CANTABILE – THE LONDON QUARTET

THE GREAT BRITISH

A CAPPELLA SONGBOOK

EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

PETERS EDITION LTD

A member of the Edition Peters Group
FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK

Cantabile Anthology LAYOUT.indd 1 10/8/2012 1:06:36 PM

 Cantabile − The London Quartet
is managed by

artist management

A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin.
Arranged by Cantabile − The London Quartet.
© 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA.
Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd.
All Rights Reserved.
Pomp and Circumstance by Edward Elgar.
Words © 2012 by Margarete and Julian Forsyth.
Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet.
© Copyright 2012 by Cantabile − The London Quartet.
All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet.

Peters Edition Limited

2−6 Baches Street
London
N1 6DN
Tel: +44 (0)20 7553 4000
Fax: +44 (0)20 7490 4921
Email: [email protected]
Internet: www.editionpeters.com

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 CONTENTS
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Vorwort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

About the Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Über die Stücke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Pastime with Good Company King Henry VIII of England . . . . . . . . . . 11

Greensleeves Traditional English . . . . . . . . . . . . . . 14

Oranges and Lemons Traditional English . . . . . . . . . . . . . . 22

Myfanwy Mynyddog (Richard Davies),

Joseph Parry . . . . . . . . . . . . . . . . . . 30

Danny Boy, ‘I Would be True’ Traditional Irish

(Londonderry Air) Frederic E. Weatherly, Howard Walter. . . . . 35

A Man’s a Man for A’ That Traditional Scottish / Robert Burns

(‘Lady McIntosh’s Reel’) . . . . . . . . . . . . 41

Pomp and Circumstance Edward Elgar,

Margarete and Julian Forsyth . . . . . . . . . 46

A Foggy Day George Gershwin and Ira Gershwin . . . . . . 58

Lullaby (‘Hush, Macushla’) Cantabile – The London Quartet . . . . . . . 66

Myfanwy – Pronunciation Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

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 4

Foreword
We are delighted that some of our arrangements, hitherto gathering dust on our shelves, have now
been published. During the 35 years that we have been singing together we have built up quite
a library, the vast part of which pre-dates computerized scores. It is very exciting that Edition
Peters were ready to contemplate turning the torn manuscript paper, parchment and papyrus into
something legible and, we hope, singable.
Appearing in this Diamond Jubilee year of 2012, when we all have had in mind what being
British is all about, we thought our first collection of arrangements should reflect this, and so we have
sought to choose a range of music from and about London and the British Isles.
We couldn’t begin to count the number of times someone has come up to us after a concert, or
written to us, to ask whether any of our music was published and available. Now that person should
be satisfied, and we hope there may be a few others, too, who might enjoy singing these songs as
much as we do.
The London Quartet comprises countertenor, two tenors and a baritone. In preparing this edition
for soprano, alto, tenor and bass we have sought, wherever possible, to keep both to the spirit and
to the letter of our own scores. In most cases, the pieces in this collection could be sung by an all
male-voice group with no more change than to choose a lower key, or with some judicious octave-
or part-swapping; here and there we have indicated where choices can be made. If you would like
to know exactly what we do, our original versions can be downloaded from www.choralstore.com.
Further information on the songs can be found at www.thelondonquartet.com.

Cantabile – The London Quartet

London, September 2012

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 5

Vorwort
Wir freuen uns sehr über das Erscheinen des vorliegenden Bandes mit einer Auswahl unserer Ar-
rangements, auch wenn uns bewusst ist, dass wir dieses Unterfangen vielleicht schon ein wenig eher
hätten in Angriff nehmen können. Seit 35 Jahren singen wir jetzt gemeinsam, und in dieser Zeit
hat sich ein beträchtliches Repertoire angesammelt, das bisher im Regal vor sich hin staubte und
das überwiegend vor dem Zeitalter des Computer-Notensatzes entstand. Dass die Edition Peters
sich mit dem Gedanken anfreunden konnte, unsere handgeschriebenen Papyrus-, Pergament- und
Papierfetzen in etwas Lesbares – und hoffentlich Singbares – zu verwandeln, ist ein aufregender und
wunderbarer Schritt.
Das Jahr 2012, in dem unsere erste Sammlung von Arrangements nun erscheint, war für uns
Briten ein ganz besonderes Jahr, konnten wir doch das 60. Thronjubiläum von Königin Elisabeth II.
feiern. Aus diesem Anlass haben wir eine Reihe von Werken ausgewählt, die von London und den
britischen Inseln handeln oder hier entstanden.
Wir haben aufgehört zu zählen, wie oft nach unseren Konzerten jemand auf uns
zukommt oder uns schreibt, um sich zu erkundigen, ob unsere Stücke im Druck
erschienen und im Handel erhältlich sind. Dieser Jemand kann jetzt aufatmen, und wir
hoffen, dass es auch darüber hinaus noch die eine oder andere Sängergruppe gibt, der es
genauso viel Freude macht wie uns, dieses Repertoire zu singen.
Das London Quartet besteht aus Countertenor, zwei Tenören und Bariton. Beim Einrichten der
vorliegenden Ausgabe für Sopran, Alt, Tenor und Bass haben wir versucht, Charakter und Notentext
unserer Originalfassungen so weit wie möglich beizubehalten. Die meisten Stücke dieser Sammlung
lassen sich auch von einem reinen Männerensemble singen; dazu genügt es, eine tiefere Tonart zu
wählen oder einzelne Stimmen hier und dort behutsam zu tauschen oder zu oktavieren. Vereinzelt
haben wir auch gekennzeichnet, wo Alternativen möglich sind. Unsere eigenen Versionen lassen sich
zum Vergleich bei www.choralstore.com herunterladen, und nähere Informationen zu den Stücken
sind unter www.thelondonquartet.com verfügbar.
Cantabile – The London Quartet
London, im September 2012

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 6

About the songs

Pastime with Good Company King Henry VIII of England (1491–1547)

Henry, as the second son of Henry VII, did not expect to be king, and so did not have the high-pressure
childhood of his older brother Arthur, who should have been king. Perhaps this is why, after the unexpected
death of his brother, King Henry VIII’s skill as a poet and composer would seem to be greater than your average
King of England. Not that his fighting, hunting and partying were anything but excellent...
This piece is in the British Library as part of the Henry VIII manuscript (c.1513), with 13 other works,
signed ‘by the King’s hand’.

Greensleeves Traditional English; words from A Handful of Pleasant Delights (1584)

Delightful as it would be to say that this, like ‘Pastime with Good Company’, was composed by Henry VIII,
it appears that the Italian verse form in which it is written did not arrive in England until years after Henry’s
death. First mentioned in the 1580s, it is an Elizabethan tune (Elizabeth I reigned 1558–1603). While there
are many more verses, we consider these four to be the most beautiful.

Oranges and Lemons Traditional English

This traditional English nursery rhyme mentions the bells of many of London’s churches. It was first printed
in Tommy Thumb’s Pretty Songbook around 1744; a dance entitled ‘Oranges and Lemons’ also appeared in 1665 in
Playford’s Dancing Master, but it is not clear that the two versions are linked. The bells mentioned in the song
were all, it seems, in and around the City of London (now London’s financial district), although it is not certain
exactly which churches the song refers to. Here are the best ideas:
• St Clement’s: St Clement Danes or St Clement Eastcheap (both near the wharves where citrus fruits were
landed in the Port of London)
• St Martin’s: St Martin Ongar or St Martin’s Lane (both in the City, where moneylenders lived)
• Old Bailey: St Sepulchre-without-Newgate (opposite The Old Bailey – the Central Criminal Court
for England and Wales, near the old Fleet Prison where debtors were held)
• Shoreditch: St Leonard’s, Shoreditch (just outside the City walls)
• Stepney: St Dunstan’s, Stepney (also just outside the City walls)
• Bow (pronounced as in ‘bow and arrow’): St Mary-le-Bow in Cheapside
‘Oranges and Lemons’ has also – erroneously – been linked with the ubiquitous Henry VIII. It has been
supposed that it refers to his six wives – but the truth would seem to be that it was written at different times,
and earlier versions of the poem mention more than six bells!

