Annotation:Malbrook: Difference between revisions

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It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century. Gilchrist (1940) notes: "I have here printed the 18th-century version (the name is sometimes corrupted to "Mall Brook" or "Moll Brooks," etc.) as found with negligible variation in several of these fiddlers' books, to demonstrate how the plaintive little folk-tune, with its falling cadences and lack of any climax, has been transformed in England, where it became very popular by its adaptation to jovial use as "For he's a jolly good fellow" and "We won't go home till morning"--the rising bellow on "fe-el-low" or "mo-or-ning" being an entirely British embellishment, as an outlet for enthusiasm, or sign of Bacchanalian high spirits. (Has the likeness of the tune to the "[[Queen's Jig (The)]]" of the Dancing Master ever been noticed?)."

It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century. Gilchrist (1940) notes: "I have here printed the 18th-century version (the name is sometimes corrupted to "Mall Brook" or "Moll Brooks," etc.) as found with negligible variation in several of these fiddlers' books, to demonstrate how the plaintive little folk-tune, with its falling cadences and lack of any climax, has been transformed in England, where it became very popular by its adaptation to jovial use as "For he's a jolly good fellow" and "We won't go home till morning"--the rising bellow on "fe-el-low" or "mo-or-ning" being an entirely British embellishment, as an outlet for enthusiasm, or sign of Bacchanalian high spirits. (Has the likeness of the tune to the "[[Queen's Jig (The)]]" of the Dancing Master ever been noticed?)." "Malbrook" was entered in the mid-19th century music manuscript of William Winter, a shoemaker and violin player who lived in West Bagborough in Somerset, southwest England.

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The melody appears in a few music manuscript copybooks in America during the War of Independence (and post-) era, as for example in those of Captain George Bush (see below), John Hoff (a Pennsylvania flute manuscript, 1797–1799), John Curtiss (a Connecticut commonplace book c. 1800), and Henry Livingston, Jr., to name a few. Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery's invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly's dancing season of 1774–1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.

|f_source_for_notated_version=the music manuscript of Captain George Bush (1753?–1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]; ''A Selection of Cotillions''' (Boston, 1808, p. 8) [Morrison].

|f_printed_sources=Aird ('''Selection of Scotch, English, Irish and Foreign Airs, vol. 3'''), 1788; No. 661, p. 179. Longman, Lukey, & Broderip ('''Bride's Favourite Collection of 200 Select Country Dances, Cotillons'''), 1776; Part IV, p. 92 (appears as "La Malbro"). Howe ('''Complete Preceptor for the Accordeon'''), 1843; p. 30. Keller ('''Fiddle Tunes from the American Revolution'''), 1992; p. 22. Manson ('''Hamilton's Universal Tune-Book, vol. 1'''), 1854; p. 97. McLachlan ('''The Piper's Assistant'''), 1854; No. 9, p. 6. Morrison ('''Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976'''), 1976; p. 51. Thompson ('''Compleat Collection of 200 Favourite Country Dances, vol. 5'''), 1788; p. 37.

|f_printed_sources=Aird ('''Selection of Scotch, English, Irish and Foreign Airs, vol. 3'''), 1788; No. 661, p. 179. Longman, Lukey, & Broderip ('''Bride's Favourite Collection of 200 Select Country Dances, Cotillons'''), 1776; Part IV, p. 92 (appears as "La Malbro"). Howe ('''Complete Preceptor for the Accordeon'''), 1843; p. 30. Keller ('''Fiddle Tunes from the American Revolution'''), 1992; p. 22. Manson ('''Hamilton's Universal Tune-Book, vol. 1'''), 1854; p. 97. McLachlan ('''The Piper's Assistant'''), 1854; No. 9, p. 6. Morrison ('''Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976'''), 1976; p. 51. Thompson ('''Compleat Collection of 200 Favourite Country Dances, vol. 5'''), 1788; p. 37. Geoff Woolfe ('''William Winter’s Quantocks Tune Book'''), 2007; No. 262, p. 98 (ms. originally dated 1850).

