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Cantuar has often begun a concert with this attention-grabbing ditty.'),(777,29,'Item',50,0,'As Thomas Was Cudgell\'d One Day by His Wife'),(778,29,'Item',51,0,'Catch'),(779,29,'Item',43,0,'4 voices'),(780,29,'Item',41,0,'This salutary tale of the hapless Thomas - woefully abused by his wife, but \"too proud to take counsel\" - is a catch, and may be performed as such; what is offered here, in addition, however, is a gentle arrangement for TTBarB which allows the story to be heard before all the voices combine at the finish.'),(781,28,'Item',50,0,'Ye Spotted Snakes'),(782,28,'Item',51,0,'Glee'),(783,28,'Item',43,0,'SATB'),(784,28,'Item',41,0,'This song - from \"A Midsummer Night\'s Dream\", Act 2:2 - has been set many times. This treatment, by the much-respected RJS Stevens, was one of his most popular pieces - not least, as Rubin remarks, for \"the sheer fun of singing the liquid \'lulla, lulla, lullaby\' that closes each half of its binary structure.'),(789,25,'Item',50,0,'A Kentish Catch'),(790,25,'Item',51,0,'Catch & Glee'),(791,25,'Item',43,0,'ATTB'),(792,25,'Item',41,0,'One of the few pieces in the collection with a local flavour, written by a local man (Samuel Porter was Organist at Canterbury Cathedral from 1757-1803) is a distinctive combination of a 3-part catch and a 4-part glee.'),(793,24,'Item',50,0,'Go, Gentle Breezes'),(794,24,'Item',51,0,'Glee'),(795,24,'Item',43,0,'ATTB'),(796,23,'Item',50,0,'The Arrival At Bath'),(797,23,'Item',51,0,'Catch'),(798,23,'Item',43,0,'3 (or 4) voices'),(799,21,'Item',50,0,'Groody Groaner'),(800,21,'Item',51,0,'Glee'),(801,21,'Item',43,0,'ATB'),(802,21,'Item',41,0,'This piece is another which blurs the diving line between the catch and its more sophisticated cousin, the glee. In telling the story of the hapless man, desperately seeking the midwife of the title to help his wife deliver their child, who mistakenly chooses to ask directions from two villagers whose dullness of wit is beautifully matched by their spectacular speech defects, the narrative which emerges is a carefully-controlled scena in which the entry of the voices build the story to its inescapable conclusion: frustration prevails.'),(803,19,'Item',50,0,'A Canvassing Squire'),(804,19,'Item',51,0,'Catch'),(805,19,'Item',43,0,'3 (or 4/5/6) voices'),(806,19,'Item',41,0,'The political figures of the late 18th and early 19th centuries enjoyed no greater respect then than those of today; this catch lampoons the figure of the over-lubricated Squire seeking re-election. The story is too good to miss, so the arrangement presented here allows a larger group of singers to provide a gentle accompaniment to each voice in turn, if required.'),(810,17,'Item',50,0,'Here Lies A Woman'),(811,17,'Item',51,0,'Catch'),(812,17,'Item',43,0,'3 voices'),(813,17,'Item',41,0,'It has to be admitted that the world of the catch was essentially a male environment, so it surely comes as no surprise to find that the women portrayed in this repertoire tend to be stereotypically cast either as playful milkmaids or shrewish harpies. The woman in this catch appears to have shuffled off this mortal coil, but that doesn\'t stop the singers worrying about what would undoubtedly happen were she to be awoken from her slumber...'),(814,16,'Item',50,0,'As t\'Other Day Susan'),(815,16,'Item',51,0,'Catch'),(816,16,'Item',43,0,'3 voices'),(820,14,'Item',50,0,'Drinking is an English Diversion'),(821,14,'Item',51,0,'Glee'),(822,14,'Item',43,0,'ATTB'),(823,14,'Item',41,0,'Written long before political correctness exerted any restraint upon the sensibilities of the English drinking classes, this cheerfully disrespectful dismissal of the bibulous customs of other