Myfanwy Joseph Parry (1841–1903); words by Mynyddog (Richard Davies) (1833–1877)

‘Scratch any Welshman,’ it is said, ‘and he will sing’ – and as likely as not he will sing ‘Myfanwy’, this simple
but beautiful iconic anthem to love lost. Its composer, Joseph Parry, lived for a number of years in the USA,
and indeed he used the name ‘Pencerdd America’. The author of the poem, the bard Mynyddog, could not
have chosen a more Welsh subject: Myfanwy, a name which conjures up various legends; indeed Parry’s own
childhood sweetheart was called Myfanwy. Another of Parry’s tunes, ‘Aberystwyth’ was used in South Africa’s
national anthem, ‘Nkosi Sikelel’ iAfrika’.

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 7

Danny Boy (‘I would be true’) Traditional Irish;

words by Frederic E. Weatherly (1848–1929)
and Howard Walter (1883–1918)

This tune, ‘Londonderry Air’, is an old Irish melody. Many different lyrics have been added to it: we provide
two in this setting. The words by Frederic Weatherly, an English lawyer, lyricist and author, are perhaps the
most well-known. The words by Howard Walter, written in 1906, are famous for having been performed at
the funeral of Diana, Princess of Wales in 1997.

A Man’s a Man for A’ That Traditional Scottish (‘Lady McIntosh’s Reel’);

words by Robert Burns (1759–1796)

Robert Burns is the national poet of Scotland. Known to be a supporter of both the American and French
revolutions, perhaps he had in mind Thomas Paine’s recent The Rights of Man (1791) when he wrote this
poem in 1795. The song was sung at the re-opening of Scottish Parliament in 1999 and at the funeral of the
inaugural First Minister of Scotland, Donald Dewar, in 2000.

Pomp and Circumstance Edward Elgar (1857–1934);

words by Margarete and Julian Forsyth

When creating our Best of British show for German and subsequently Belgian theatres, we needed a
stirring piece of patriotic music, but with suitably self-deprecating words. We decided that Elgar’s
Pomp and Circumstance March No. 4 would be the best tune for this purpose (although the more
famous tune, ‘Land of Hope and Glory’, from March No. 1 is included here to introduce it). When it came to the
lyrics, we approached the wonderfully creative Maggie and Julian Forsyth (a great couple – both directors,
translators, writers and actors): they concocted a fabulous list of things British.

A Foggy Day George Gershwin (1898–1937);

words by Ira Gershwin (1896–1983)

‘A Foggy Day’ was first sung by Fred Astaire in the 1937 film, A Damsel in Distress. It was originally
entitled ‘A Foggy Day (In London Town)’: a great American composer’s take on our great capital city –
listen out for the Westminster Chimes of London’s Big Ben. We wrote this arrangement in tribute to
Gene Puerling, who kindly encouraged us in our writing. He was the master of four-part male-voice jazz
arrangements – nothing surpasses his own vocal group, the Hi-Lo’s.

Lullaby (Hush Macushla) Cantabile – The London Quartet

‘Macushla’ is a transliteration of part of the Irish phrase, a chuisle mo chroí (‘my heart’s pulse’), and thus
mo chuisle means ‘darling’ or ‘sweetheart’. When we chose to put an original song on our CD Lullabyes
and Goodbyes, our own tenor, Mark Fleming, who remembered the rhyming title from when he was very small,
came up with this lullaby, which immediately had the other three of us under its spell.

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Über die Stücke

Pastime with Good Company Heinrich VIII. von England (1491–1547)
Als zweitältester Sohn von Heinrich VII. konnte Heinrich VIII. nicht damit rechnen, einmal König zu
werden. Im Gegensatz zu seinem älteren Bruder Arthur, der den Thron erben sollte, verlebte er daher
eine recht unbeschwerte Kindheit. Vielleicht ist dies der Grund, warum König Heinrich VIII. nach dem
unerwarteten Tod seines Bruders größeres Talent zum Dichten und Komponieren an den Tag legte, als man
es von englischen Königen im Allgemeinen gewohnt war. Wobei seine Begabung zum Kämpfen, Jagen und
Feiern natürlich völlig außer Frage steht …
Zusammen mit dreizehn anderen Werken bildet das Stück die Handschrift Heinrichs VIII. (ca. 1513), die
sich in der British Library befindet und den Hinweis „By the King’s Hand“ trägt.

Greensleeves Englische Volksweise; Text aus A Handful of Pleasant Delights (1584)

So schön es auch wäre zu behaupten, dass dieses Stück ebenso aus der Feder von Heinrich VIII. stammt wie
„Pastime with Good Company“, scheint die zugrunde liegende italienische Gedichtform doch erst einige
Jahre nach Heinrichs Tod bis nach England vorgedrungen zu sein. Erwähnt wird das Werk erstmals in den
1580er Jahren, es handelt sich also um ein Lied aus der elisabethanischen Zeit (Elisabeth I. regierte von 1558
bis 1603). Es existiert noch eine ganze Reihe weiterer Strophen, doch die vier hier ausgewählten sind unserer
Ansicht nach die schönsten.

Oranges and Lemons Englische Volksweise

In diesem traditionellen englischen Kinderreim werden die Glockenklänge mehrerer Londoner Kirchen
aufgezählt. Gedruckt erschien das Stück erstmals um 1744 in Tommy Thumb’s Pretty Songbook; ein Tanz mit
dem Titel „Oranges and Lemons“ findet sich auch in John Playfords Dancing Master von 1655, wobei jedoch
unklar ist, ob zwischen den beiden Fassungen eine Verbindung besteht. Die im Lied erwähnten Glockengeläute
scheinen sämtlich aus der City of London (dem heutigen Finanzdistrikt) und aus der unmittelbaren Umgebung
zu stammen, wenn auch nicht sicher ist, um welche Kirchen es sich handelt. Am wahrscheinlichsten sind
folgende Möglichkeiten:
• St. Clement’s: St. Clement Danes oder St. Clement Eastcheap (beide in der Nähe der Kais, an denen im
Londoner Hafen die Zitrusfrüchte angelandet wurden)
• St. Martin’s: St. Martin Ongar oder St. Martin’s Lane (beide im Geldverleiher-Viertel der City)
• Old Bailey: St. Sepulchre-without-Newgate (gegenüber von „Old Bailey“, dem Zentralen
Strafgerichtshof von England and Wales, in der Nähe des ehemaligen Fleet Prison, wo säumige
Schuldner inhaftiert wurden)
• Shoreditch: St. Leonard’s, Shoreditch (direkt vor den Mauern der City)
• Stepney: St. Dunstan’s, Stepney (ebenfalls direkt vor der Stadtmauer)
• Bow (gesprochen wie „low“): St Mary-le-Bow im Stadtviertel Cheapside
Auch Oranges and Lemons wurde fälschlich dem umtriebigen Heinrich VIII. zugeschrieben. Man sah darin einen
Hinweis auf seine sechs Frauen – in Wirklichkeit scheint das Lied jedoch nach und nach entstanden zu sein,
und in frühen Fassungen des Gedichts kommen mehr als sechs Kirchengeläute vor!

