficult. (I have a roll of parchment with an inscription partially translated, but the original text has been deliberately miscopied). Once inside Master Dunstaple's apartment it isn't hard to engage his enthusiasm by asking about the armillary sphere standing next to the desk. In an open chest there are rolls of parchment and two books, one leather-bound, the other held between stout wooden covers. On the shelves against the wall beside jars whose labels indicate that they contain various medicinal herbs and minerals are an astrolabe and an alidade, and on the desk is an ephemeris table, something that must have taken hours to copy out on parchment by hand. Clearly, John Dunstaple is a serious student of astronomy.
By this time Master Dunstaple has identified the transcription error, for which I thank him. Watching his face carefully I tell him that I requested the transcription from a fellow-student, Johann Gutenberg, to provide me with more practice in translation.
The same bewildered expression that we saw before clouds his face for a moment, then "Ah! Yes, Johann Gutenberg. The University would probably expel him if they knew that he is a skilled engraver, as well as a student of the Quadrivium!". Taking the alidade from the shelf, "He engraved the scale on this for me as a personal favour. Of all my fellow students, perhaps he is the one who best understands my fascination with the music of the heavens. The Greek Pythagorus wrote that 'There is geometry in the humming of the strings... there is music in the spacing of the spheres.' and though some might call it a heresy, I can imagine no greater beauty than that pure music ordained by God himself."
This seems like a good moment to ask him about the beautiful portative organ which stands on one of the shelves in an open leather case. The portative organ is not the instrument of a casual musician. Most students of the time might strum a gittern, or at least play the rebec or lute. The portative organ suggests to me a thoughtful solitary musician.
X:16                         % number
T:Descendi in ortum meum     % title
C:John Dunstaple             % composer
O:http://www.upv.es/coro/victoria/varios.html % origin.
M:3/2                        % meter
L:1/4                        % length of shortest note
Q:                           % tempO
K:C                          % key
V:De name="Descant" sname="D." % voice 1
V:Al name="Altus" sname="A."
V:Te name="Tenorius" sname="T."
V:Ba name="Bassus" sname="B." clef=bass
%=========2===========3============4============5=========6=============
[V:De] G6 | B3 c d2 | d e2 d B2 | A2 B d c e-|e d c>A c B | A G2 c>B c |
w:De-
[V:Al] G6 | G4 F2   | G6        | A2 G F E2  | G2 A A2 G  | F E C2 E2  |
w:De-
[V:Te] z6 | z6      | z6        | z6         | z6         | z6         |
w:
[V:Ba] z6 | z6      | z6        | z6         | z6         | z6         |
%-
%==============================8===============================9=========10==========11============12============
[V:De] [L:1/8] d2 e2 de f3 edc | [L:1/4] B c/e/ d/c/ c c/ B A/ | c6       | z6        | z6          | z6        |
w:-scen-
[V:Al]         F G2 F G2       |         G c2 E D2             | C2 z2 E2 | E2 F A2 A | G F A>G G E | D2 z2 E F |
w:--------scen-
[V:Te] z6                      | z4 z2                         | c6       | c2 d2 c A | _B2 A2 =B c | d2 B c2 A |
w:De-scen-
[V:Ba] z6                      | z6                            | z6       | z6        | z6          | z6        |
%-
%===============14========================15================16============17============18=============
[V:De] z6        | z6                      | z2 B2 B2        | c d2 c A2   | G c d e>d c | B G2 A B d-|
w:-
[V:Al] G2 F D2 F-| [L:1/8] FG A3 G G3 ^FFE | [L:1/4] G3 E2 D | F2 A2 F2    | E2 F G E2   | D6         |
w:-
[V:Te] G2 z2  d2-| d c2 B A2               | G6              | z6          | z6          | z6         |
w:-
[V:Ba] z6        | z6                      | z4 G,2          | F,6         | C,6         | G,3 F, G,2 |
w:De-scen-
%-
%===================20===============21==========22==========23======24==============
[V:De] -d A B G c>B  | G ^F/G/ A G2 F | G6        | z4 G2     | A4 B2 | c3 B/c/ A B |
w:------------di in or-
[V:Al] z6            | z6             | G4 G2     | G2 A G E2 | D6    | E4 E2       |
w:-di in or-----tum
[V:Te] z6            | z6             | z4 d2     | d3 B3     | A4 F2 | G2       c4-|
w:in or-
[V:Ba] D,2 G,2 F, G,-|G, B, C, G, A,2 |       G,6-| G,6       | D,6   | C,6         |
w:---------di_ in or-
%-
%===============26===========27====================28=========29============30==========
[V:De] G A2 G2 c | B c d2 B c-|c/B/A/G/ G E ^F E/F/ | G6       | z4 G2       | B2 c3 B |
w:tum___ me--------------um, ut vi-
[V:Al] E3 C E F  | D E D G2 A-| A F D E C2          | D2 z2 G2 | G3 F/G/ E D | D2 E4   |
w:me-------------um, ut vi-
[V:Te] c4 A2     | G2 z B2 A  | F2 G C c2           | B4 G2    | C6          | z6      |
w:--tum______ um,__
[V:Ba] C,6       | G,4 G, F,  | A,2 B, C A,2        |      G,6-| G,6         | z6      |
w:tum me-------um,_
%-
%==============32============33============34===========35===================36========
[V:De] d3 B c d-| d B d c A B-| B e2 e d c  | e2 c d c A-| A/G/ A _B F G F/G/ | A6    |
w:de----------------------------rem
[V:Al] D4 E F   | G2 F A2 G   | E2 G E F2   | E2 z4      | z6                 | z4 A2 |
w:de------------rem
[V:Te] z6       | z6          | z6          | e3 c A2    | c2 d2 _B2          | A6    |