cultures is not for those of sensitive disposition. Cantuar has yet to perform this piece in public; we\'re still seeking the appropriate audience...'),(824,13,'Item',50,0,'I Cannot Sing This Catch'),(825,13,'Item',51,0,'Catch'),(826,13,'Item',43,0,'3 voices'),(827,13,'Item',41,0,'Harington is making a witty point here about the difficulties of singing a catch: since every singer, at some point, has to tackle every line of the thing, and since any interesting melody line may cover quite a wide range, there’s usually some part of it somewhere which is either too high or too low for one’s vocal comfort. '),(828,12,'Item',50,0,'Mr Speaker, Tho \'Tis Late'),(829,12,'Item',51,0,'Catch'),(830,12,'Item',43,0,'3 voices'),(831,12,'Item',41,0,'The scene is, clearly, the Houses of Parliament; the characters, equally clearly, are our elected representatives. Here we see them engaged in pursuit of their chosen calling - i.e., trying to ensure that they are heard...'),(832,11,'Item',50,0,'What Shall He Have'),(833,11,'Item',51,0,'Glee'),(834,11,'Item',43,0,'ATBarB'),(835,11,'Item',41,0,'A Hunting Glee!'),(836,10,'Item',50,0,'Discord'),(837,10,'Item',51,0,'Glee'),(838,10,'Item',43,0,'ATTB'),(839,10,'Item',41,0,'\"This gain\'d a prize medal 1772\", Webbe proudly notes at the top of the score in the printed copy bound into Volume 9 of the Canterbury Cathedral Library\'s collection. It should come as no surprise, given the seriousness with which such prizes were contested, to find that this piece is a miniature gem of the genre: to words by Webbe himself, a slow introduction in a foreboding F minor grimly depicts the \"dire sister of the slaught\'ring power\" (War itself, we would guess) and its inexorable growth. A second, faster section vividly portrays the dread result: \"she stalks on earth and shakes the world around\". The antidote, of course, in a lilting, final, triple-time section in the tonic major, is the \"lovely peace\" with which the work ends; \"soft ease\" prevails, and the only reminder of what had preceded it is heard in the momentary darkness of a chromatic secondary dominant 7th just before the final cadence banishes such clouds for ever.'),(840,9,'Item',50,0,'Sleep, Poor Youth'),(841,9,'Item',51,0,'Glee'),(842,9,'Item',43,0,'ATTB'),(843,9,'Item',41,0,'The words of this piece first appeared in 1694 in a play by Thomas D\'Urfey called \"The Comical History of Don Quixote\". Purcell was amongst the distinguished musicians who contributed music; this song was set by John Eccles. The sentiment is similar to the rather better-known \"Fear No More the Heat o\' the Sun\" from Shakespeare\'s \"Cymbeline\": tragic though the death of this youth is, so the sentiment goes, some consolation might be drawn from the fact that the trials and tribulations of this world (\"tyrant power\", \"scornful beauty\", or \"wars that do fatal storms disperse\") can trouble him no longer. \"Earthquakes that shake the universe / Can\'t rock thee into sounder sleep\" is the ironic comment, and the piece ends as only such songs can: with a reminder that all must come to this, when \"the folly of the farce is done\".'),(844,7,'Item',50,0,'Hark, The Hollow Woods Resounding'),(845,7,'Item',51,0,'Glee'),(846,7,'Item',43,0,'ATTB'),(853,6,'Item',50,0,'Hans Carvel\'s Ring'),(854,6,'Item',51,0,'Catch'),(855,6,'Item',43,0,'3 voices'),(856,26,'Item',50,0,'On A Scolding Wife'),(857,26,'Item',51,0,'Catch'),(858,26,'Item',43,0,'4 voices'),(859,26,'Item',41,0,'Here\'s another catch presenting a character much beloved of catch composers: the wife whose stentorian tones drown out even the industrial clangour of the technology of the day.'),(866,19,'Collection',50,0,'Benjamin Cooke'),(871,30,'Item',50,0,'My