Myfanwy Joseph Parry (1841–1903); Text von Mynyddog (Richard Davies) (1833–1877)
Einem englischen Sprichwort zufolge muss man an einem Waliser nur kratzen, schon fängt er an zu singen
– und höchstwahrscheinlich bringt er dann „Myfanwy“ zu Gehör, ein schlichtes, aber herrliches Lied über
verlorene Liebe, das in Wales großen Symbolwert hat. Der Komponist, Joseph Parry, lebte etliche Jahre in
den USA und verwendete sogar als Pseudonym den Namen „Pencerdd America“. Autor des Gedichttexts
war der „Barde“ Mynyddog, und er hätte kaum einen anderen Stoff finden können, der so eng mit Wales
verbunden ist: Der Mädchenname Myfanwy erinnert an eine Vielzahl von Sagen und Legenden – und auch die

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 9

erste Jugendliebe des Komponisten selbst hieß Myfanwy. Ein anderes Werk aus Parrys Feder, „Aberystwyth“,
ist heute Teil der südafrikanischen Nationalhymne „Nkosi Sikelel’ iAfrika“.

Danny Boy („I would be true“) Irische Volksweise;

Text von Frederic E. Weatherly (1848–1929)
und Howard Walter (1883–1918)
Bei dieser Melodie, „Londonderry Air“, handelt es sich um eine alte irische Volksweise. Viele verschiedene
Texte wurden dazu gesungen; in unserem Arrangement verwenden wir zwei davon. Wohl am bekanntesten
sind die Verse von Frederic Weatherly, einem englischen Juristen, Dichter und Schriftsteller, während der
1906 entstandene Text von Howard Walter durch seine Verwendung beim Begräbnis von Prinzessin Diana im
Jahr 1997 zu Berühmtheit gelangte.

A Man’s a Man for A’ That Schottische Volksweise (Lady McIntosh’s Reel);

Text von Robert Burns (1759–1796)
Robert Burns ist Schottlands Nationaldichter. Es ist bekannt, dass er Anhänger der Revolutionen in Amerika
und Frankreich war, und als solcher hatte er vielleicht Thomas Paines einige Jahre zuvor entstandenes Buch
The Rights of Man (1791) im Sinn, als er 1795 dieses Gedicht schrieb. Das Lied erklang 1999 bei der Eröffnung
des wiedergegründeten schottischen Parlaments sowie beim Begräbnis des im Jahr 2000 verstorbenen ersten
schottischen Ministerpräsidenten, Donald Dewar.

Pomp and Circumstance Edward Elgar (1857–1934),

Text von Margarete und Julian Forsyth
Bei der Vorbereitung unseres Programms Best of British, mit dem wir zunächst in Deutschland, dann in
Belgien auf Tournee waren, brauchten wir ein Stück mit ergreifend patriotischer Musik, das zum Ausgleich
aber einen eher selbstironischen Text haben sollte. Wir beschlossen, dass der Marsch Nr. 4 aus Elgars Pomp
and Circumstance sich am besten als Melodie eignen würde (während die bekanntere Weise „Land of Hope and
Glory“ aus dem Marsch Nr. 1 hier als Einleitung erklingt). Mit Blick auf den Text wandten wir uns an das
wunderbar kreative Duo Maggie und Julian Forsyth (beide sind als Regisseure, Übersetzer, Schriftsteller und
Schauspieler tätig), und sie lieferten uns eine fabelhafte Liste all dessen, was typisch britisch ist.

A Foggy Day George Gershwin (1898–1937);

Text von Ira Gershwin (1896–1983)
„A Foggy Day“ war erstmals 1937 in dem Film A Damsel in Distress („Ein Fräulein in Nöten“) zu hören,
gesungen von Fred Astaire. Ursprünglich lautete der Titel des Stücks „A Foggy Day (In London Town)“: Der
berühmte amerikanische Komponist blickt hier auf die berühmte englische Hauptstadt – man achte auf den
Glockenschlag von Big Ben. Unser Arrangement entstand als Hommage an Gene Puerling, der uns in unserer
Arbeit freundlich ermutigte. Er war der unbestrittene Meister des vierstimmigen Jazzarrangements für Män-
nerstimmen – und seine eigene Vokalgruppe, The Hi-Lo’s, bleibt unübertroffen.

Lullaby (Hush Macushla) Cantabile – The London Quartet

„Macushla“ ist eine lautschriftliche Übertragung, die sich vom irischen Ausdruck „a chuisle mo chroí“ („meines
Herzens Schlag“) ableitet; „mo chuisle“ bedeutet also „mein Herz“ oder „mein Liebling“. Nachdem wir
beschlossen hatten, für unser Album Lullabyes and Goodbyes auch ein eigenes Stück aufzunehmen, erinnerte
sich unser Tenor Mark Fleming an diese gereimte Wendung aus seiner Kindheit und dachte sich das hier
abgedruckte Schlaflied aus, das uns alle sofort in seinen Bann zog.

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Cantabile Anthology LAYOUT.indd 10 10/8/2012 1:07:06 PM
 Pastime with Good Company 11

from the album In Cambridge

Spritely King Henry VIII of England

:
Arranged by Cantabile – The London Quartet
h = 120 poco f

G ? 5555 B 5 4 5 5 5 5 B: 5 '
Optional
Descant

1  B :
(Verse 3)

B: 5 B:
Ah
f 1st, p 2nd, f 3rd 
Soprano/
Alto G 5 5 5: 5 5 5 B: 5
Pas - time with good com - pa - ny I love and
Youth must have some dall - i - ance of good or

 B: B: 5 B:
Com - pa - ny with ho - nes - ty is vir - tue

5 5 5: 5 5 5 B: 5
f 1st, p 2nd, f 3rd
G 
i
Tenor
Pas - time with good com - pa - ny I love and
Youth must have some dall - i - ance of good or

5 B:
- pa - ny - nes - ty vir -

5 B:
Com with ho is tue

2
  B: 5 B: 5 B:
f 1st, p 2nd, f 3rd
Bass 5

-
Pas - time with good com - pa - ny I love and
Youth must have some dall - i - ance of good or
Com - pa - ny with ho - nes - ty is vir - tue

G  BB :: B: B:

5 ::

B: B:
5 5 5 5 5 B: 5 5
5 5 5 5 5 5
B: B ::
Piano (for
55
B:
  B: 5 B: 5
rehearsal
5 B 5 5
only)

 B: 5 B: :
6

G  ' 4 ? 5 5 5 5 B 5
1 
B: B: B:
(Ah)

G B: 5 5 5 E5 !5 5 4 5 5
shall un - til I die gruch* who lust but

B: B:
ill, some pas - tance com - pa - ny me -

B:
- - pa -
 5 5
vi ces to flee com ny is

G  B: 5 5 5 B 4
i shall un - til I die gruch* who lust but

  B :
ill, some pas - tance com - pa - ny me -
vi - ces to I flee com - pa - ny is
5 B: 5 B:
2 5 5 B B: 4 5

-
shall un - til I die gruch* who lust but
ill, some pas - tance com - pa - ny me -
vi - ces to I flee com - pa - ny is

G  B ::

B: B: B:
B: B:
5 5 5 E5 !5 5 4 5 5
B 5 5
  B : 55 55 5 B B: B: 5 B:
B:
5 B 4 5

*gruch: (be)grudge

Cantabile Anthology LAYOUT.indd 11 10/8/2012 1:07:06 PM

 Greensleeves
14

A Handful of Pleasant Delights (1584) Traditional English

1    =
Arranged by Cantabile – The London Quartet

Soprano G   0 0 0 0

 
Alto G    = 0 0 0 0


G    = 0 0 0 0
i
Tenor

    5 5 5 5: 5 5 5 5 5 : 5 5 5 5 5 5 5 5 5 5 5
2   
mf
Bass    

-
A - las, my love, you do me wrong To cast me off dis - court - eous - ly; And


G    = 0 0 0 0

5 5: 5 5
Piano (for

    5 5 5 5: 5 5 5 5 5
rehearsal
 5 5 5 5 5 5 5
 
only)
   

1  
5

G  0 0 0 0 0 0


G   0 0 0 0 0 0


G   0 0 0 0 0 0
i
5: 5: 5 5 5
5 5 : 55
5
f

   5 5 5: 5 5 5 5 5 5 5: 5 5!5 5 5 5 5 5 =
2    

-
I have loved you so long, De - light - ing in your com - pa - ny Green - sleeves was all my joy,


G  0 0 0 0 0 0
5
   5 5 5: 5 5 5 5 5 5 5: 5 5 !5 5 5 5 5 = 5: 5: 5 5 5 5 5 : 5 5
  5  
Note: the tune changes from the first half to the second – C-s and C=s all as marked.