w:vi---de---rem
[V:Ba] z6       | z6          | z6          | z6         | z6                 | z6    |
%-
%===============38===========39==========40==========41==========42===========================
[V:De] z6        | z6         | z6        | z6        | z6        | z6                       |
w:-
[V:Al] A3 G G F  | A2 G F D E-| E C2 D2 C | C2 D F2 E | F A2 G2 F | [L:1/8] E2 G2  FE E3 DDC |
w:po----ma con---val-
[V:Te] A2 d2 _B2 | A2 B d2 c  | A2 F4     | A4 B c    | d2 c B A2 | G E2 G F2                |
w:_ po--ma con---val-
[V:Ba] z6        | z6         | z6        | z6        | z6        | z6                       |
%-
%================44=========45=========46===========47===========48==================
[V:De] z6         | G3 A B2  | c3 B G A | G B c A2 c | B2 G B A c-| c/B/ G2 A F E   |
w:con-val-li
[V:Al] [L:1/4] E6-| E4 G2    | E6       | E4 E F     | G F E D2 C-| C/D/ E C A, B,2 |
w:li-
[V:Te] E2 z2 G A  | B3 c B G | A2 G2 c2 | c6         | d2 B G A2  | G2 z2 F2        |
w:li-
[V:Ba]        E,6-| E,6      |      C,6-| C,6        | G,4 F,2    | C,2 D,4         |
w:con----val-li-um,_
%-
%===============50======51========52========53============54=============
[V:De] G6        | z6    | G4 G2   | c3 c c2 | c2 B d>c B  | A A2 G G F |
w:um,  Et in-spi-ce-rem si___ ru-is-
[V:Al] C4 z2     | E4 E2 | E3 E E2 | A4 A2   | F>E G F E D | D3 D B, A, |
w:um, Et in-spi-ce-rem si____ flo--ru-is-
[V:Te] E G2 A G2 |    C6-| C6      | z4 c2   | c2 d2 B G   | A d z2 G2  |
w:um,___ Et_ in-spi--ce--rem_ si
[V:Ba] C,6       |    C6-| C6      | F,6     | A,2 G,2 E,2 | F,2 E,4    |
w:_ Et__ in---spi-
%-
%================56===========57============58===========59=========60========
[V:De] A2 d3 c    | c2 B d2 c  | A3 G/A/ G F | F2 E E F D | F2 z2 c2 | c4 A2 |
w:sent___ vi--------ne-----e et ger-mi-
[V:Al] D2 F G  A2-| A F2 G E D | F4 z2       | z6         | z2 A3 G  | G2 E4-|
w:---------sent et_ ger-
[V:Te] F A2 _B A2 | c2 d2 B2   | c2 d2 e c   | c3 B B A   |       c6-| c6    |
w:flo---ru-is---sent_______ et_
[V:Ba] D,4 F,2    | A,2 G,4    | F,4 E,2     | F,2 G,4    | F,6      | C,6   |
w:_ ce-rem_ si flo-ru-
%-
%===============62===========63==============64=========65==========66==========67================
[V:De] G2 A c2 A | B c d2 B d | c A2 G G F/G/ | A2 z2 c2 | d f2 e d2 | c A2 G2 c-| c/B/ c d2 B A |
w:nas---------------sent ma-la___ pu---ni-
[V:Al] E2 F2 F E | G2 D E2 D  | F E E D2 C    | E4 z2    | A6        | E6        | D4 D2         |
w:__mi--nas---------sent ma-la pu-ni-
[V:Te] C2 F3 c   | d3 B2 G    | c2 G2 z2      | c4    A2-| A2 F4     | C6        | G6            |
w:ger-mi--nas__ ma--la___ pu-ni-
[V:Ba] C6        | G,6        | A,2 _B,4      | A,6      | F,4 F,2   | C6        | D6            |
w:is--sent_ et ger-mi-nas-
%-
%========68======69==========70===========71=========72==========73================
[V:De] c6 | z4 c2 | c2 c2 c2  | A6         | G4 G2    | A4 A2     | c2 d c B c/B/ |
w:ca; re-ver-te-re,_ su-na-mi-
[V:Al] E6 | G4 z2 | A2 A A A2 | E2 E3 E    | E2 E2 E2 | F3 E   C2-| C F2 D F G    |
w:ca_ re-ver-te-re, re-ver-te-re, su-na-mi-
[V:Te] C6-| C6    | z4 A2     | c3 c c2    | c4 c2    | c2 d c2 A | A2 F2 A B     |
w:ca;_ re-ver-te-re su-na-mi-
[V:Ba] C6-| C6    | z6        | z6         | z6       | F,4 F,2   | F,4 F,2       |
w:sent_ su-na-mi-
%-
%===========75======76=========77======78=========79======80============
[V:De] G2 G4 | A4 c2 | c2 B4    | A6    | z6       | z4 d2 | d3 ^c c B |
w:tis; re-ver-te---re, ut in-
[V:Al] E2 E4 | F6    | A3 A ^G2 | A6    | F2 E4    | D6    | z6        |
w:-tis; re-ver-te-re, re-ver-te-re,
[V:Te] c6    | z6    | z6       | z4 d2 | d2 ^c3 B | d4 d2 | d2 e4     |
w:tis; re-ver-te--re, ut in-
[V:Ba] C,6   | z6    | z6       | z6    | z6       | z6    | z6        |
w:
%-
%===============82===========83============84============85=======86==========87==============
[V:De] d3 c _B A | A2 G E F G | B c>B A>F E | F G>F F2 E  | F6     | z6        | z6          |
w:tu---------e-----------a-
[V:Al] z6        | z6         | z6          | z6          | z4 F2  | G2 E A2 G-| G F E C D E-|
w:ut in---tu-
[V:Te] d6        | c4 A B     | G>F G A2 G  | A _B c A G2 | F6     | z6        | z6          |
w:tu----e----------a-
[V:Ba] z6        | z6         | z6          | z6          | z4 F,2 |       C,6-| C,4 F, G,   |
w:ut in--tu-
%-
%===================90===============91==============92=========93==============94=========95==============
[V:De] z6            | z6             | z6            | z4 A2    | A3 B c2       | d3 c A B | A d2 ^c c B |
w:mur-
[V:Al]EF G2 F      G-| G/F/E/D/ C2 D2 | E F2 D2 ^C    | D6       | z6            | z6       | z6          |
w:------------a---mur-
[V:Te] z6            | z6             | z6            | z2 A2 A2-| A F2 G G F    | A4 A G   | A2 F2 E2    |
w:mur-
[V:Ba] A,2 B, G, A,2 | G, C,2 E, F,2  | G, D, F,2 E,2 | D,6      | F,2 A, G, E,2 | D,2 z4   | z6          |
w:----------a--mur-
%-
%==
[V:De] d4-d B | A A2 c d2 | e3 c d c | A G B c d2 |c A2 B   c2-|c B G G2 ^F     | G6  |]
w:-------------------------te.
[V:Al] z4 D2  | D3 E F2   | G2 A3 F  | F2 E3 D    | F3 E C D   | E3 C B, A,/B,/ | C6  |]
w:-------------------te.
[V:Te]     D6-| D2 A2 B2  | c4 A2    | c2 B3 G    | A B c2 A F | A G2 E F D     | G6  |]
w:-------------------te.
[V:Ba] z4 D,2 | D,6       | C,4  F,2-| F,2 G,4    | F,6        | C,2 E,2 D,2    | C,6 |]
w:----------te.To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].