Pocket\'s Low and Taxes High'),(872,30,'Item',51,0,'Glee'),(873,30,'Item',43,0,'ATTB'),(874,30,'Item',41,0,'A song for our times, indeed: a mournful bass solo begins, quasi-recitativo, with a heartfelt lament bewailing the effects of national austerity. The tenors and alto join in, with an ever-so-slightly desperate attempt to cheer the poor man with talk of brighter days to come, at which point the alto, almost unnoticed, begins to sing the National Anthem. The result, as the other voices continue their miserable counterpoint, is the gloomiest treatment of a patriotic song you have ever heard - Webbe at his subversive best, we think - until all the singers are persuaded to join in the much more optimistic latter section, which ends in rousing homophony with a suitably rumbustious chorus of \'God save great George our King\'.'),(881,20,'Collection',50,0,'G. Berg'),(906,33,'Item',50,0,'Sirs! Sirs! The Serpentine River is Coming Upstairs!'),(907,33,'Item',51,0,'Catch'),(908,33,'Item',43,0,'3 vv'),(909,32,'Item',50,0,'Rise, My Joy'),(910,32,'Item',51,0,'Glee'),(911,32,'Item',43,0,'ATTB'),(912,32,'Item',41,0,'It begins innocuously enough, but this delightful, short glee by the great Samuel Webbe (the Elder) turns out to be another paean of praise to drinking - a popular theme...'),(917,21,'Collection',50,0,'Arne, Thomas'),(921,34,'Item',50,0,'The Emperor Adrian, Dying, to His Soul'),(922,34,'Item',51,0,'Glee'),(923,34,'Item',43,0,'ATBarB'),(924,35,'Item',50,0,'Hail, Ever-Pleasing Solitude!'),(925,35,'Item',51,0,'Glee'),(926,35,'Item',43,0,'ATBarB'),(927,22,'Collection',50,0,'Callcott, John Wall'),(935,18,'Item',50,0,'O, My Good Friends, Lord, What Do You Think'),(936,18,'Item',51,0,'Catch'),(937,18,'Item',43,0,'4 voices'),(938,36,'Item',50,0,'Aldiborotiphoscophornio'),(939,36,'Item',51,0,'Glee'),(940,36,'Item',43,0,'TTB'),(941,36,'Item',41,0,'Note the date, and the instruction at the foot of the page; it seems clear that this is intended as a trap for the unwary in the course of New Year\'s Eve revelries...'),(942,23,'Collection',50,0,'Goodban, Thomas'),(948,37,'Item',50,0,'The Charter Glee'),(949,37,'Item',51,0,'Glee'),(950,37,'Item',43,0,'SATB'),(951,37,'Item',41,0,'Perhaps the most remarkably local item in the collection, this was the piece written by the Club\'s first landlord - himself a violinist, his wife a singer - in praise of the Club.'),(952,37,'Item',39,0,'Goodban, Thomas'),(956,24,'Collection',50,0,'Baildon'),(968,38,'Item',50,0,'On His Deathbed Poor Lubin Lies'),(969,38,'Item',51,0,'Glee'),(970,38,'Item',43,0,'ATB'),(971,39,'Item',50,0,'When Is it Best?'),(972,39,'Item',51,0,'Catch'),(973,39,'Item',43,0,'4 voices'),(974,39,'Item',41,0,'There\'s really no doubting what it is they\'re asking about. This is probably one of the more polite examples of the salacious humour which was so very, very popular...'),(975,40,'Item',50,0,'Epitaph On a Blacksmith'),(976,40,'Item',51,0,'Catch'),(977,40,'Item',43,0,'3 voices'),(978,40,'Item',41,0,'Delightful word-play is a feature of this fitting farewell to a man who has spent his life at the forge...'),(979,25,'Collection',50,0,'Horsley, William'),(980,41,'Item',50,0,'Lo! On Yon Long Resounding Shore'),(981,41,'Item',51,0,'Glee'),(982,41,'Item',43,0,'ATTBB'),(983,41,'Item',41,0,'Half a century before Camille Saint-Saens penned \"Danse Macabre\", William Horsley gave us this ghoulish depiction of a truly fiendish scene: on the very shores of Hell, devilish creatures \"dance on the bubbling tide\".'),(984,42,'Item',50,0,'No Joys On This Globe Can With Hunting Compare'),(985,42,'Item',51,0,'Catch and Glee'),(986,42,'Item',43,0,'ATB'),(987,42,'Item',41,0,'This is one of the fascinating little oddities which crop up in the Catch Club