Cantabile Anthology LAYOUT.indd 14 10/8/2012 1:07:07 PM

 15

1  
11

G  0 0 0 0 0 0


G   4:
mf
0 0 0 0 0 4 
5
I


G   0 0 0 0 0 0
i
5: 5: 5 5 5
p

   5 5 5 5 5 5 5 5 = 5 5 5 5 5: 5 5!5 55 5: 5 =
2    

-
Green - sleeves was my de - light, Green - sleeves was my heart of gold, And who but la - dy Green - sleeves


G  0 0 0 0 0 4: 4 5
5: 5: 5 5 5
   5 5 5 5 5 5 5 5 = 5 5 5 5 5: 5 5 !5 5 5 5: 5 =
   

1   mp
G   B: B: 5 = B:
17

B: 5: 5: 5:
Oo Oo

G   5 5 5 :55 5 5 5: 5 5 5 5 55 5 5 5  5 5 5 :55 5 5 5

  
55 55

B: 5: 5:
have been rea - dy at your hand, to grant what - e - ver thou would’st crave, I have both wa - ged life and land, your

5:
G   B :
5 = B:
(you would)
mp
 B:
i Oo Oo

   B: B: B : 5: 5: 5:
2 
mp

5 = B:

-
Oo Oo

G    5 5 5 : 5 5 55 5 5: 5 5 55 5 5 5 5 55 55 5 5 5 5 : 5 5 55 5 55 5 5
     
5
   BB:: B: B : 5:
5:
5:
B:
B: 5: 5:


Cantabile Anthology LAYOUT.indd 15 10/8/2012 1:07:08 PM

 22
Oranges and Lemons
Traditional English

1 
Arranged by Cantabile – The London Quartet
q = 160
f
Soprano G  0 55 5 5 5 5 5 5 5 5 5 5 B ? 5 5 5 5
O-ran-ges and Le-mons say the bells of St Cle - ment’s I owe you five

Alto G   0 0 0 0 0 0 0

(If one per part, sing first bass for Bong.)

G  B:

B:
f
 B: 0 0 0 B:
i Bong
Tenor

Bong

2   BB :: BB :: BB :: BB ::
 
f
Bass 0 0 0

-
Bong Bong


G  0 5 5 5 5 5 5 5 5 5 5 5 5 ? 5 5 5 5
B
Piano (for

   BB :: BB :: BB :: BB ::
rehearsal

B : B:
B : B:
0 0 0
only)

BB :: BB ::
8

G 5 5 5 5 5 5 5 5 B 0 0
far -things say the bells of St Mar -tin’s Bong

G 0 0 0 0 BB :: BB :: 0
(If one per part, sing top part for Bong.)

Bong

B:
G 0 0 0 4 5 5 5 5 5 5 5
B
i Bong ‘When will you pay me?’ say the

B:
 5 5 5 5 5 5 5
2

B :
0 0 0 BB 4

-
Bong ‘When will you pay me?’ say the

BB :: BBB :::

B :
G 5 5 5 5 5 5 5 0 0
5 B

BB ::
55 55 55 55
 BB 5 55 55

B :
0 0 0 4
B

Cantabile Anthology LAYOUT.indd 22 10/8/2012 1:07:09 PM

 23

BB ::
5 4 4 B : 
15

G 0 0 BB 4 5 5 5 5
5 4 5 5 5 5
Bong ‘When I grow rich’ say the bells of Shore - ditch Ah

G 0 0 BB :: BB 4 5 5 5 5 4 5 5 5 5 5 5 4 4 B: 
Bong ‘When I grow rich’ say the bells of Shore - ditch Ah

5 4 4 B :

G 5 5 5 5 B 0 B: B: 4 4 5 5 5 5 5 
i bells of Old Bai-ley Bong say the bells of Shore - ditch Ah

 5 5 5 5 B BB :: BB :: 5 4 4 B :
2  
0 4 4 5 5 5 5 5

-
bells of Old Bai-ley Bong say the bells of Shore - ditch Ah

BB :: BB :: 

B :
G 0 0 BBB 4 55 55 5 5 4 55 55 555 555 55 5 4 4
5

B :
BB :: BB :: 4 4 B :
5 5 5
  55 55 5 55 B 5 55


B : B:
0 4 4 5 5 5 5 5

1    5
B:
24

5 5 5 5 5 5 0
G  B 5
‘When will that be?’ say the bells of Step - ney

G    B : B:
 0
B: B 5
Ah

G   B : B: B:
 B: 0
i Ah

    B: B: B
2 
B 5 5 5 5 5

-
Ah I’m sure I don’t

B:

G   :
5B 5 5 5 5 5B 5 5 0
B:
BB: 5

BB:: BB :: B: B
  B 5 5 5 5
 5

Cantabile Anthology LAYOUT.indd 23 10/8/2012 1:07:10 PM

 30
Myfanwy

5 5 5 5: 5
Dr Joseph Parry, Mynyddog (Richard Davies)

5:
Arranged by Cantabile – The London Quartet

5 5 5 5: 5 5 B 5:
p
   5 5 
Bass I / soloist 
Why is it an - ger, O My - fan - wy, That fills your eyes so dark and

5:
*Pa - ham mae dic - ter, O My - fan - wy, Yn llen - wi’th ly - gaid du - on

5 5 5 5: 5 5 B 5 5 5 5 E5
mp
 5 B 5 5 5:
4

5  
clear? Your gen - tle cheeks, O sweet My - fan - wy, Why blush they not when I draw
di? A’th ru - ddiau ti - rion, O My - fan - wy, Heb wri - do wrth fy ngwe -led

 B 5: 5 5 5 5: 5 5 B
mf
55: 5 55 5 5 5 5
8

4 5 5
 
near? Where is the smile that once most ten - der Kin - dled my love so fond, so
- fus, cyn - nau ’ngha - riad fydd - lon

5:
i? Pa le mae’r wên oedd ar dy we Fu’n

5:
5 5 5 5: K mp
 B 5 5 5 5 5 5
12 f
5
dim.
4  5  55 5 

true? Where is the sound of your sweet words. That drew my heart to fol - low
ffôl? Pa le mae sain dy ei - riau me - lys Fu’n de - nu’n ngha lon ar dy

1 :  5 : 5 55 5: 5 5 B 5 5: 5 5 5 5 : 5 5 B 5
16 mp
p
S. G  ? 5  5

What have I done, O My - fan - wy, To earn your frown? What is my blame? Were
Pa beth a wneu-thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd? Ai

G  ?:
  
p mp
A. 5  5: 5 55 5 5: 5 5 B 5 5: 5 5 5 5: 5 B: 5
O My - fan - wy, To earn your frown? What is my blame?

5: 5 5 B 5 5: 5 5 5 5 : 5 5 B 5
What have I done, Were

5  5 : 5 55
beth a wneu- thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd?