The song reproduced above, is Dunstaple's Descendi in Ortum Meum. I have an odd feeling that we will be meeting Master Dunstaple again.

Getting the word out

After seeing the psalter that Bridget Robinson treasured so, and took with her to the New World, I would like to learn more about the work and invention of Johann Gutenberg; the man credited with the invention of moveable type for printing. Before his invention, most books were either copied by hand, by scribes in monasteries or running their own scriptoria. Or they were printed from woodblocks, very simple volumes containing mostly pictures pointing out a moral truth accompanied by a few sentences that the average person might be able to read.

With the development of moveable type which could be reused to make page after page of text, not only were books more readily available, but also news-sheets, advertising posters and even songsheets. What we are looking for here, is the first information revolution.

In considering how best to approach this visit, there are a couple of likely options:

1. Turn up at Meister Fust's workshop as a hopeful journeyman printer looking for possible employment.

2. Visit the workshop as a minor representative of the archbishop's diocese to enquire about progress with the latest order for 500 indulgences.

Of the two, I favour the second. Among other things, at least I will have the opportunity to avoid tonsuring this time. And minor clerics have a slightly irritating habit of appearing all over the city for the most trivial excuses.

It has taken several visits to Mainz and Strasbourg to ferret out the information trail that led us to 1454.

While we make our way to the printing workshop, I should explain about Meister Fust's involvement in the business: Meister Gutenberg's father was a cloth dealer with connections in the goldsmithing trade and it seems that Johann chose to learn the craft of goldsmithing after completing his education in Strasbourg. My own guess is that he saw the goldsmith's trade stock as a safer long-term investment than the fine fabrics his father dealt in.

A few years ago, the city of Strasbourg had planned an exhibition of holy relics of the Emperor Charlemagne for 1439, but complications arose (some things never change) and the exhibition was delayed by twelve months. Unfortunately, Johann had planned to cash in on the religious pilgrim trade by making a range of metal mirrors imbued (supposedly) with the ability to capture "holy light", yes, I know, this is almost as superstitious an age as it is religious!

Anyway, in order to buy the metal stock needed for the mirrors, Johann had taken some fairly substantial loans but the delay of the exhibition left him high and dry when his repayment was due early in 1440. In a desperate effort to avoid legal entanglements he suggested to one of his creditors that he had been working on a new method of crafting books, for which he had great hopes. Describing his method as "Kunst und Aventur", literally a marriage of art and technology, he was cautious about describing the technique in detail "for fear that his method might be stolen by avaricious men" as he put it. Of course, for a long time it was customary for patent applications to be worded carefully for the same reason.

At the time when he made his suggestion, a book of hours, one of the most commonly owned books, took months to copy and cost the equivalent of several months income for a moderately wealthy man. For the common people, owning a book of any kind was out of the question. And for most, pointless. But the increase in the number of copying scribes over time indicated that there was a viable potential market if more books could be produced more quickly.

It was eight years before we were able to track him down again, and by then he had moved from Strasbourg to Mainz. I'm not sure what he was doing during that time, but two things seem very clear: he wasn't idle, and he had managed to shake off his debtors. The main reason we were able to track him down was because he was looking for funding, yet again. This time from his brother-in-law, Herr Arnold Gelthus. Presumably, his experiments have been at least partially successful, as by 1550 he will have overseen the printing of a poem in German.

With the tangible evidence of a printed sheet, he managed to snag the interest of Meister Johann Fust, a wealthy merchant and banker with ample funds to invest. In total, Meister Fust would lend Gutenberg 1600 guilders, a small fortune, and perhaps Gutenberg was unrealistic in hoping to recoup his expenses.

