02 Jun

The Banks of Brandywine

One morning very early in the merry month of May,
As I walked forth to take the air, all nature being gay,
The moon had not yet veiled her face but through the trees did shine,
As I wandered for amusement on the banks of Brandywine.

At such an early hour I was surprised to see,
A lovely maid with downcast eyes upon those banks so gay,
I modestly saluted her, she knew not my design,
And requested her sweet company, on the banks of Brandywine.

“O leave me sir do leave me my company forsake
For it is my real opinion you’re nothing but a rake,
My love’s a valiant sailor and he’s out on the brine,
While comfortless I wander on the banks of Brandywine.”

“My dear, why do you thus give up to melancholy cries?
I pray leave off your weeping, and dry those lovely eyes,
For sailors in each port, my dear, they do a mistress find,
He will leave you still to wander on the banks of Brandywine.”

“O leave me, sir, do leave me, why do you me torment?
My Henry won’t deceive me, therefore I am content,
Why do you thus torment me, and cruelly combine,
To fill my heart with horror on the banks of Brandywine?”

“I wish not to affect your mind but rather for to ease,
Such dreadful apprehensions that soon your mind will see,
Your love, my dear, in wedlock bands, another one has joined.”
She swooned into my arms on the banks of Brandywine.

O the lofty hills and craggy rocks re-echoed back her strain,
And the pleasant groves and rural shades gave witness to her pain,
“How often has he promised me in Hymen’s chains to join,
Now I’m a maid forsaken on the banks of Brandywine.”

“O no, my dear, that ne’er shall be, behold your Henry now,
I clasp you to my bosom, love, I have not forgot my vow,
It’s now I know you’re true, my dear, in Hymen’s chains we’ll join
And hail the happy morn we met on the banks of Brandywine.”

We return to the deep well of beautiful songs recorded by collector Helen Creighton in the Canadian Maritimes this month. While browsing around the recently accessible audio collection at the Nova Scotia Archives site I came across this one from singer Berton Young of West Petpeswick, Nova Scotia. Creighton recorded him in 1945.

This song appears in Creighton’s book Folk Songs of Nova Scotia in a slightly different form but I made my own transcription of Young’s singing here.  He has trouble remember the words so the recording jumps around a bit but he is another singer from that region who exhibits a fantastic light, ornamented style full of interesting twists and turns. The story is a classic example of a “Riley Ballad” where the returned lover disguises himself and tests the woman’s faithfulness before revealing his identity.

The Brandywine River (creek) referenced is most likely the one in Pennsylvania/Delaware that was the site of an important battle in the American Revolutionary War. That place name points to a North American origin for the song but it does turn up in Ireland as well. Irish song authority John Moulden guesses that it came back with someone who returned to Ireland after working over here.

17 Feb

Once I Had a Girl

It’s once I had a girl, a bonny, bonny girl,
Her name I would scorn for to tell,
Although she’s got another all for to be her lover,
And she’s left me a-singing fare you well, fare you well,
And she’s left me a-singing fare you well.

As I walked out the Donnybrook side,
Near by the pine trees dwell,
It’s there I saw my girl, my bonny, bonny girl,
She was clasped in another man’s arms, arms, arms,
She was clasped in another man’s arms.

She reached out to me her lily white hand,
Just as if I was at her command,
Oh I soon passed her by, I ne’er cast an eye,
I was scorned to be slighted a girl, girl, girl,
I was scorned to be slighted by a girl.

Although my love is good, and just as good as she,
Although she has houses and land,
Of sweethearts I have plenty, I can count them out by twenty,
I can turn, I can change like the wind, wind, wind,
I can turn, I can change like the wind.

The above was sung by Mr. Sydney Boutilier of French Village, Nova Scotia for Helen Creighton’s recording machine in 1950. Creighton called it a “very pretty little love song” but, as far as I can tell, did not publish it in any of her folk song collections. It seems to be a rare song in tradition but I agree with Creighton that the melody is nice! I found this one among the many gems now available online through the Nova Scotia Archives at archives.novascotia.ca.

22 Aug

The Dublin Dancing Master

In Dublin city once there lived a cratur gay and hearty,
A dancing master he by trade his name was Teddy McCarthy,
He taught the girls and boys to dance and none could do it faster,
He always danced so neat and nice, the Dublin dancing master.

            Down the middle, hands across, go a little faster,
            In and out and round about, the Dublin dancing master.

Now Teddy taught both reels and jigs and all the other dances,
From highland fling to plain quadrille to please the ladies’ fancies,
Patsy Whelan, Mickey Flynn and a boy called Kit McAstor,
Came to learn a highland fling from the Dublin dancing master

Thus Teddy got the boys and girls proficient in their dances,
Polkas, jigs and schottisches, mazurkas, reels and lancers,
No matter what the dance he taught, none could go it faster,
And none could dance an Irish jig like the Dublin dancing master.

I happened on this song in my monthly search and thought it was the perfect choice as I am thinking this week about the passing of Séamus O’Shea. Séamus was a true modern day Dublin dancing master whose son Cormac carries on the family tradition here in St. Paul. Rest in Peace Séamus.

The Canadian Maritimes are, again, my source for this music hall song that migrated from the vaudeville stage to the voices of singers in their communities. The song was sung at Tony Pastor’s famous New York theater in 1866 by singer William Carleton (not to be confused with the author of the same name). In Eastern Passage, Halifax County, Nova Scotia, it was sung by Ben Henneberry (with fiddle by Ken Faulkner) for Helen Creighton’s recording machine in 1948. You can hear the Henneberry/Faulkner recording at the Nova Scotia Archives site.

The melody above is my transcription of Henneberry’s singing and the text is adapted from Henneberry with additional words from a version printed in Will Carleton’s Dandy Pat Songster (1866).