G  ?:
Pa Ai
p mp
5
 
i
T.
What have I done, O My - fan - wy, To earn your frown? What is my blame? Were

: :
Pa beth a wneu- thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd? Ai

  B 4 5  5 : 5 55
5: 5
5 B 5 5 5 5 5 5 5 5
B 5
p

2
mp
B. 5 

-
you What have I done, O My - fan - wy, To earn your frown? What is my blame? Were
ôl? Pa - beth a wneu- thum, O My - fan - wy, I hae - ddu gwg dy ddwy - rudd hardd? Ai

55::
G  ?:  55:: 55
 
5 55 55 5:
5: 55 55 BB 55 5: 5
5: 5 55 55 55 5B: B 5

5: 5 5 5: 5 5 : 5
Piano (for
5 5 5 B 5 5 5 5: 5 5 B 5
5: 5 5:
(rehearsal

 5 : 5 5 5: 5
 B 5 5 B 5 5 5 5 5 5
only)
 5  B
*Optional Welsh lyrics
NB: See page 72 for the Welsh lyrics pronunciation guide.

Cantabile Anthology LAYOUT.indd 30 10/8/2012 1:07:12 PM

 31

1  5 : 5 5 5 5: 5 5 B
5 5 5: 5 5 5 5 5 B
21
mf

G  4 5
you just play - ing O My - fan - wy, To set your po - et’s love a - flame? You
- rae oe - ddit, O My - fan - wy, - nau eu - raidd serch dy fardd?

 5 : 5 5 5 5 : 5 5 B
chwa  tha Wyt


mf

G  5 5: 5 5 5 5 5 B 4
5
you just play - ing O My - fan - wy, To set your po - et’s love a - flame? You

 5 : 5 5 5 5: 5 5 B
chwa - rae oe - ddit, O My - fan - wy, Â tha - nau eu - raidd serch dy fardd? Wyt

5 5 5: 5 5 5 5 5 B
mf
G  4 5
i you just play - ing O My - fan - wy To set your po - et’s love a - flame? You

5: 5 5 5 5 5
chwa - rae oe - ddit, O My - fan - wy, Â tha - nau eu - raidd serch dy fardd? Wyt

  : 
5 5 5 5 5: 5
5 B 5 4 5
2
mf

 B

-
you just play - ing O My - fan - wy? To set your po - et’s love a - flame? You
chwa - rae oe - ddit, O My - fan - wy, Â tha - nau eu - raidd serch dy fardd? Wyt

 :  
G  55 : 5 : 55
55 5:
55 55 55 BB 5: 5 5 5 55 55 BB
 55 5 5: 5 5 5 4 55
5: 5 5 5 5: 5 5 B 5 5 5: 5 5 5 5 5 B
5: 55
: 5 5: 5
  5 5 5 5 B 5 5 5 5 5 5 B 4


1 
G 5: 5 5 5 5: 5 5 B
 4 5
f

25

5 5: 5 5 5 5 5 B
tru - ly once to me were prom - ised, Is it too much to keep your part? I
ei - ddo im drwy gy - wir a - mod Ai gor - mod ca - dw’th air i mi? Ni

G  5 : 5 5 5 5 : 5 5 B
 
f

5 5: 5 5 5 5 5 B 4 5
tru - ly once to me were prom - ised, Is it too much to keep your part? I
ei - ddo im drwy gy - wir a - mod Ai gor - mod ca - dw’th air i mi? Ni

G 5: 5 5 5 5 5 B
 5
 5: 5: 5 5 5 5 5 B
f
5 4
i tru - ly once to me were prom - ised,

Is it too much to keep your part? I

5: 5 5 5 5 5 B
ei - ddo im drwy gy - wir a - mod Ai gor - mod ca - dw’th air i mi? Ni

  5: 5 5 5 5: 5 5 B
2 
f
5  4 5


-
tru - ly once to me were prom - ised, Is it too much to keep your part? I
ei - ddo im drwy gy - wir a - mod Ai gor - mod ca - dw’th air i mi? Ni

G  55 :: 55 55 :: 55
   BBB 4 555
55 55 55 BB 55 5:
5: 55 55 55 55 55
 
5 5 5: 5 5 55 : 55 5 55 55 55
  5: :
5 5 B 5
 5: 5

5 5 5: 5 5 B 5  B 4 5

Cantabile Anthology LAYOUT.indd 31 10/8/2012 1:07:12 PM

 35
Danny Boy
‘I would be true’
(Londonderry Air)
Frederick E. Weatherly, Traditional Irish
Howard A. Walter (‘I would be true’) Arranged by Cantabile – The London Quartet

1   mf
Freely q = 63

Soprano G  5 5 5 5 5 5 5 5 5 5 5 5 B 
55 5 5 5 : 5
 5 5
5 5
Oo Oh, Dan - ny boy, the pipes, the pipes are

5: 5:
I would be true, for there are those that

  mf  I = 4
mp

G 555 5B B 5
5 5 5
Alto

Ah
I
Oo

 5
G    5 55 B
mf mp
B 5 5 5= 4 '
i
Tenor
Oo Ah

   4 5 B B
mf

2 
mp
B 5= 4 B
Bass 5 5 
Oo Ah

B5 :

G    5 5 5 5 5 5 5: 5 55 5 5 5 
B5 5 55 5 5 5 5 5 5 : 5 55
 5
Piano (for
 B 5 I 
I
5B 5 55 = 4
rehearsal
only)
   4 55  5 B B '
B
  B 5 5 B


1  K
5:
4

G 5 5 : 5 5 5 
5 5 5 5  5 5 B 5 5 5 5
call - ing, From glen to glen, and down the mount - ain side the sum - mer’s


trust me, I would be pure,

for there are those who care,
K I would be

G  5:  5 5 B 5 5: 5 
5 5 5 5
5 5 5
K I would be
the sum - mer’s


G  B
5 5 B: 5 B

5 5 5 5
i the sum - mer’s

K
I would be


2   B: 5 B: 5 B 5 5 5 5

-
the sum - mer’s
I would be
K
5B :
  
 5 55
G   55 5 5: 5 55 : 5
55
: 5 5 55  5 B5 5 55 5 55 55
 
  B:
5 B:
B:
5 B 5 5 5 5
 B: 5 5 B 5 5 5 5

The two lines of lyrics represent the two versions of the text and are alternatives rather than first and second verses.

Cantabile Anthology LAYOUT.indd 35 10/8/2012 1:07:13 PM

 36

1  K
G  5: :

7
 5 5 5
5 5 5 5 5: 5 5 5 5
5 5 5 5 5

K
gone and all the ro - ses fal - ling; ’Tis you, ’tis you must go and I must
- fer;

G  5: :
strong, for there is much to suf I would be brave, for there is much to

  
5 5 5 5 5 5 5 5
5 5 5 5 5
5 5 5 5 5
gone and all the ro - ses fal - ling; ’Tis you, ’tis you must go and I must

G  5:
 K
- fer;

5 5 5 5:
strong, for there is much to suf I would be brave, for there is much to
 5 5 5 5 5 5 5 : 
5 5 5 5 5
i gone
5
and all the ro - ses fal - ling; ’Tis you, ’tis you must go and I must
- fer;
K
  5 = 5 5 5 5 5
strong, for there is much to suf I would be brave, for there is much to

2  5 5 5 5: 5 5 5 5 5
 5 5: 
gone and all the ro - ses fal - ling; ’Tis you, ’tis you must go and I must
strong, for there is much to suf - fer; I would be brave, for there is much to
K
G   55 :: 55 ::
  5 5 
55 55 5 5 55 55 55 5 : 55 55 5 5 5 55
 5 5 55 55  5 5 5

  5: 5 5 5  55 5 5 5 5 5 5 5: 
55 5 5 55 55
 5: 5

5 5 5 5 5 5:
5: 5 5 5 5:
 5 5

1 
K mp
5:

5:
10

G B  5 5 5 5 5 5 5 5 5 5 5 5
5
bide but come ye back when sum - mer’s in the mead - ow, or when the