collection from time to time: it begins as a Glee, then is quite clearly intended to turn into a Catch, before the final Chorus (including a top, soprano line) rounds the whole thing off.'),(991,27,'Item',50,0,'O Mistress Mine'),(992,27,'Item',51,0,'Glee'),(993,27,'Item',43,0,'SSATB'),(994,27,'Item',41,0,'1788 was the year in which Stevens wrote this delightful setting of the Shakespeare song, but he records with some disappointment the fact that it \"was so little admired at the Catch Club, that it had not votes enough in the Committee\" which decided the Prize-winning Glees that year. So we can understand his satisfaction when, the following year, it became clear that this was, in fact, a very popular piece. No less a luminary than the Earl of Sandwich liked it, apparently, though he made himself the object of much merriment when he wondered aloud \"what fool could write such absurd poetry as \'Then come kiss me, sweet and twenty\'?\" It was Stevens\' fellow-composer, Knyvett, who told his Lordship the poet\'s name, to the delight of the assembled company.'),(998,15,'Item',50,0,'A Drunken Old Sot'),(999,15,'Item',51,0,'Catch'),(1000,15,'Item',43,0,'4 voices'),(1005,43,'Item',50,0,'Flora Now Calleth Forth Each Flow\'r'),(1006,43,'Item',51,0,'Glee'),(1007,43,'Item',43,0,'SSATB'),(1008,43,'Item',41,0,'This is the glee which - according to Smith himself - should have won the Prize Medal in 1782. We know this, because his fellow-composer, R.J.S. Stevens, records with some surprise in his memoirs the fact that he won the medal that year, for \"See, What Horrid Tempests Rise\", and that this became the subject of a somewhat ungentlemanly spat when they met at a Catch Club evening; Smith accused Stevens of \'cheating\' him of a Gold Medal. Stevens had the grace at the time, and afterwards in his Journal, to remark that, actually, Smith was right: \"Flora\" was the better piece, and should have won. Stevens kept the medal, however.\r\n\r\nPart of the problem, for Smith, may have been the fact that the Club used boys, rather than women sopranos, to perform the glees in order to help reach a decision. This piece grows to a very effective - and quite taxing - climax, in a riotous 6/8 finale which the boys may not have executed very well. Along the way, there is a nice little musical conceit, as Smith sets the words \"that now sleepeth in Lethe\'s lake\" in 2/2 against the 6/8 dance rhythms pirouetting around it, to represent the stillness of the subject. The whole is one of the most impressive examples of the genre; we hope to add a recording to this website in July.'),(1009,26,'Collection',50,0,'William Hayes'),(1010,44,'Item',50,0,'As Sir Toby Reel\'d Home'),(1011,44,'Item',51,0,'Catch'),(1012,44,'Item',43,0,'3 voices'); /*!40000 ALTER TABLE `omk_element_texts` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `omk_elements` -- DROP TABLE IF EXISTS `omk_elements`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `omk_elements` ( `id` int(10) unsigned NOT NULL AUTO_INCREMENT, `element_set_id` int(10) unsigned NOT NULL, `order` int(10) unsigned DEFAULT NULL, `name` varchar(255) COLLATE utf8_unicode_ci NOT NULL, `description` text COLLATE utf8_unicode_ci DEFAULT NULL, `comment` text COLLATE utf8_unicode_ci DEFAULT NULL, PRIMARY KEY (`id`), UNIQUE KEY `name_element_set_id` (`element_set_id`,`name`), UNIQUE KEY `order_element_set_id` (`element_set_id`,`order`), KEY `element_set_id` (`element_set_id`) ) ENGINE=InnoDB AUTO_INCREMENT=92 DEFAULT CHARSET=utf8 COLLATE=utf8_unicode_ci; 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The inscription explains everything: \"On an Old Woman\'s alarm to a Society who were regaling themselves when the Inundation happen\'d at Chelsea\".

