Pastorale

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Sheet music for Carl Michael Bellman's Fredman's Epistle 80, Liksom en Herdinna, hogtids kladd, one of several pastorales in the 1790 collection Liksom en herdinna music.jpg
Sheet music for Carl Michael Bellman's Fredman's Epistle 80, Liksom en Herdinna, högtids klädd , one of several pastorales in the 1790 collection

Pastorale refers to something of a pastoral nature in music, whether in form or in mood.

In Baroque music, a pastorale is a movement of a melody in thirds over a drone bass, recalling the Christmas music of pifferari, players of the traditional Italian bagpipe (zampogna) and reed pipe (piffero). Pastorales are generally in 6/8 or 9/8 or 12/8 metre, at a moderate tempo. They resemble a slowed-down version of a tarantella, encompassing many of the same rhythms and melodic phrases.

Common examples include the last movement of Corelli's Christmas Concerto (Op.6, No.8), the third movement of Vivaldi's Spring concerto from The Four Seasons, the Pifa movement of Handel's Messiah , the first movements of Bach's Pastorale (BWV 590) for organ, and the Sinfonia that opens part II of his Christmas Oratorio as an introduction to the angelic announcement to the shepherds. Scarlatti wrote some examples in his keyboard sonatas, and many other composers in the transition between the baroque and classical eras, particularly French (Marc-Antoine Charpentier), used this technique. Rossini famously included a Pastorale section in his William Tell Overture. The Italian pastorale Tu scendi dalle stelle , sometimes called "Carol of the Bagpipers" (Canzone d'i zampognari), is a widely popular Christmas carol by St. Alfonso Liguori, and Pietro Yon's Gesù bambino is another.

The Swedish poet and performer Carl Michael Bellman's song collection Fredman's Epistles contain several pastorales, including Liksom en Herdinna, högtids klädd (Like a Shepherdess, Solemnly Dressed), which begins with a near-paraphrase of the start of Nicolas Boileau-Despréaux's French guide to the construction of pastoral verse. [1]

Pastorales are still played in the regions of Southern Italy where the zampogna continues to thrive. The pastorale can be played by a solo zampogna player, sometimes also accompanied by the piffero (also commonly called a ciaramella, pipita, or bifera), which is a primitive key-less, double-reed, oboe-type instrument.

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The siciliana[sitʃiˈljaːna] or siciliano[sitʃiˈljaːno] is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow 6
8
or 12
8
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Ulla! min Ulla! säj får jag dig bjuda song by Swedish poet and performer Carl Michael Bellman from his 1790 collection, Fredmans Epistles

Ulla! min Ulla! säj, får jag dig bjuda, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 71. A pastoral, it depicts the Rococo muse Ulla Winblad, as the narrator offers her "reddest strawberries in milk and wine" in the Djurgården countryside north of Stockholm.

Hvila vid denna källa song from Fredmans epistlar by Carl Michael Bellman

Hvila vid denna källa, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 82. A pastoral, it depicts the Rococo muse Ulla Winblad, as the narrator offers a "little breakfast" of "red wine with burnet, and a newly-shot snipe" in the Stockholm countryside.

Bröderna fara väl vilse ibland

Bröderna fara väl vilse ibland, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 35.

Blåsen nu alla

Blåsen nu alla, "All blow now!", is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 25. It is a pastorale, based on François Boucher's rococo 1740 painting Triumph of Venus.

Liksom en Herdinna, högtids klädd song from the Fredmans epistlar collection by Carl Michael Bellman

Liksom en Herdinna, högtids klädd, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 80.

I går såg jag ditt barn, min Fröja

I går såg jag ditt barn, min Fröja, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 28. The song describes an attempt to arrest the "nymph" Ulla Winblad, based on a real event. The lyrics create a rococo picture of life, blending classical allusion and pastoral description with harsh reality.

Ge rum i Bröllopsgåln din hund!

Ge rum i Bröllopsgåln din hund!, is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 40. The song describes an utterly chaotic wedding at a venue with soldiers mixed up with musicians and the wedding-party; the chimney catches fire, and even the priest robs the collection.

Fader Bergström

Fader Bergström, stäm up och klinga is one of the Swedish poet and performer Carl Michael Bellman's best-known and best-loved songs, from his 1790 collection, Fredman's Epistles, where it is No. 63. The melody is based on a minuet by Carl Envallsson. Bergström was a musician, and the song celebrates dancing and drinking late into the evening.

References

  1. Britten Austin, Paul. The Life and Songs of Carl Michael Bellman: Genius of the Swedish Rococo. Allhem, Malmö American-Scandinavian Foundation, New York, 1967. ISBN   978-3-932759-00-0. Pages 153–155