K
dare. I would be friend of all, the foe, the friend - less, I would be

G  5 5

5 5 5 5
B B 5 5: 5 5 5
bide but come ye back mead - ow, or when the
dare. friend - I would be

K mf
I would be friend of less,

 5:
5 5:
5 5 5 5 5 5 5 5 5 5
G  5 5 5 5 5 
i bide but come ye back when sum - mer’s in the mead - ow or when the

K5 5
dare. I would be friend of all, the foe, the friend - less, I would be

 B
2 
5 5 B 5 5: 5 5 5
 B
bide but come ye back mead - ow or when the
dare. I would be friend of friend - less, I would be
K
B55 ::

55 ::
  5
G   B5 5
55 5 55 5 5 5
5 5 5 5 5
5B 5 5 5 55 55 5 5 5 5
5 5 5

 5
  5B 5 55 5 5 B
5 5
5 5: 5 5 5
  5 B

Cantabile Anthology LAYOUT.indd 36 10/8/2012 1:07:14 PM

 41
A Man’s a Man for A’ That
Robert Burns Traditional Scottish
Arranged by Cantabile – The London Quartet

1 E
=  :: 5 : 5 5
q = 86 f
0 ? 4 5
Soprano G  5 5 5 5 5:
Is there for ho - nest po - ver - ty, That

E =  :: 5 : 5 5
see yon bir - kie ca’d a lord, wha

G  5
f
0 ? 4 5 5:
Alto
5 5 5
Is there for ho - nest po - ver - ty, that

:
see yon bir - kie ca’d a lord, wha

G 5 5 5 5 5 5 5 5 5 5 5 5 :5
E f mf

i dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm
Tenor
5 5 5 5 5
b’ b’ dm b’ b’

:
2 5 5 5 5 5 5 5 5 5 5 5 5 :5
E 
f mf
Bass
5 5 5 5 5

-
dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’

E
G  0 ? 4 =  :: 5 : 5 5 5
Piano (for
5 5 5 5 5:

:: 5
rehearsal f mf
only)
 E  5 55 55 55 55 55 55 55 55 55 55 55 55 55 55 55 55
5 5

1 E 5: 5: 5 5 5
5: 5 5 5 5 5 5 5
4

G 5 5 5 5 5
5 5 5 5
hangs his head, an’ a’ that, The co - ward slave, we pass him by: We dare be poor for a’ that. For

G 5: 5 5 5 5 5: 5 5 5 5 5 5 5 5: 5 5 5
E
struts, an’ stares, an’ a’ that, Tho’ hun - dreds wor - ship at his word, He’s but a coof for a’ that. For

5
5 5 5 5
hangs his head, an’ a’ that, the co - ward slave, we pass him by: we dare be poor for a’ that. For
struts, an’ stares, an’ a’ that, Tho’ hun - dreds wor - ship at his word, He’s but a coof for a’ that. For
E 5 5 5 5 5 =
G 5 5 5 5:
i dm
5 5 5 5 5 5 5

:
b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm

E
2
5 5 5
5 5 5
=
5 5 5 5 5 5 5 5 5 5 5 5 5

-
dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’ dm

E 5: 5:
G 5 5 5 5 5 5 5: 5 5 5 5 5 5 5 5 5 5 5 5
5

E 5 5 5 5 5 55 BB
5 5 5 5 5 55 55 55 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5

Cantabile Anthology LAYOUT.indd 41 10/8/2012 1:07:16 PM

 42

1 E 5 : 5 5 5 5: 5 5 5 : 5 5
5 5 5 5 5: 5 5
5 5 5 35
7

5 5
G
toils ob - scure, and a’ is but the gui - nea’s stamp,

G 5 : 5 5 5 5: 5 5 5 5 : 5 5 5 5 5 5 5 : 5 5 5
a’ that, an’ a’ that, our that, The rank The

E 5
a’ that an’ a’ that, his rib - band, star, an’ a’ that, The man of in - de - pen - dent mind He

5 5 35
a’ that, an’ a’ that, our toils ob - scure, and a’ that, the rank is but the gui - nea’s stamp, the

E
a’ that an’ a’ that, his rib - band, star, an’ a’ that, The man of in - de - pen - dent mind He

5 5 5:
G 5 3 5$
5 5 5 5 5 5 5
i dm
5 5 5 5
b’ b’ dm dm dm b’ b’ dm b’ b’ dm b’ b’ dm b’

E 3 5$
2
5 5 5 5
5 5 5 5 5 5 5 5 5 5 5 5 5 5:

-
dm b’ b’ dm dm dm b’ b’ dm b’ b’ dm b’ b’ dm b’

E 5 : 5 5 5 5: 5 5: 5 5 5 5: 5 5 5 5
G 5 5 5 5
5 5 5 3 5

E 5
5 55 55 55 55 55 55 55 55 55 55 55 55 55 55 5 3 5
5 5
5 5 5

1 E :
5:
10 mf

G 5 5 5 5 5 5 = B B B 5

man’s a gowd for a’ that Oo

G 5 : 5 5 5 5 5 =
looks an’ laughs at a’ that

5:
E mf

B 5
B B
man’s a gowd for a’ that - Oo

5 5 5 5 : 5 5 5 5 5 5: 5 5 : 5 5 5 5 5 5 5
looks an’ laughs at a’ that
E  f
G B
i
dm dm b’ What though on hame -ly fare we dine, Wear hod - din grey, an’ a’ that, Gie
A prince can mak a bel - ted knight, A mar - quis, duke, an’ a’ that; But an’

E B
2
5 5 5
mf
5 5 =
B  5 5 5 5 5 5 5 5 5 5 5 5

-
G 5: 5 5:
dm dm b’ dm b’ b’ dm b’ b’ dm b’ b’ dm b’ b’

5:
E
5:
5 5 5  = B 5 B 55
5 B 5 5 B 
 E BB 55 55 5 5 : 5 5 5 55 5 5 5: 5 5 5 5
5: 5:
5 5 5 5
B 5 5 5 5 5 5 5

Cantabile Anthology LAYOUT.indd 42 10/8/2012 1:07:16 PM

 46
Pomp and Circumstance
Margarete and Julian Forsyth Edward Elgar
Arranged by Cantabile – The London Quartet
Allegro marziale – make as grand as you wish
E
G  55 = 55 = 5
555 5= 55 = B5 = 5 = B5 = 5 = 5
5 5    
5 5 5 55
sempre f
 55 =  
Piano
E  55 = 55 = 55 = 5 = 5 = 5 = 5 = 555 = 555 = 55 = 55 =
5 5 5 5
5 5 5 5    
E
7

G   B
B B B E 5 5 5
5 = 5 = 55 = 55 = B5 = 55 =
 
E 55 = 55 = 55 = 55 = 55 = 55 = 5 = 5 = 5 = 55 = 55 = 55 =
    5 5 5 5 5 5  
E 
13

G 55 55 5 5 5 B 55 55 5 5 55
55 = 55 = E 555 = 555 = 5 = 5 = B55 = 55 = 5 5= = 55
 5 =
=
       
E 5 =   
5 = 5 = 5 = 55 = 55 = 55 = 55 = 55 = 55 = 55 = 55 =
5 5 5 5     5 5 5 5

E
19

G B
5 = 5 = B5 = 5 = 5 5 5 5 55 B B
E 5 = 5 = 5 = 5 = 55 = 55 = 55 = 55 = E555 = 555 = 55 = 55 =
5 5 5 5        
25
E  
G  5 5 B5 5 B 5 5 5 5 5 5 5 5 55 = 55
5 5
B E 5
5 = 5 = 5 = 5 = 5 = 5 = 5 5 5 =  5
      