Our first stop, to get directions, is Mainz cathedral, where businessmen often meet to finalize the details of contracts. Some of the traders operate from small stalls - a desk and a placard announcing the nature of their business, and a trusted member of staff to negotiate details of contract and payment. It's a good place to get directions to the Fust/Gutenberg workshop.

This isn't the sign that Gutenberg hung outside his printing workshop, but it is similar enough to give some idea. In fact, as soon as we step through the door, the atmosphere literally changes. Instead of the rich mixture of cooking, rotting vegetables and unwashed body smells of the street the air smells of ink and paper and in the back part of the workshop a team of printers are busy at work inking formes and feeding paper into a pair of presses. Nearer the front of the shop, making use of the daylight, two printers are picking types from shallow trays and assembling them in tools that will one day become composing sticks.

I'm a little surprised that a youngish man with close-cropped hair and very pink ears steps forward to welcome us, wiping inky hands on his apron.

I ask to speak to Master Gutenberg; "Meister Gutenberg bitte?"

One of the printers, an older man in his late forties, or early fifties with a slight beer-belly, comes forward from the back of the shop, giving instructions to the short-haired young man to take his place as he does so.
"Väter, wie kann ich Ihnen helfen?"
I explain that we have been sent to determine when the next printing of indulgences will be ready for collection and after advising us that they should be delivered before the end of the week, Herr Gutenberg's face takes on a new animation. It seems that there is something he would particularly like us to see, and he leads us upstairs to a small room where two more printers are seated at desks, comparing pages. Both men wear glasses, and one of them is silently mouthing words as he works.
"Väter, bilden wir eine heilige Bibel durch den Druck"
This is better than I had dared to hope during this trip! We are seeing the printing of Gutenberg's Bible, the first Bible to be printed using movable type. Seeing the obvious delight on my face, Johann proceeds to show us various aspects of the process which, he tells us, he developed himself and wishes to use only for the greater glory of God.
While it seems a little uncharitable on my part, I cannot help but suspect on the basis of what I have learned so far, that while he is sincere in his devotion, he would be equally content to receive financial recompense for his efforts. As much as I would like to see more, and even say as much, Johann declines to show us his method for casting individual types, but I do manage to catch a brief glimpse of his casting room in passing. All I can be sure of is that there are small lengths of metal rod waiting in buckets, a crucible, hearth, and littered ceramic fragments all over the floor.
We should Thank Meister Gutenberg for the tour and confirm that the forms will be delivered within a few days, and then we must leave for our own time.
Now that we have left the workshop, and before we return, did you notice, on the unoccupied desk where the proofreaders were working, some sheets of music in manuscript? I didn't manage to get much of a look, but I did manage to find the first page, with a title: Quam Pulchra es, fecit par Ioannes Dunstapulum.
John Dunstaple is an educated English gentleman who writes music in the new polyphonic style. I can only assume that he may have met Gutenberg as a fellow student at Strasbourg University. Both men are more or less contemporaries and perhaps we should consider visiting Master Dunstaple to see whether we can confirm my guess.
Here, then, in abc notation, is John Dunstable's Quam Pulchra es, a setting of words from Solomon's Song of Songs.
X:15 % number
T:Quam Pulchra Es % title
C:John Dunstable % composer
O:http://www.upv.es/coro/victoria/varios.html % origin.
M:3/4 % meter
L:1/4 % length of shortest note
Q: % tempo
K:C % key
V:1 name="Altus" sname="A." % voice 1
V:2 name="Tenor" sname="T."
V:3 name="Bassus" sname="B." clef=bass
%====1=======2======3=======4========5===============7=============8===================9
V:1
C2 E | D F>E | G2 G | A2 F | G G E | E/ E/ E D/C/ | F/E/ C d/F/-|F/E/ C B,/A,//B,// |
w:Quam_ pul-chra_ es et quam de-co-ra, ca-ris-si-ma in_ de--li------ci-
V:2
c3 | G D F | C2 c | d A B | c G C | C/ C/ C z/ A/ | B/ c A/ F | F/G/ E/C/ F |
w:Quam pul-chra_ es et quam_ de-co-ra, ca-ris-si-ma in de-li-------ci-
V:3
c'3 | b a2 | g2 e | d2 d | c c c' | c'/ c'/ g f | d/c/ f2 | d/c/ e d |
w:Quam pul-chra es et quam de-co-ra, ca-ris-si-ma in de--li----ci-
%====10======11======12==========13======14============15======16======17=========18========
V:1
C z E | E E z | F D z | F F/ F/ G | F G A-| A/F/ F/G/ E | F z D | E>E C | B, C B, | C2 z |
w:is. Sta-tu-ra tu-a as-si-mi-la-ta est pal------me, et u-be-ra tu-a bo-tris.
V:2
G z C | E G A-|A F D | F c/ c/ d | c d e-|e/c/ d B | c A B | c>c G | F G/E/ F | G C C |
w:is. Sta-tu-ra tu--a as--si-mi-la-ta est pal-----me,_ et u-be-ra tu-a_ bo-tris. Ca-put
V:3
c z g | g c f | d z f | a a/ a/ _b | a g c'-|c'/a/ _b g | f2 f | c>c e | d c d | c z g |
w:is. Sta-tu-ra tu-a as--si-mi-la-ta est pal-----me, et u-be-ra tu-a bo-tris. Ca-
%========19=========20===========21======22==========23======24===================25=========26============27
V:1
G C D | C z E/F/ | G/ A G ^F/ | G2 z | A A F/ F/ | G C z | E C/D/ B,/A,//B,// | C z E/F/ | G/A/ F G-|
w:Ca-put tu-um ut_ Car---me-lus, col-lum tu-um sic-ut tur------ris e----bur-
V:2
z G/A/ _B | G C2 | C2 c | d B c | c c B/ B/ | c G C | G C/D/ F | G C c/A/ | G/F/ D E/C/-|
w:tu---um ut Car-me-lus,__ col-lum tu-um sic--ut tur----ris_ e----bur---
V:3
c2 _B | c g g/a/ | g/ c' g/ a | g z c | f f d/ d/ | c2 g | c e/f/ d | c e c/d/ | e/d/ a g |
w:put tu-um ut Car-----me-lus, col--lum tu-um sic--ut tur---ris_ e----bur-
%===================28====29=======30===========31=======32===========33======34==========35===========36===============37
V:1
G/F/ E/D/ ^C/B,//C// | D3 | z3 | F3 | F2 A | G>F F/G/ | E F z | F F/ F/ F | G G F/D/ | F G/ A G/-|
w:----ne---a. Ve-ni, di-le----cte mi, e-gre-di-a-mur in__ a-
V:2
C/D/ G/F/ G | A3 | z3 | D3 | D2 F | G>A c/d/ | B c2 | d c/ c/ c | d z z | d/c/ B/ A d/ |
w:----ne-a Ve-ni, di-le----cte mi, e-gre-di-a-mur in__ a-
V:3
g c/d/ e | d3 | z3 | a3 | d'2 c' | _b> a a/b/ | g f2 | d a/ a/ a | g b/c'/ d' | _b/a/ g/ c' a/ |
w:---ne-a. Ve-ni, di-le----cte mi, e-gre-di-a-mur in__ a-----
%============38=======39==========40======41======42==========43======44===========45===========46======47
V:1
G//E//^F/ G z | A2 A | _B A G/F/ | F2 E | F z F | G/ G/ E C | E>D D | ^C/ C/ D z | C F/ F/ A-|A G>E |
w:---grum, et vi-de----a--mus si flo-res fruc-tus par--tu-ri-e-runt, si-flo-ru-e--runt_
V:2
c d B | A F2 | D A c | d B2 | c A A | c/ c/ G G | C2 D | G/ G/ A2 | c c/ c/ F | F z c |
w:-grum,_ et vi-de-a----mus_ si flo-res fruc-tus par-tu-ri-e-runt, si-flo-ru-e-runt ma-
V:3
a g z | c'2 c' | d' c' a | _b g2 | f2 f | c/ c/ c e | g>f f | e/ e/ d2 | a a/ a/ c'-|c' b z |
w:-grum, et vi-de-a----mus si flo-res fruc-tus par--tu-ri-e-runt, si-flo-ru-e--runt
%========48=======49================50=================51=============52=========53===============54================55==============56======
V:1
F C D/ D/ | C2 z | C/ C/ C/ A,/ B, |[M:3/2] C z F2 E2 |[M:3/4] D2 ^C | D z F/E/ | C/E/ F/ G E/ | C/D/ F E/D/-|D/C/ D/ B, A,/ | C3 |]
w:ma-la Pu-ni-ca. I-bi da-bo ti-bi u-be-ra me-a. Al--le-------------lu--ia.
V:2
F A G/ G/ | A E F | G/ G/ E/ E/ F |[M:3/2]G c A2 B2 |[M:3/4] A2 G | A2 z |[L:1/8] A3 B2 c |[L:1/4] A>B c/A/-|A/F/ G/A/ F | G3 |]
w:-la Pu-ni-ca.__ I-bi da-bo ti-bi_ u-be-ra me-a. Al-le----------lu-ia.
V:3
a a b/ b/ | c' z a | e/ e/ c/ c/ d |[M:3/2] c2 d2 g2 |[M:3/4] f e2 | d3 | a f/e/ g/a/-|a/ f d/ c/d/ | f e/f/ d | c3 |]
w:ma-la Pu-ni-ca. I--bi da-bo ti-bi u-be-ra me-a. Al-le------------lu-ia!
To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Getting the word out