',13),(30,NULL,NULL,2,NULL,NULL,14),(31,NULL,NULL,2,NULL,NULL,15),(32,NULL,NULL,2,NULL,NULL,16),(49,14,96,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Drinking is an English Diversion\' by John Alcock

',1),(50,10,100,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Discord\' by Samuel Webbe

',2),(51,7,102,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Hark The Hollow Woods Resounding\' by J.S. Smith

',3),(52,32,82,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Rise My Joy\' by Samuel Webbe

',4),(53,24,88,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Go, Gentle Breezes\' by Leach

',5),(54,23,89,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'The Arrival At Bath\' by Henry Harington

',6),(55,17,93,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Here Lies A Woman\' by Anon

',7),(56,21,90,4,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Goody Groaner\' by Henry Harington

',8),(57,NULL,NULL,4,NULL,NULL,9),(58,NULL,NULL,4,NULL,NULL,10),(59,NULL,NULL,4,NULL,NULL,11),(60,NULL,NULL,4,NULL,NULL,12),(61,NULL,NULL,4,NULL,NULL,13),(62,NULL,NULL,4,NULL,NULL,14),(63,NULL,NULL,4,NULL,NULL,15),(64,NULL,NULL,4,NULL,NULL,16),(65,18,92,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'O, My Good Friends, Lord, What Do You Think\' by Anon

',1),(66,12,98,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Mr. Speaker, Tho\' \'tis Late\' by Anon

',2),(67,16,94,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'As T\'other Day Susan\' by Anon

',3),(68,31,83,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Now We Are Met\' by Samuel Webbe

',4),(69,25,87,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'A Kentish Catch\' by Samuel Porter

',5),(70,11,99,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'What Shall He Have That Kill\'d The Deer\' by Richard John Samuel Stevens

',6),(71,19,91,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'A Canvassing Squire\' by Luffman Atterbury

',7),(72,30,84,5,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'My Pockets Low and Taxes High\' by Samuel Webbe

',8),(73,9,101,6,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'Sleep, Poor Youth\' by J.S. Smith

',1),(74,13,97,6,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'I Cannot Sing This Catch\' by Henry Harington

',2),(75,26,86,6,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'On A Scolding Wife\' by Henry Purcell

',3),(76,29,85,6,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'As Thomas Was Cudgell\'d One Day By His Wife\' by Samuel Webbe

',4),(77,15,95,6,'

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

','

\'A Drunken Old Sot\' by Anon

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A collection of glees

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A collection of Catches

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Welcome to the Canterbury Catch Club website...

\n

Those dignified gentlemen in the picture above (click on it for a better view) are gathered for a meeting of the Canterbury Catch Club, an august body dedicated to the enjoyment of music - accompanied by ale and tobacco, and the occasional dinner - which was formed in 1779 and became a significant part of Canterbury\'s cultural life for eighty-odd years.  The faint dedication records that this splendid print (only 3 copies of which survive) was presented to the President, Charles Delmar, and the Club in 1828 - undoubtedly its heyday, as the number of members and the size of the orchestra on the raised dais at the back of the room would testify.

This website brings together words, images and music from this fascinating slice of Canterbury\'s cultural and social history, much of which has been out of the public domain for almost 150 years.  It seems, however, that the material has simply been patiently waiting to be brought more clearly to light: City and Cathedral Librarians, fellow-musicians, and enthusiastic researchers have catalogued, transcribed and performed it every so often over the years. Here you will find digital images (pages from the Club\'s Minute-books, and from the music volumes themselves); transcripts of pieces for modern performance; notes on the music, the people, and on the history of the Club in general; and specially-recorded performances of some of the catches and glees which have caught our fancy in the course of our research thus far.  It is, inevitably, a work in progress - so we hope you will come back for further investigation in the months to come.

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This website has been made possible by funding from Canterbury Christ Church University.  It is the work of Chris Price, a Senior Lecturer in the Department of Music and Performing Arts and a Tenor Lay Clerk in the Choir of Canterbury Cathedral, in whose library the Canterbury Catch Club volumes are archived.

\r\n

Thanks are due to the Dean and Chapter of the Cathedral for their support for the Project, especially to the staff of the Cathedral Library and Archives, and to the librarians of the Beaney Institute (the city library in Canterbury): to Cressida Williams, Cathedral Archivist, and her colleagues, and to Karen Brayshaw, Cathedral Librarian.  Their expert and good-humoured assistance has made the enterprise far more enjoyable than work is supposed to be.

Thanks also to Jenna Donnelly, designer and compiler of this website, and to Cantuar, the ad hoc group of fellow-musicians whose voices bring the music to life here: David Wilcock, counter-tenor; Paul Young, tenor; Chris Price, tenor; Jon Williams, baritone; and Duncan Perkins, bass.  The members hope to be worthy successors to their 18th- and 19th-century predecessors in the Cathedral Choir, whose musical talents and mischievous temperaments would have helped to make the Catch Club evenings truly memorable.

