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Doves Figary
Приєднався 18 лют 2014
Welcome to the UA-cam channel of Doves Figary, an ensemble based in the south of England devoted to performing the repertoire from John Playford's Dancing Master (which was first published in 1651) on instruments appropriate to the period, for dancing to and for listening to.
Doves Figary are:
Colin Thompson: fiddle, recorders,
Stephen Kenyon: baroque guitar,
Frances Eustace: viola da gamba, bassoon, bagpipes, fiddle, recorders, percussion.
Doves Figary presents dances with historical dance master Ann Hinchliffe.
Doves Figary are:
Colin Thompson: fiddle, recorders,
Stephen Kenyon: baroque guitar,
Frances Eustace: viola da gamba, bassoon, bagpipes, fiddle, recorders, percussion.
Doves Figary presents dances with historical dance master Ann Hinchliffe.
"Hole in the wall" from John Playford's Dancing Master, performed by Doves Figary
Doves Figary recorded at Barrington Court, Somerset, prior to a Playford dance session led by historical dance master Ann Hinchliffe .
Doves Figary is an ensemble devoted to performing the repertoire of Playford tunes on historically appropriate instruments, for dancing to and for listening to.
Doves Figary are:
Colin Thompson: fiddle, recorders,
Stephen Kenyon: baroque guitar,
Frances Eustace: viola da gamba, bassoon, bagpipes, fiddle, recorders, percussion.
Doves Figary is an ensemble devoted to performing the repertoire of Playford tunes on historically appropriate instruments, for dancing to and for listening to.
Doves Figary are:
Colin Thompson: fiddle, recorders,
Stephen Kenyon: baroque guitar,
Frances Eustace: viola da gamba, bassoon, bagpipes, fiddle, recorders, percussion.
Переглядів: 49 633
Відео
Dancing to "Goddesses" and "Nonesuch" from Playford's Dancing Master.
Переглядів 9 тис.11 років тому
Doves Figary recorded at Barrington Court, Somerset, prior to a Playford dance session led by historical dance master Ann Hinchliffe. Doves Figary is an ensemble devoted to performing the repertoire of Playford tunes on historically appropriate instruments, for dancing to and for listening to. Doves Figary are: Colin Thompson: fiddle, recorders, Stephen Kenyon: baroque guitar, Frances Eustace: ...
All in a garden green, Joan's Placket, Bobbing Joe and Lilli Burlero from Playford.
Переглядів 3,9 тис.11 років тому
Doves Figary recorded at Barrington Court, Somerset, prior to a Playford dance session led by historical dance master Ann Hinchliffe (who makes a brief appearance at the start). Doves Figary is an ensemble devoted to performing the repertoire of Playford tunes on historically appropriate instruments, for dancing to and for listening to. Doves Figary are: Colin Thompson: fiddle, recorders, Steph...
"Tunbridge Walks" and "Ham House" ("Cherry Garden") from Playford's Dancing Master.
Переглядів 1,3 тис.11 років тому
Doves Figary recorded at Barrington Court, Somerset, prior to a Playford dance session led by historical dance master Ann Hinchliffe. Doves Figary is an ensemble devoted to performing the repertoire of Playford tunes on historically appropriate instruments, for dancing to and for listening to. Doves Figary are: Colin Thompson: fiddle, recorders, Stephen Kenyon: baroque guitar, Frances Eustace: ...
"Doves Vagary" (or Figary) or "Chestnut" from John Playford's Dancing Master.
Переглядів 4,9 тис.11 років тому
Doves Figary recorded at Barrington Court, Somerset, prior to a Playford dance session led by historical dance master Ann Hinchliffe. Doves Figary is an ensemble devoted to performing the repertoire of Playford tunes on historically appropriate instruments, for dancing to and for listening to. Doves Figary are: Colin Thompson: fiddle, recorders, Stephen Kenyon: baroque guitar, Frances Eustace: ...
This performance is amazing!
Henry Purcell wrote this. <ua-cam.com/video/TUxbcJIOHNY/v-deo.html>
I would like to play this tune on a D penny whistle, which does not have the needed D#. Any suggestions what might be substituted?
I learned this tune approximately forty years ago when I was playing soprano recorder with a recorder group that was part of a local SCA chapter in Norfolk, Virginia. Occasionally we would play this tune for the dances. I knew it as "Hole In The Wall" and did not know that it was attributed to Henry Purcell who is one of my favorite de-composers from Great Britain. I know about Purcell and his music because I was raised in a musically literate home with two parents who both listened to and enjoyed a wide and eclectic variety of music. My mother was a music teacher and she taught me how to play the piano and read music when I was a child.
Кросивое ^__^
I fell in love with this tune when I was 18 and learning the dance. Now I am 84 and cannot dance but I still love Hole in the Wall.
Awesome song, heartwarming performance ❤
Seems to me it might be better to repair the hole rather than sit about playing music. What if there's a draft and some gets a cold and dies? They'd feel pretty bad then I bet.
Help with sheet music for violin!
1698
Fine playing!
Really very pretty version... From France.
A beautiful piece, well played and a joy to listen to
This is wonderful. Beautifully done! Life at it's most beautiful, most comforting, sweetest, best. Wow.