After seeing the psalter that Bridget Robinson treasured so, and took with her to the New World, I would like to learn more about the work and invention of Johann Gutenberg; the man credited with the invention of moveable type for printing. Before his invention, most books were either copied by hand, by scribes in monasteries or running their own scriptoria. Or they were printed from woodblocks, very simple volumes containing mostly pictures pointing out a moral truth accompanied by a few sentences that the average person might be able to read.
With the development of moveable type which could be reused to make page after page of text, not only were books more readily available, but also news-sheets, advertising posters and even songsheets. What we are looking for here, is the first information revolution since the development of the written word.
In considering how best to approach this visit, there are a couple of likely options:

1. Turn up at Meister Fust's workshop as a hopeful journeyman printer looking for possible employment.
2. Visit the workshop as a minor representative of the archbishop's diocese to enquire about progress with the latest order for 500 indulgences.

Of the two, I favour the second. Among other things, at least I will have the opportunity to avoid tonsuring this time. And minor clerics have a slightly irritating habit of appearing all over the city for the most trivial excuses.
It has taken several visits to Mainz and Strasbourg to ferret out the information trail that led us to 1454.
While we make our way to the printing workshop, I should explain about Meister Fust's involvement in the business: Meister Gutenberg's father was a cloth dealer with connections in the goldsmithing trade and it seems that Johann chose to learn the craft of goldsmithing after completing his education in Strasbourg. My own guess is that he saw the goldsmith's trade stock as a safer long-term investment than the fine fabrics his father dealt in.
A few years ago, the city of Strasbourg had planned an exhibition of holy relics of the Emperor Charlemagne for 1439, but complications arose (some things never change) and the exhibition was delayed by twelve months. Unfortunately, Johann had planned to cash in on the religious pilgrim trade by making a range of metal mirrors imbued (supposedly) with the ability to capture "holy light", yes, I know, this is almost as superstitious an age as it is religious!
Anyway, in order to buy the metal stock needed for the mirrors, Johann had taken some fairly substantial loans but the delay of the exhibition left him high and dry when his repayment was due early in 1440. In a desperate effort to avoid legal entanglements he suggested to one of his creditors that he had been working on a new method of crafting books, for which he had great hopes. Describing his method as "Kunst und Aventur", literally a marriage of art and technology, he was cautious about describing the technique in detail "for fear that his method might be stolen by avaricious men" as he put it. Of course, for a long time it was customary for patent applications to be worded carefully for the same reason.
At the time when he made his suggestion, a book of hours, one of the most commonly owned books, took months to copy and cost the equivalent of several months income for a moderately wealthy man. For the common people, owning a book of any kind was out of the question. And for most, pointless. But the increase in the number of copying scribes over time indicated that there was a viable potential market if more books could be produced more quickly.
It was eight years before we were able to track him down again, and by then he had moved from Strasbourg to Mainz. I'm not sure what he was doing during that time, but two things seem very clear: he wasn't idle, and he had managed to shake off his debtors. The main reason we were able to track him down was because he was looking for funding, yet again. This time from his brother-in-law, Herr Arnold Gelthus. Presumably, his experiments have been at least partially successful, as by 1550 he will have overseen the printing of a poem in German.
With the tangible evidence of a printed sheet, he managed to snag the interest of Meister Johann Fust, a wealthy merchant and banker with ample funds to invest. In total, Meister Fust would lend Gutenberg 1600 guilders, a small fortune, and perhaps Gutenberg was unrealistic in hoping to recoup his expenses.
Our first stop, to get directions, is Mainz cathedral, where businessmen often meet to finalize the details of contracts. Some of the traders operate from small stalls - a desk and a placard announcing the nature of their business, and a trusted member of staff to negotiate details of contract and payment. It's a good place to get directions to the Fust/Gutenberg workshop.