E 55 = 55 = 5 = 5 = 5 = 55 = 5 = 55 = 55 = 55 = 55 = 55 = 55 = 55
5 5 5 5 5 5 5 5   5 5

E  
55 5 5 5
32

G 5 !5  5 55 55
5 5 BB 55 5 5 B B
55 = 55 = 55 55 5 5
 =  =
 
E 55 !55 55 = 55 = 555 = 555 = 55 = 55 = 5 = 5 = 5 5 5 5
5 5 5 5 5 5 5 5 5 5 55 55
    5 5

Cantabile Anthology LAYOUT.indd 46 10/8/2012 1:07:17 PM

 47

E !
39 All voices, unison at appropriate pitch:
G 0 0 0 0 0 0 0 4
5
E 55 !
55 4 4 4 4 4EE55 555 = 5= 4 4
Hm

G 55 55  5
5 55 55  
5 EE 55 5 5 5  55
E 5 5 5 5 55 !B 5 = = !B 
5 = 5 !5 5 5 !
55
5 5 5 5 !B 5 5 !B 5
47 Nobilmente (l’istesso tempo)

G B B  5 B
B 5 5 5 5: 5 5 5 5
G BB BB  5 BBB
BB 5B 5 5 5:
B 5 55 5 5
5
 B B5 B B5 5 B 55 5 B
5 5 5 5 5 5 5 5 5 5
54

G B 5 5 5 5 5 5 5 
5 5 5 5: 5 5 5 5 5
G BBB 5 55 55 5 55 55 55 
5 5 55 5 55 5:
5 5 5 55 5 55
5
 B5 5 55 55 55 55 5 5 55 5 5 5
5 5 5 5 5 5 5
61

G B B  B 
B 5 B B
5: 5 5 5 5 5: 5 5 5 5
G B 5 B5 5 5: 5 5 5 5 BB BB  55 5 BB BBB
5 B B 5:
B 5 5
5 5 B
 55 55 55 55
B B5 5 5 5 5 B 55 5 B B5 5
5 5 5 5 5 5 5 5 5

71

G 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5: 5 5: 5 5 5

G 55 55 55 5 5 55 5 5 5 5 5 5 5 5 5: 5
5 5 5 5 5 5 5 55 : 5 55 555
5

 5 55 55 55 5 5 5 5 55 5 55 55 5 5 4 55 55 E55 55 5
5 5 5 5 5 5 5 5

Cantabile Anthology LAYOUT.indd 47 10/8/2012 1:07:18 PM

 48

1
80 sempre f

Soprano G
5:  5 5 5 5 5 B B
5 B B
(Hm) Big Ben starts to chime?
sempre f

G 5:  5 5 5 5 5 B B
5 B B
Alto

(Hm) Big Ben starts to chime?

B B
sempre f

G 5:  5 5 5 5 5
i (Hm) 5 B B
Tenor

Big Ben starts to chime?

 5:  5 5 5 5 5 B B
sempre f
Bass
2 5 B B
(Hm) Big Ben starts to chime?

BB BB
G 5:  BB 5B 5 5 BB BB
5 5 5 BB BB B B
B B
 B 5 5 B B5 B B5 5
4 5 B 5 5 5 5 5

1
G 5:

87
5
5 5 5 5 5 B B 5 5 5 5
Pomp and cir - cum - stance sub - lime, Roy - al mar - ria - ges,

G 5:

5 5 5 5 5 B B 5 5 5 5 5
Pomp and cir - cum - stance sub - lime, Roy - al mar - ria - ges,
B B
G 5:
 5
5 5 5 5 5 5 5 5 5
i Pomp and cir - cum - stance sub - lime, Roy - al mar - ria - ges,

 5: 5 5 5 5 5
2  B B 5 5 5 5 5
Pomp and cir - cum - stance sub - lime, Roy - al mar - ria - ges,

BBB BBB 55 55 55 5 55
G 5BB :
 5
5 555 5 555 BB B 55 55 55 5
 B 5 4 5 5 5 55
5 5 B 5 5 5
5 5 5 5 5 5 5 5

Cantabile Anthology LAYOUT.indd 48 10/8/2012 1:07:18 PM

 58
A Foggy Day
from the album And Now ...
Ira Gershwin George Gershwin
Freely Arranged by Cantabile – The London Quartet

1 E
h = 54

'I :
IB BI 
p
G  BI BI ': BI BI
I
S.

Doo doo doo doo; doo doo doo doo;

E
G  B 'I :

p

I
IB BI 'I : BI BI BI
A.

IB
'I :
Doo doo doo doo; doo doo doo doo;

E I BI BI BI
p
IB 
G  B ':
I
i Doo
T.

IB BI BI
doo doo doo; doo doo doo doo;

IB I IB !BI E'I :
p
E  ': 
2 

-
B.
Doo doo doo doo; doo doo doo doo;

'I ::
E 
'I' ::
G  BB BBB BB B BB B
I I IB IB IB IBB '
BI ''I :: 'I :
IB IB IB
Piano (for
I
 E  BB B !IB E' :
rehearsal
only)
 

1 E  5 E5 
Move along ...
!
5

G 5 5 !5 !5 5 5 5 5 5 5 !' B
4
5

Oo A

E !
G  B 4 
B B B B B ' B 5
Oo A

E  !
G  B B B B B !B ' B 4 5
i Oo A

E 
2  !B B B B B B ' B 4 5 !


-
Oo
A
E 5 E5  !
G  5B 5 !5 5 5 5 4 
B !5B !B 5 5B  B !5
!'
' BB 5

 E  !BB B B B B !B '
'
B
B 4
55 !
 !B B !B B !B 

Cantabile Anthology LAYOUT.indd 58 10/8/2012 1:07:21 PM

 59

1  Definitely in 2
10

B:
cresc.
G 5 ' B 5 5
5 B 5 5 5 B
fog - gy day in Lon - don Town Had me low

B:
cresc.
G 5 B 5 5 5 B !5 B B B 5 5
- gy Lon - don

B:
fog day in Town Had me low
cresc.

G 5 B 5 5 5 B 5 ' B 5 5
i fog - gy day in Lon - don Town Had me low
cresc.
 5 B 5 B: 5 !5 B 5 5 5 5
2 
5 '

-
fog - gy day in Lon - don Town Had me low

G
5 B 55 BB :: 55 ! 55 BB
5
!5
'
B B BB  555
55
B
 55 BB 55 B:
B: 55 !55 BB 5 ' 5 5 5
5
 5 ' 5

1  5
G 5 B 5 B 5 5
B 5 5 5 B:
15 f
' B 5 5 B: 5
and had me down; I viewed the mor- ning with a - larm; The

B !B 5 5 5 B : !B
f
G  B: 5 B 5 5 B 5 5 B: 5
I viewed the mor - ning - larm;

B:
and had me down; with a The

5 !B 5 5 ' f B 5 5 5 B: !B 5 5
G  B: 5
i
B 5 5 5 B:
and had me down; I viewed the mor- ning with a - larm; The

5 5 5 5
 B: 5 B 5
5 ' 5 B 5
f

-
and had me down; I viewed the mor- ning with a - larm; The

5 5 5 B:
G  5B: 5 B 55 55 55 55 BB ::
B
BBB ::: 55
5 'B
BB 55 !5 5 ' B !BB !!BBB 555  555
B: 5 B: 5 5 5 5
 B:
5 !BB 55 5 ' B 5 5 5 B 55
 5

Cantabile Anthology LAYOUT.indd 59 10/8/2012 1:07:21 PM

 60

1 
22

G 5 5 5 5 5 B 5 B 5 5 '
Bri - tish Mu - se - um had lost its charm.

G 5 5 5 5 5 EB 5 B 5 5 B B
Bri - tish Mu - se - um had lost its charm.