'),(38,'Collection',12,1,'Harington, Henry','Harington, Henry '),(39,'Item',13,1,'I Cannot Sing This Catch','harington I Cannot Sing This Catch Catch 3 voices Harington is making a witty point here about the difficulties of singing a catch: since every singer, at some point, has to tackle every line of the thing, and since any interesting melody line may cover quite a wide range, there’s usually some part of it somewhere which is either too high or too low for one’s vocal comfort. '),(41,'Collection',13,1,'Alcock, John','Alcock, John '),(42,'Item',15,1,'A Drunken Old Sot','anon A Drunken Old Sot Catch 4 voices '),(43,'Item',16,1,'As t\'Other Day Susan','anon As t\'Other Day Susan Catch 3 voices '),(44,'Item',17,1,'Here Lies A Woman','anon Here Lies A Woman Catch 3 voices It has to be admitted that the world of the catch was essentially a male environment, so it surely comes as no surprise to find that the women portrayed in this repertoire tend to be stereotypically cast either as playful milkmaids or shrewish harpies. The woman in this catch appears to have shuffled off this mortal coil, but that doesn\'t stop the singers worrying about what would undoubtedly happen were she to be awoken from her slumber... '),(45,'Item',18,1,'O, My Good Friends, Lord, What Do You Think','anon O, My Good Friends, Lord, What Do You Think Catch 4 voices '),(46,'Item',19,1,'A Canvassing Squire','luffman A Canvassing Squire Catch 3 (or 4/5/6) voices The political figures of the late 18th and early 19th centuries enjoyed no greater respect then than those of today; this catch lampoons the figure of the over-lubricated Squire seeking re-election. The story is too good to miss, so the arrangement presented here allows a larger group of singers to provide a gentle accompaniment to each voice in turn, if required. '),(47,'Collection',14,1,'Atterbury, Luffman','Atterbury, Luffman '),(48,'Item',20,1,'Fill The Bowl With Rosy Wine','dyne Fill The Bowl With Rosy Wine Glee ATB '),(49,'Collection',15,1,'Dyne, John','Dyne, John '),(50,'Item',21,1,'Groody Groaner','harington Groody Groaner Glee ATB This piece is another which blurs the diving line between the catch and its more sophisticated cousin, the glee. In telling the story of the hapless man, desperately seeking the midwife of the title to help his wife deliver their child, who mistakenly chooses to ask directions from two villagers whose dullness of wit is beautifully matched by their spectacular speech defects, the narrative which emerges is a carefully-controlled scena in which the entry of the voices build the story to its inescapable conclusion: frustration prevails. '),(51,'Item',22,1,'Retirement','harington Retirement Glee TBarB '),(52,'Item',23,1,'The Arrival At Bath','harington The Arrival At Bath Catch 3 (or 4) voices '),(53,'Item',24,1,'Go, Gentle Breezes','leach Go, Gentle Breezes Glee ATTB '),(54,'Collection',16,1,'Leach','Leach '),(55,'Collection',17,1,'Porter, Samuel','Porter, Samuel '),(56,'Item',25,1,'A Kentish Catch','porter A Kentish Catch Catch & Glee ATTB One of the few pieces in the collection with a local flavour, written by a local man (Samuel Porter was Organist at Canterbury Cathedral from 1757-1803) is a distinctive combination of a 3-part catch and a 4-part glee. '),(57,'Collection',18,1,'Purcell, Henry','Purcell, Henry '),(58,'Item',26,1,'On A Scolding Wife','purcell On A Scolding Wife Catch 4 voices Here\'s another catch presenting a character much beloved of catch composers: the wife whose stentorian tones drown out even the industrial clangour of the technology of the day. '),(59,'Item',27,1,'O Mistress Mine','stevens O Mistress Mine Glee SSATB 1788 was the year in which Stevens wrote this delightful setting of the Shakespeare song, but he records with some disappointment the fact that it \"was so little admired at the Catch Club, that it had not votes enough in the Committee\" which decided the Prize-winning Glees that year. So we can understand his satisfaction when, the following year, it became clear that this was, in fact, a very popular piece. No less a luminary than the Earl of Sandwich liked it, apparently, though he made himself the object of much merriment when he wondered aloud \"what fool could write such absurd poetry as \'Then come kiss me, sweet and twenty\'?\" It was Stevens\' fellow-composer, Knyvett, who told his Lordship the poet\'s name, to the delight of the assembled company. '),(60,'Item',28,1,'Ye Spotted Snakes','stevens Ye Spotted Snakes Glee SATB This song - from \"A Midsummer Night\'s Dream\", Act 2:2 - has been set many times. This treatment, by the much-respected RJS Stevens, was one of his most popular pieces - not least, as Rubin remarks, for \"the sheer fun of singing the liquid \'lulla, lulla, lullaby\' that closes each half of its binary structure. '),(61,'Item',29,1,'As Thomas Was Cudgell\'d One Day by His Wife','webbe As Thomas Was Cudgell\'d One Day by His Wife Catch 4 voices This salutary tale of the hapless Thomas - woefully abused by his wife, but \"too proud to take counsel\" - is a catch, and may be performed as such; what is offered here, in addition, however, is a gentle arrangement for TTBarB which allows the story to be heard before all the voices combine at the finish. '),(62,'Item',30,1,'My Pocket\'s Low and Taxes High','Webbe My Pocket\'s Low and Taxes High Glee ATTB A song for our times, indeed: a mournful bass solo begins, quasi-recitativo, with a heartfelt lament bewailing the effects of national austerity. The tenors and alto join in, with an ever-so-slightly desperate attempt to cheer the poor man with talk of brighter days to come, at which point the alto, almost unnoticed, begins to sing the National Anthem. The result, as the other voices continue their miserable counterpoint, is the gloomiest treatment of a patriotic song you have ever heard - Webbe at his subversive best, we think - until all the singers are persuaded to join in the much more optimistic latter section, which ends in rousing homophony with a suitably rumbustious chorus of \'God save great George our King\'. '),(63,'Item',31,1,'Now We Are Met','webbe Now We Are Met Catch 3 voices One of the best-known \'welcome\' catches. Cantuar has often begun a concert with this attention-grabbing ditty. '),(64,'Item',32,1,'Rise, My Joy','Webbe Rise, My Joy Glee ATTB It begins innocuously enough, but this delightful, short glee by the great Samuel Webbe (the Elder) turns out to be another paean of praise to drinking - a popular theme... '),(67,'Exhibit',4,1,'Recordings','Recordings '),(68,'ExhibitPage',4,1,'Recordings Page 1','Recordings Page 1