This isn't the sign that Gutenberg hung outside his printing workshop, but it is similar enough to give some idea. In fact, as soon as we step through the door, the atmosphere literally changes. Instead of the rich mixture of cooking, rotting vegetables and unwashed body smells of the street the air smells of ink and paper and in the back part of the workshop a team of printers are busy at work inking formes and feeding paper into a pair of presses. Nearer the front of the shop, making use of the daylight, two printers are picking types from shallow trays and assembling them in tools that will one day become composing sticks.
I'm a little surprised that a youngish man with close-cropped hair and very pink ears steps forward to welcome us, wiping inky hands on his apron.
I ask to speak to Master Gutenberg; "Meister Gutenberg bitte?"
One of the printers, an older man in his late forties, or early fifties with a slight beer-belly, comes forward from the back of the shop, giving instructions to the short-haired young man to take his place as he does so.
"Väter, wie kann ich Ihnen helfen?"
I explain that we have been sent to determine when the next printing of indulgences will be ready for collection and after advising us that they should be delivered before the end of the week, Herr Gutenberg's face takes on a new animation. It seems that there is something he would particularly like us to see, and he leads us upstairs to a small room where two more printers are seated at desks, comparing pages. Both men wear glasses, and one of them is silently mouthing words as he works.
"Väter, bilden wir eine heilige Bibel durch den Druck"
 This is better than I had dared to hope during this trip! We are seeing the printing of Gutenberg's Bible, the first Bible to be printed using movable type. Seeing the obvious delight on my face, Johann proceeds to show us various aspects of the process which, he tells us, he developed himself and wishes to use only for the greater glory of God.
While it seems a little uncharitable on my part, I cannot help but suspect on the basis of what I have learned so far, that while he is sincere in his devotion, he would be equally content to receive financial recompense for his efforts. As much as I would like to see more, and even say as much, Johann declines to show us his method for casting individual types, but I do manage to catch a brief glimpse of his casting room in passing. All I can be sure of is that there are small lengths of metal rod waiting in buckets, a crucible, hearth, and littered ceramic fragments all over the floor.
We should Thank Meister Gutenberg for the tour and confirm that the forms will be delivered within a few days, and then we must leave for our own time.
Now that we have left the workshop, and before we return, did you notice, on the unoccupied desk where the proofreaders were working, some sheets of music in manuscript? I didn't manage to get much of a look, but I did manage to find the first page, with a title: Quam Pulchra es, fecit par Ioannes Dunstapulum. John Dunstaple is an educated English gentleman who writes music in the new polyphonic style. I can only assume that he may have met Gutenberg as a fellow student at Strasbourg University. Both men are more or less contemporaries and perhaps we should consider visiting Master Dunstaple to see whether we can confirm my guess.
Here, then, in abc notation, is John Dunstable's Quam Pulchra es, a setting of words from Solomon's Song of Songs.
X:15                          % number
T:Quam Pulchra Es            % title
C:John Dunstable             % composer
O:http://www.upv.es/coro/victoria/varios.html % origin.
M:3/4                        % meter
L:1/4                        % length of shortest note
Q:                           % tempo
K:C                          % key
V:1 name="Altus" sname="A."                         % voice 1
V:2 name="Tenor" sname="T."
V:3 name="Bassus" sname="B." clef=bass
%====1=======2======3=======4========5===============7=============8===================9
V:1
C2 E | D F>E | G2 G | A2 F  | G G E  | E/ E/ E D/C/  | F/E/ C d/F/-|F/E/ C B,/A,//B,// |
w:Quam_ pul-chra_ es et quam de-co-ra, ca-ris-si-ma in_ de--li------ci-
V:2
c3   | G D F | C2 c | d A B | c G C  | C/ C/ C z/ A/ | B/ c A/ F   | F/G/ E/C/ F       |
