Right now it's raining outside, the sky is kinda grey and you know it's cold - there's a general melancholic feel to the world and this track accompanies it perfectly. As far as we now know, the first recording of "She's Like the Swallow" was in 1930, the last in 1961. It is a commonplace in a number of English folksongs about love. Maybe the original version just disappeared from UK. Composer / Arranger Notes: My initial arrangement of She's like the Swallow' (SATB), one of my Five Canadian Folk Songs, was commissioned in 1995 by the Vancouver Chamber Choir, Jon Washburn, director. Taft 1975; including Blondahl c. 1964, Dobson, Mills and Carignon, Murray, Okun, Pinsent, Terra Novans, and Travelers). She noted: First noted by Maud Karpeles in 1930, this Newfoundland song of unhappy love was collected by Kenneth Peacock in the 1960s.
The swallow verse seems to be unique to the Maritimes. Folk Song SuitePDF Download. How do the verses of "She's Like the Swallow" and their connections as sung relate to these contrasting generic definitions? This song is from the album "Jewel In Crown". Both Karpeles and Peacock provide specific evidence for this in their annotative notes. An SATB arrangement is also available. "'An Icy Mountain Brook': Revival, Aesthetics and the 'Coal Creek March'. "
A Regional Discography of Newfoundland and Labrador. Our systems have detected unusual activity from your IP address (computer network). RCA Victor 56-0058-B (10" 78 rpm disc. Like the three other songs mentioned above, it has only been reported from oral tradition in Newfoundland. Carl Strommen has a knack for arranging folk songs, and this arrangement of a Newfoundland love song is certainly one of his best. 62 Analyzing the actions of Karpeles and Peacock as editors offers insight into their cultural perceptions about the meaning of the song. Although he devotes a paragraph to a discussion of modal melodies, he presents "The Swallow" without comment.
Her heart was broke. I've been singing this as one of the songs for my voice lesson while my teacher plays piano. It may be heard on the recordings Songs, Fiddle Tunes and a Folktale from Canada (Folk FG-3532), Famous Songs of Newfoundland by Omar Blondahl (Canadian Cavalcade CCLP-2001), and Winter's Gone and Past by the Memorial University Chamber Choir (Waterloo WR-18); and, as "She's Like a Swallow, " it was the title song of an LP by Bonnie Dobson. And is there a melody associated with that version? No gimmicks, just solid choral writing designed to make your choir sound great. 57 Verses "D, " "E, " and "F, " although used in different ways by different singers (in fact, no one sang all three), combine to convey the fact of the woman's broken heart followed by death and the man's callous rationalization of his role in the affair.
Two of the singers — Simms and Kinslow — learned it as children. Gerald Thomas and J. D. A. Widdowson, pp. In the song, the final line of the first verse is "I love my love, and love is no more". The interpreters were a conduit from the printed collections to popular audiences. Be that as it may, the perspective of the Arts and Crafts movement affected early twentieth century intellectual life in Britain in many ways. But his immediate response to her apology for brevity was "Oh, that's a lovely one, " and after telling Peacock that she had learned it when she was ten years old from "an old Englishwoman" who, like her parents, had settled in the community in the nineteenth century, she agreed with him about the tune: "But it got a nice tune, hasn't it?
It also appeared on choral recordings, the first of which was made in Newfoundland by the CJON Glee Club in 1956 (see also Bell and St. John's). H. Bugden 5: And when I go home I'll write a song, And every verse recall, my dear. The words were another and separate matter; the fact that they did not always collect full verses — well documented by Wilgus – reflects their priorities. Starts and ends within the same node. It sets the theme for the song, and as Mrs. Kinslow told Peacock, "That's the chorus of un, see? " However his son came to the rescue and gave me a couple of songs, and another son the words of G. Laddie — tune no good. The transparent simplicity and stark sadness of the first stanza contrast the resolved dissonances of the second stanza and the strict four part canon of the final stanza. Peacock, Kenneth, coll.
I take delight in every home". 22 Popular performers recorded the song at least eight times in the next 18 years (cf. Media Sense: The Folklore-Popular Culture Continuum, ed. We have only one full version of that verse — from Bugden (Annie Walters also sang it, as her seventh verse, in "She Died in Love").
It is not uncommon in oral traditions for the first line, particularly of the refrain, to become the title, as happened here. 14 A decade later, Smallwood, the editor of the volume in which Emerson's essay appeared, was leading the campaign for Newfoundland's confederation with Canada. From the oral folk traditions in Newfoundland with origins from England. A melody was not included. Later she saw Peacock's version and added verses from that to the version she already knew. To think I love no other but she, The world's not made for one alone, I takes delight in everyone. I turn to the tiny amount of contextual information accompanying each of the five field versions of the song. We'll Rant and We'll Roar. Do you like this song? 29 Later that summer, in Parson's Pond, Peacock found another singer who knew the song, Aunt Charlotte Decker. After my dad died I was very sad - I couldn't play for a while and when I did, the music that came out reflected my grieving state. These hundreds of small coastal fishing communities were seen to epitomize equality, self-reliance, solidarity, and other positive social values. The book reflects the mindset of late Victorian and Edwardian Britain, influenced by a new, intellectually fashionable, scientific frame: Darwin's theory of evolution. Until this poor girl's heart was broke.
When he came to edit the two versions for publication, he made Mrs. Decker's text, which is one verse longer, his "A" primary version. The published texts of Karpeles and Peacock do not match their own ethnographic evidence — Karpeles edited Hunt's performance, while Peacock edited and rearranged Kinslow's and added a verse to Decker's, which he may have also rearranged. That is definitely what he did with Kinslow's text when he edited it for publication. A version sung by Jon Vickers was released by Centrediscs (CMCCD 6398) in 1998. Lyrics Licensed & Provided by LyricFind. In several places his text diverges from both of her versions, while in other places he chooses variant wording from first one, then the other, of her two performances. What does the first half of the text look like? Peacock, engrossed by the record-setting new verse ("C") of her second performance, answers her distractedly "Um-hm, " so she rephrases her instructions about sequence before telling him about the new verse she had just remembered: "That goes twice. In 1973, she removed that verse, without making any comment about having done so. The Bush Garden: Essays on the Canadian Imagination, pp.
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