5 5 5 5 B
G 5 5 !B 5 5 '
i Bri - tish Mu - se -
B 5
um had lost its charm.

 5 !5 5 5 B
2  5 5 5 '

-
Bri - tish Mu - se - um had lost its charm.

G  55 55 55 55 55 B 555 BB
5 5 EBB 55 !55 'B B
5 5
 55 !5 5 !5 5 B 5 !BB 5
5
5
5
'
'


1 I
5 5 B:
26 Ease back, but fluid (straight 8s)

G 5 5 5 5 5 5 5 5 5 5 5 5
I was a stran - ger in the ci - ty; Out of town were the

G 5 5 5 5I 5 5 5 5 5 B: 5 E5 5 5 5
stran - ger - ty;

5 5 B:
I
I was a in the ci Out of town were the

G 5 5 5 5 5 5 5 5 5 5 5 5
i I
5 5 I5 5 5 5
was a stran - ger in the ci - ty; Out of town were the

 5 5 5 B: 5
2 
5 5 5 5

-
I was a stran - ger in the ci - ty; Out of town were the

G  55 5 55 !555 55 55 55 BB :: 55 E55 55
B:
!55 5 I 5 5 55 55 55 !55
5 5 5 5
 5 5 5 5I 5 5 5 5 5 B:
5
5
5
5
5
5
5 5
 !5 5

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 66
Lullaby (Hush Macushla)
from the album Lullabyes and Goodbyes

Cantabile – The London Quartet

1 E
q = 90

Soprano G  0 0 0 0

E
Alto G  0 0 0 0

E
G 
sempre mp
0 0 0 4 4 5 5
i
Tenor

Hush, Ma -
E 
Bass
2 0 0 0 0

E
G 4 BBB
4
555 55
4
BBB
4
555 55
5 5
: 5:
Piano sempre mp
E  5 5 5 5 5 5 5 5 5 5
5 5 5
5 5
5 5
5 5
 

1 E
5

G 0 0 0 0

E
G 0 0 0 0

E5 5 5 5 5
G 5 5 5 5 5 5 5 5 B
i cush - la,
B
don’t you cry; The stars are in the sky; Hush, Ma -

E
2 0 0 0 0

E
G 4 BBB
4
555 55
4
BBB B5
B 5 55
5
5
E 5 5 : 5 5 5 5 5 5 5 5: 55
5 5
5 B
5  

Cantabile Anthology LAYOUT.indd 66 10/8/2012 1:07:23 PM

 67

1 E
9

G 0 0 0 0

E
G 0 0 0 0

B:
E
G 5 5 5 5 5 5 B 5 5 5 5 5 5
i
cush - la, now don’t you sigh; Be - lieve your dreams and fly.

E
2
0 0 0 0

E
G 4 BBB :::
4 4
BBB 555 55 BBB
5
E : 5 5 5 5 5 B: :
5 5 5 !B :
5 5 5 5 5 5
 

1 E
13 sempre mp

G 4 4 5 5 5 5 5 5 5
B 5 5 5 5 5 5

E
Hush, Ma - cush - la, don’t you cry; The moon is float - ing

G 0 0 0 0

G 5:
E
= 5 5 5 5 5 5 5
5 5 5 5 5 5
i
B
Hush, Ma - cush - la, don’t you cry; The moon is float - ing

E
2
0 0 0 0

E
G 4 555 55 4
BBB
4
555 55 4
BBB
5 5
E 5 5 5 5 5 : 5 5 5 5 5 :
5 5 5
5 5
5 5 5
5
5  

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 72
Myfanwy – Pronuncation Guide

Paham mae dicter, O Myfanwy, pɑː-hɑm mɑi d k-tɛr oː mǝ-vɑn-uːi

Yn llenwi’th lygaid duon di? ǝn łɛn-wiθ lǝ-gaid diː-ɔn diː

A’th ruddiau tirion, O Myfanwy, ɑːθ riː-ðjɑi ti-rjɔn oː mǝ-van-uːi

Heb wrido wrth fy ngweled i? heb wriː-dɔ wrθ vǝ ŋwɛ-lɛd iː
Pa le mae’r wên oedd ar dy wefus pɑː le mɑir wen ɔið ar dǝ we-vis
Fu’n cynnau ‘nghariad ffyddlon ffôl? viːn kǝ-nai ka-rjad fǝð-lɔn foːl
Pa le mae sain dy eiriau melys, pɑː le mɑi sain dǝ ai-rjai mɛ-lis
Fu’n denu’n nghalon ar dy ôl? vin dɛ-ni ŋ̊ɑ-lon ar dǝ oːl

Pa beth a wneuthum, O Myfanwy pɑː-beθ ɑː wnai-θim oː mǝ-van-uːi

I haeddu gwg dy ddwyrudd hardd? iː hai-ði guːg dǝ ðuːi-riːð harð

Ai chwarae oeddit, O Myfanwy ai χwa-rair ɔi-ðit oː mǝ-vɑːn-uːi

 thanau euraidd serch dy fardd? ɑː θa-nai ai-raið sɛrχ dǝ varð
Wyt eiddo im drwy gywir amod uːit ai-dɔ im druːi gǝ-wir a-mɔd
Ai gormod cadw’th air i mi? ai gɔr-mɔd ka-dwθ air iː miː
Ni cheisiaf fyth mo’th law, Myfanwy, niː vǝ-nav b θ mɔθ law mǝ-van-uːi
Heb gael dy galon gyda hi. heb gail dǝ ga-lɔn gǝ-da hiː

Myfanwy boed yr holl o’th fywyd mǝ-van-uːi bɔid ǝr oːł oːθ vǝ-wid
Dan heulwen ddisglair canol dydd. dɑːn hail-wɛn ðis-glair ca-nɔl diːð
A boed i rosyn gwridog iechyd ɑː bɔid i rɔ-sin gwriː-dɔg jɛ-χid
I ddawnsio ganmlwydd ar dy rudd. iː ðawn-siɔ gan-mluːið ar dǝ riːð
Anghofia’r oll o’th addewidion a-ŋhɔ-vjar oːł oːθ ɑː-ðǝ-wi-djɔn
A wnest i rywun, ‘ngeneth ddel, ɑː wnǝst i r -win ɛ-nɛθ ðɛl
A dyro’th law, Myfanwy dirion ɑː dǝ-rɔθ law mǝ-van-uːi di-rjɔn
I ddim ond dweud y gair “Ffarwél”. iː ðim ɔnd dwaid ǝ gair far-wɛl

Notes
A sound which might be unusual to English, but not German speakers, would be the ‘ch’, as in the Scots ‘loch’ or the
Yinglish ‘chutzpah’.
A sound which might be unusual to most non-Welsh speakers would be the ‘ll’, which is somewhere between the voiceless
‘l’ in English ‘please’ and the ‘tl’ in ‘antler’. You can produce it thus: go to pronounce a letter ‘l’, stop as the tip of the tongue
touches the roof of the mouth, and blow around the sides of the tongue.
The ‘dd’ (functioning in Welsh as a single letter – should always have a note going through it; pronounce it as the ‘th’ in
the English ‘this’, not as in ‘think’.
In this song the most important sound to get right is the last syllable of ‘Myfanwy’; there is much more ‘w’ (English ‘oo’)
than ‘y’ (English ‘ee’)!
There are several variants on the text of ‘Myfanwy’. We have chosen the oldest generally available version (1882), with
certain spellings modified to comply with modern usage. The most obvious variant one hears these days is in the second
verse: ‘Ni cheisiaf fyth mo’th law, Myfanwy...’ for the original ‘Ni fynaf byth mo’th law, Myfanwy...’. We are most grateful
for the help given us in this by Tŷ Cerdd – Music Centre Wales, The National Library of Wales, Dr. Gethin Matthews and
Dr. E. Wyn James.

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