w:Quam pul-chra_ es et quam_ de-co-ra, ca-ris-si-ma in de-li-------ci-
V:3
c'3  | b a2  | g2 e | d2 d  | c c c' | c'/ c'/ g f   | d/c/ f2     | d/c/ e d          |
w:Quam pul-chra es et quam de-co-ra, ca-ris-si-ma in de--li----ci-
%====10======11======12==========13======14============15======16======17=========18========
V:1
C z E | E E z | F D z | F F/ F/ G | F G A-| A/F/ F/G/ E | F z D | E>E C | B, C B,  | C2 z  |
w:is. Sta-tu-ra tu-a as-si-mi-la-ta est pal------me, et u-be-ra tu-a bo-tris.
V:2
G z C | E G A-|A F D  | F c/ c/ d | c d e-|e/c/ d B     | c A B | c>c G | F G/E/ F | G C C |
w:is. Sta-tu-ra tu--a as--si-mi-la-ta est pal-----me,_ et u-be-ra tu-a_ bo-tris. Ca-put
V:3
c z g | g c f | d z f | a a/ a/ _b | a g c'-|c'/a/ _b g | f2 f | c>c e | d c d | c z g |
w:is. Sta-tu-ra tu-a as--si-mi-la-ta est pal-----me, et u-be-ra tu-a bo-tris. Ca-
%========19=========20===========21======22==========23======24===================25=========26============27
V:1
G C D     | C z E/F/ | G/ A G ^F/ | G2 z  | A A F/ F/ | G C z | E C/D/ B,/A,//B,// | C z E/F/ | G/A/ F    G-|
w:Ca-put tu-um ut_ Car---me-lus, col-lum tu-um sic-ut tur------ris e----bur-
V:2
z G/A/ _B | G C2     | C2 c       | d B c | c c B/ B/ | c G C | G C/D/ F           | G C c/A/ | G/F/ D E/C/-|
w:tu---um ut Car-me-lus,__ col-lum tu-um sic--ut tur----ris_ e----bur---
V:3
c2 _B     | c g g/a/ | g/ c' g/ a | g z c | f f d/ d/ | c2 g  | c e/f/ d           | c e c/d/ | e/d/ a g    |
w:put tu-um ut Car-----me-lus, col--lum tu-um sic--ut tur---ris_ e----bur-
%===================28====29=======30===========31=======32===========33======34==========35===========36===============37
V:1
G/F/ E/D/ ^C/B,//C// | D3  | z3     | F3         | F2 A   | G>F F/G/   | E F z | F F/ F/ F | G G F/D/   | F G/ A      G/-|
w:----ne---a. Ve-ni, di-le----cte mi, e-gre-di-a-mur in__ a-
V:2
C/D/ G/F/ G          | A3  | z3     | D3         | D2 F   | G>A c/d/   | B c2  | d c/ c/ c | d z z      | d/c/ B/ A d/   |
w:----ne-a Ve-ni, di-le----cte mi, e-gre-di-a-mur in__ a-
V:3
g c/d/ e             | d3  | z3     | a3         | d'2 c' | _b> a a/b/ | g f2  | d a/ a/ a | g b/c'/ d' | _b/a/ g/ c' a/ |
w:---ne-a. Ve-ni, di-le----cte mi, e-gre-di-a-mur in__ a-----
%============38=======39==========40======41======42==========43======44===========45===========46======47
V:1
G//E//^F/ G z | A2 A   | _B A G/F/ | F2 E  | F z F | G/ G/ E C | E>D D | ^C/ C/ D z | C F/ F/  A-|A G>E  |
w:---grum, et vi-de----a--mus si flo-res fruc-tus par--tu-ri-e-runt, si-flo-ru-e--runt_
V:2
c d B         | A F2   | D A c     | d B2  | c A A | c/ c/ G G | C2 D  | G/ G/ A2   | c c/ c/ F  | F z c |
w:-grum,_ et vi-de-a----mus_ si flo-res fruc-tus par-tu-ri-e-runt, si-flo-ru-e-runt ma-
V:3
a g z         | c'2 c' | d' c' a   | _b g2 | f2 f  | c/ c/ c e | g>f f | e/ e/ d2   | a a/ a/ c'-|c' b z |
w:-grum, et vi-de-a----mus si flo-res fruc-tus par--tu-ri-e-runt, si-flo-ru-e--runt
%========48=======49================50=================51=============52=========53===============54================55==============56======
V:1
F C D/ D/ | C2 z   | C/ C/ C/ A,/ B, |[M:3/2] C z F2 E2 |[M:3/4] D2 ^C | D z F/E/ | C/E/ F/ G E/   | C/D/ F     E/D/-|D/C/ D/ B, A,/ | C3 |]
w:ma-la Pu-ni-ca. I-bi da-bo ti-bi u-be-ra me-a. Al--le-------------lu--ia.
V:2
F A G/ G/ | A E F  | G/ G/ E/ E/ F   |[M:3/2]G c A2 B2  |[M:3/4] A2 G  | A2 z     |[L:1/8] A3 B2 c |[L:1/4] A>B c/A/-|A/F/ G/A/ F    | G3 |]
w:-la Pu-ni-ca.__ I-bi da-bo ti-bi_ u-be-ra me-a. Al-le----------lu-ia.
V:3
a a b/ b/ | c' z a | e/ e/  c/ c/ d  |[M:3/2] c2 d2 g2  |[M:3/4] f e2  | d3       | a f/e/    g/a/-|a/ f d/ c/d/     | f e/f/ d      | c3 |]
w:ma-la Pu-ni-ca. I--bi da-bo ti-bi u-be-ra me-a. Al-le------------lu-ia!
To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

A tiny flower on a vast ocean

In order to tell the second part of this story, I am obliged to take on the persona of a later settler (I couldn't very easily hide among the original voyagers, and I really didn't enjoy the prospect of spending months on the ocean in a tiny, cramped, overcrowded and dangerously fragile little wooden ship. I can only admire the courage of those who did.
I have taken the trouble to seek out Bridget Jones once more and ask how she fared since last we met.