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Drinking is an English Diversion\' by John Alcock

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Discord\' by Samuel Webbe

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Hark The Hollow Woods Resounding\' by J.S. Smith

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Rise My Joy\' by Samuel Webbe

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Go, Gentle Breezes\' by Leach

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'The Arrival At Bath\' by Henry Harington

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Here Lies A Woman\' by Anon

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Goody Groaner\' by Henry Harington

'),(18,'Exhibit',1,1,'Glees','Glees

A collection of glees

'),(19,'ExhibitPage',1,1,'Page 1','Page 1

 

'),(23,'Exhibit',2,1,'Catches','Catches

A collection of Catches

'),(69,'ExhibitPage',5,1,'Recordings Page 2','Recordings Page 2

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'O, My Good Friends, Lord, What Do You Think\' by Anon

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Mr. Speaker, Tho\' \'tis Late\' by Anon

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'As T\'other Day Susan\' by Anon

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Now We Are Met\' by Samuel Webbe

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'A Kentish Catch\' by Samuel Porter

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'What Shall He Have That Kill\'d The Deer\' by Richard John Samuel Stevens

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'A Canvassing Squire\' by Luffman Atterbury

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'My Pockets Low and Taxes High\' by Samuel Webbe

'),(22,'SimplePagesPage',2,1,'A brief history...','A brief history...

The Catch Club existed between 1779 and 1865, but it was undoubtedly the first half of the nineteenth century which witnessed its glory days.  Reading the Minutes, this seems remarkable: given the endless problems with the air pump, the Ladies’ Room, and the various musical celebrities from foreign countries (Italy, America) engaged from time to time by the Club, it is something of a wonder that a series of thirty concerts of vocal and orchestral music was held every Wednesday evening from October to May throughout this period. 