Wonderful performance and trio!! 👏👏👏👏👏
Great interpretation. Loved the bass. A joy to dance too
It is said that the dance that accompanies this tune was young George Washington’s favorite. It includes a segment where a male leans close in to each of the female dancers present.
george herquet, can you point me towards any evidence for this interesting comment? The dance was published by Playford in 1698 (3 years after Purcell's music was first performed, so probably Purcell's original composition which Playford borrowed). It could still have been danced when Washington was a young man in the 1750s and 1760s -- he was known for his elegant and lively dancing -- and I'd love to know of any specific reference to this dance. With ref to the 'leaning' segment you mention: that's not in the original Playford instructions (see on-line facsimiles) but again you may have evidence of a different version. If it's a version seen on TV or film, then it won't be a surprise that the choreographer, as frequently happens, invented this move!
grazie
I don’t know what I love the most, the song, the musicians, the arrangement, the recording, or the name Doves Figary.
Delighted you like it :-)
If that is Jeremy Barlow who published the complete Playford, then this is a splendid compliment. If not the same J Barlow: thank you anyway!
Lovely.
is this an original setting
Sorry to only notice these comments so long after they were made! - don't seem to get notifications of them. Stephen the guitarist here; I made the arrangement so am very happy its appreciated :-)
great performance
this tune belongs to HENRY PURCELL, I PLAY IT ON THE HARPSICHORD,
+1alvar Purcell arranged it, the tune was originally published by Playford.
There'll forever be arguments. Remember that Playford was Purcell's publisher. There's a very grey area as to whose was whose...
My money is on Purcell as composer; his version (stage music for Aphra Behn's play Abdelazar) was performed in 1695, published in Playford's "Dancing Master" 1698. Playford wasn't really a composer and got most of the Dancing Master tunes from ballads and stage plays. That was quite acceptable in those days. Playford was good friends with lots of famous composers (plus Sam Pepys), and Purcell wrote an elegy to John P after JP died -- so Purcell evidently wasn't offended.
I have to agree with Valerie Shaw, the dancing was not very good, especially Nonesuch. It doesn't help the dancers when the numbers are wrong. For an historical dancing master not to realise that there were too many couples in the set is amazing. Dancing across the music was inevitable. I too feel saddened. It was a beautiful dance spoiled. The dancers were not dancing, they had no lilt or feel for dance, just going through the motions. How can dancing like this possibly be a pleasure? I have been to many folk dance clubs with lots of beginners who have done better than this. A school teacher would say "Must try harder."
+morevaseret What is it about Early Dance that you have such contempt for each other? Very few people care a damn about Early Dance, but when you find one of the tiny few who share your enthusiasm, you castigate them for their incompetence, lack of ability, lack of knowledge, lack of effort, lack of style, incorrect costume, etc. I'm perfectly sure that plenty of Early Dance enthusiasts laugh about your performances too. Why can't you just like each other a bit more? Very likely your criticisms are correct, but if you feel a need to voice them, why not be a bit diplomatic and friendly about it? I don't think this is a great performance, but I like the music and the fact that people are enjoying themselves. I like the people. I'd join in if I could.
137Newton It hurts me to see enthusiastic people being taught wrongly. They will never be able to perform the dances properly when so much is wrong. I am not complaining about costumes etc. only the fact that the teaching was all wrong. It is like teaching someone the waltz starting on the wrong foot, with three people instead of a couple, and out of time with the music. It will never work and just looks a mess.
Did Playford "borrow" the last tune from John Gay's "Beggars' Opera" ("The Modes of The Court")?
No, the other way round. Playford died in 1686 and Gay was born in 1685
You can't beat a good Playford tune. Fabulous, well done !
I have never in my 60 years of dancing seen such an appalling mess made of Nonesuch. I have been dancing this for many years bith socially and as demonstration. You do not know the dance, you are dancing across the music, the sidong is wrong, you do not go across the room properly, it is for only 4 couples not 6. Men end up on the wrong side, the list is endless and what saddens and angers me you are doing our traditional dancing no good service. Get off and learn it properly before showing off
Valerie, it was a delight to welcome the dancers who turned up the day we recorded the music: people from varied backgrounds, Irish dance, ballet, folk dance etc, all keen to take part and enjoy the music. Did you think we were a display team? As Johanna Bolton observes, we're still learning. Teams like Michel Landry's -- via the link from your Nottingham fdc website -- who do 17th-century Nonesuch in 18th-century dress (your own specialism is costume, isn't it?) are pretty to watch. I run sessions for pleasure not performance. And as your website says, there's room for all sorts of interpretations. This could include C Sharp's adaptations e.g. the siding and positioning in Nonesuch, modern inventions such as the duple minor set and the "Hole in the Wall cross" shown in your video, and the use of what historical dance teachers would call "proper" steps rather than the Playford Plod. I adapted Nonesuch / A la Mode de France to include as many people as possible, just as I have been warmly included in over 50 years of dancing and teaching with EFDSS and DHDS. Feel free to contact me privately if you really are interested in discussing my use of primary sources. Or come to one of the thriving folk dance clubs I'm proud to be part of. Ann Hinchliffe.
Don't be so harsh a critic Valerie, they are having a go, and enjoying their dancing... There's nothing stopping you putting your own video online Valerie.
lovely sound, well done!
Vero very good