Charter seal of the Virginia Company of London

By 1619 seafarers returning home were bringing news of the speculative companies being formed to exploit the New World, and once more the assembly "sought God earnestly, on their knees, and in their hearts" as Bridget puts it. While material gains might be possible, more importantly they might be able to find, once and for all time, a place on the Earth where they would be "free from powers and principalities, trying to interfere" with their worship. The decision was taken to send Deacon John Carver and Robert Cushman as representatives to negotiate with the Virginia Company in London. So with much prayer, the men were sent out equipped with written articles of belief composed by the assembly as proof of their orthodoxy and loyalty to the English crown.
The two representatives returned to Leiden where the assembly rejoiced to hear the news that anyone willing to work for the Virginia Company's settlement in Jamestown would be granted a portion of land, or alternatively those who wished to be their own masters, or were willing to sponsor another immigrant would also receive a smaller portion of land. They also received assurance from the King that they would be free to worship God in their own manner and planning for the voyage began in earnest.
The assembly used their shared funds to purchase a small ship, the Speedwell, that had originally been built as a fighting ship to oppose the Spanish Armada, but later refitted as a cargo ship. Having trekked across country once more, carrying with them such belongings as they value most, they boarded the Speedwell at Delfshaven, a suburb of Delft, to sail for Southampton where they would rendezvous with Mayflower which would be carrying secular settlers hired by the Virginia Company.

The departure, on August 5th, 1620, went as planned but before the ships were out of sight of land, the Speedwell was forced to turn back, taking on water.
"My dear husband, John, led the assembly in earnest prayer, that our Lord would save us, just as he did when Peter's boat was in jeopardy on Galilee".
With repairs made, Speedwell put to sea once more, but again began to take on water.

Bridget chuckles at the memory; "The 'sorry old bucket' as the sailors called the ship returned to Plymouth where it was sold - may God be merciful to the fool who bought her! and those of our company whose hearts remained stout, and their faith strong, joined us aboard Mayflower for the voyage to the New World."

For the next three months the assembly endured the cold, damp and constant danger of the voyage spending much of their wakeful time in prayer. The ship was damaged during the voyage, but God be thanked, the ship's carpenter, Mathew Stevens was skilled in carpentry and repaired the damage within a couple of days. In course of the voyage, we welcomed into our number Master Peregrine White, son of William and Susanna, and blessed God for Susanna's safe delivery, and also Master Oceanus Hopkins, son of Stephen and Elizabeth.

As great as was the rejoicing when Mayflower first sighted land, there was some question concerning where the ship was harbored, and when it was confirmed that it was indeed northward of the lands that had been granted to us by the Virginia Company, lands that had not been claimed by any sovereign power, the elders of the assembly called for a meeting to determine how best to proceed.

As Bridget herself expressed the common sentiment, "there is no place in all creation safer than that to which God hath appointed us."

"Having sought the guidance of God individually, the men of the company as were moved to do so drafted and signed their names to a contract setting out the foundations of such a government as we believed right and proper in the sight of God and obedience to King James."

As much as I love to listen to Bridget's recollections of the first days of the colony, I seize the opportunity to ask her what she brought with her from Leiden.

It seems that of all her possessions, those she values most are a bible, a heavy volume bound in black leather, and well-thumbed. And almost as dear, a book of psalms "Both in prose and in metre", printed in Amsterdam just eight years before her voyage to the new world. The psalms, though much newer than the bible, also show much use and I am delighted when Bridget sings for me her favourite, psalm 100.

The music is notated in a way which will change fairly little over the next four to five hundred years; the symbol "C" with a line through it will continue in use, although its meaning will change. And the "b" symbol, indicating the key signature of F major will become standardized on the middle line of the five-line treble staff. The shapes of breve (whole note) and semi-breve (half-note) will be rounded and their stems moved to the side. And eventually, a stylised "G" will be added to show the position of that note, rather than the symbol which will eventually become the "C" clef.

X:10 % number
T:Psalm 100 % title
C:Anon. % composer
O:Ainsworth Psalter (1612) % origin.
M:3/2 % meter
L:1/2 % length of shortest note
Q:240 % tempo
K:F % key
V:1 % voice 1
F2 E D C F G A3 A G F B A G2 F2 G A G F D E F2 c2 A F G B A2 G2 F4 |]
w:1.Showt~to Je-ho-vah, al the earth.~2.Serv ye~Je-ho-vah with glad-ness: be-fore him come with sing-ing merth. 3.Know that Je-ho-vah He God is.
W:
W:Its he that made us, and not wee
W:his folk, and sheep of his feeding.
W:4.O with confession enter yee
W:his gates, his courtyards with praising:
W:confess to him, bless ye his name.
W:5.Because Jehovah he good is:
W:his mercy ever is the same:
W:and his faith, unto al ages.

To all my readers, may you have a happy Thanksgiving, 2007. And may the love of God be ever near you.

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].