|f_recorded_sources=

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-It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century. Gilchrist (1940) notes: "I have here printed the 18th-century version (the name is sometimes corrupted to "Mall Brook" or "Moll Brooks," etc.) as found with negligible variation in several of these fiddlers' books, to demonstrate how the plaintive little folk-tune, with its falling cadences and lack of any climax, has been transformed in England, where it became very popular by its adaptation to jovial use as "For he's a jolly good fellow" and "We won't go home till morning"--the rising bellow on "fe-el-low" or "mo-or-ning" being an entirely British embellishment, as an outlet for enthusiasm, or sign of Bacchanalian high spirits. (Has the likeness of the tune to the "[[Queen's Jig (The)]]" of the Dancing Master ever been noticed?)."
+It was a popular English country dance tune that appears in a number of printed dance collections and instrumental tutors, the earliest being Longman, Lukey and Broderip's '''Bride's Favourite Collection of 200 Select Country Dances, Cotillons''' (London, 1776). It continued to be included in collections through the second decade of the 19th century. Gilchrist (1940) notes: "I have here printed the 18th-century version (the name is sometimes corrupted to "Mall Brook" or "Moll Brooks," etc.) as found with negligible variation in several of these fiddlers' books, to demonstrate how the plaintive little folk-tune, with its falling cadences and lack of any climax, has been transformed in England, where it became very popular by its adaptation to jovial use as "For he's a jolly good fellow" and "We won't go home till morning"--the rising bellow on "fe-el-low" or "mo-or-ning" being an entirely British embellishment, as an outlet for enthusiasm, or sign of Bacchanalian high spirits. (Has the likeness of the tune to the "[[Queen's Jig (The)]]" of the Dancing Master ever been noticed?)."  "Malbrook" was entered in the mid-19th century music manuscript of William Winter, a shoemaker and violin player who lived in West Bagborough in Somerset, southwest England.
 <br>
 <br>
 The melody appears in a few music manuscript copybooks in America during the War of Independence (and post-) era, as for example in those of Captain George Bush (see below), John Hoff (a Pennsylvania flute manuscript, 1797–1799), John Curtiss (a Connecticut commonplace book c. 1800), and Henry Livingston, Jr., to name a few.  Livingston purchased the estate of Locust Grove, Poughkeepsie, New York, in 1771 at the age of 23. In 1775 he was a Major in the 3rd New York Regiment, which participated in Montgomery's invasion of Canada in a failed attempt to wrest Montreal from British control. An important land-owner in the Hudson Valley, and a member of the powerful Livingston family, Henry was also a surveyor and real estate speculator, an illustrator and map-maker, and a Justice of the Peace for Dutchess County. He was also a poet and musician, and presumably a dancer, as he was elected a Manager for the New York Assembly's dancing season of 1774–1775, along with his 3rd cousin, John Jay, later U.S. Chief Justice of Governor of New York.
 |f_source_for_notated_version=the music manuscript of Captain George Bush (1753?–1797), a fiddler and officer in the Continental Army during the American Revolution [Keller]; ''A Selection of Cotillions''' (Boston, 1808, p. 8) [Morrison].
-|f_printed_sources=Aird ('''Selection of Scotch, English, Irish and Foreign Airs, vol. 3'''), 1788; No. 661, p. 179. Longman, Lukey, & Broderip ('''Bride's Favourite Collection of 200 Select Country Dances, Cotillons'''), 1776; Part IV, p. 92 (appears as "La Malbro"). Howe ('''Complete Preceptor for the Accordeon'''), 1843; p. 30. Keller ('''Fiddle Tunes from the American Revolution'''), 1992; p. 22. Manson ('''Hamilton's Universal Tune-Book, vol. 1'''), 1854; p. 97. McLachlan ('''The Piper's Assistant'''), 1854; No. 9, p. 6.  Morrison ('''Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976'''), 1976; p. 51. Thompson ('''Compleat Collection of 200 Favourite Country Dances, vol. 5'''), 1788; p. 37.
+|f_printed_sources=Aird ('''Selection of Scotch, English, Irish and Foreign Airs, vol. 3'''), 1788; No. 661, p. 179. Longman, Lukey, & Broderip ('''Bride's Favourite Collection of 200 Select Country Dances, Cotillons'''), 1776; Part IV, p. 92 (appears as "La Malbro"). Howe ('''Complete Preceptor for the Accordeon'''), 1843; p. 30. Keller ('''Fiddle Tunes from the American Revolution'''), 1992; p. 22. Manson ('''Hamilton's Universal Tune-Book, vol. 1'''), 1854; p. 97. McLachlan ('''The Piper's Assistant'''), 1854; No. 9, p. 6.  Morrison ('''Twenty-Four Early American Country Dances, Cotillions & Reels, for the Year 1976'''), 1976; p. 51. Thompson ('''Compleat Collection of 200 Favourite Country Dances, vol. 5'''), 1788; p. 37. Geoff Woolfe ('''William Winter’s Quantocks Tune Book'''), 2007; No. 262, p. 98 (ms. originally dated 1850).
 |f_recorded_sources=
 |f_see_also_listing=
 }}