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Whatever visiting celebrities may have contributed, most of the evening’s music would have been provided by the members themselves; all would have been capable of holding a part in the ‘catches’ which lie at the heart of the Club’s repertoire. The more sophisticated glees would have been sung by the more musically proficient members of the Club, and these would have included the musicians in the service of the Cathedral at the time.
 
Club subscriptions (20 shillings for a season in 1840, with fines for non-attendance!) paid for instrumental music, too.  The Club patronised an orchestra, with conductor, though this seems to have occasioned a degree of discord which belied the motto painted on the scroll above their stalls: the exhortation to ‘Harmony and Unanimity’ seems seldom to have been heeded, as the number of rules governing the conduct of the orchestral musicians proliferated throughout this time and the matter of the conductor’s salary is a running debate in the Committee’s Minutes. In spite of these vicissitudes, however, it is clear that the Canterbury Catch Club was a lively fixture on Canterbury’s cultural scene for almost a century.

'),(24,'ExhibitPage',2,1,'Page 1','Page 1 '),(25,'Collection',7,1,'Hutcheson, Francis','Hutcheson, Francis '),(26,'Item',6,1,'Hans Carvel\'s Ring','hutcheson Hans Carvel\'s Ring Catch 3 voices '),(27,'Collection',8,1,'Anon','Anon '),(28,'Item',7,1,'Hark, The Hollow Woods Resounding','smith Hark, The Hollow Woods Resounding Glee ATTB '),(40,'Item',14,1,'Drinking is an English Diversion','alcock Drinking is an English Diversion Glee ATTB Written long before political correctness exerted any restraint upon the sensibilities of the English drinking classes, this cheerfully disrespectful dismissal of the bibulous customs of other cultures is not for those of sensitive disposition. Cantuar has yet to perform this piece in public; we\'re still seeking the appropriate audience... '),(30,'Collection',9,1,'Smith, John Stafford','Smith, John Stafford '),(31,'Item',9,1,'Sleep, Poor Youth','smith Sleep, Poor Youth Glee ATTB The words of this piece first appeared in 1694 in a play by Thomas D\'Urfey called \"The Comical History of Don Quixote\". Purcell was amongst the distinguished musicians who contributed music; this song was set by John Eccles. The sentiment is similar to the rather better-known \"Fear No More the Heat o\' the Sun\" from Shakespeare\'s \"Cymbeline\": tragic though the death of this youth is, so the sentiment goes, some consolation might be drawn from the fact that the trials and tribulations of this world (\"tyrant power\", \"scornful beauty\", or \"wars that do fatal storms disperse\") can trouble him no longer. \"Earthquakes that shake the universe / Can\'t rock thee into sounder sleep\" is the ironic comment, and the piece ends as only such songs can: with a reminder that all must come to this, when \"the folly of the farce is done\". '),(32,'Collection',10,1,'Webbe, Samuel, the Elder','Webbe, Samuel, the Elder The Great Man of Glee Composition, with 27 prizes to his credit during the reign of George III... '),(33,'Item',10,1,'Discord','webbe Discord Glee ATTB \"This gain\'d a prize medal 1772\", Webbe proudly notes at the top of the score in the printed copy bound into Volume 9 of the Canterbury Cathedral Library\'s collection. It should come as no surprise, given the seriousness with which such prizes were contested, to find that this piece is a miniature gem of the genre: to words by Webbe himself, a slow introduction in a foreboding F minor grimly depicts the \"dire sister of the slaught\'ring power\" (War itself, we would guess) and its inexorable growth. A second, faster section vividly portrays the dread result: \"she stalks on earth and shakes the world around\". The antidote, of course, in a lilting, final, triple-time section in the tonic major, is the \"lovely peace\" with which the work ends; \"soft ease\" prevails, and the only reminder of what had preceded it is heard in the momentary darkness of a chromatic secondary dominant 7th just before the final cadence banishes such clouds for ever. '),(34,'Collection',11,1,'Stevens, Richard John Samuel','Stevens, Richard John Samuel '),(35,'Item',11,1,'What Shall He Have','stevens What Shall He Have Glee ATBarB A Hunting Glee! '),(36,'Item',12,1,'Mr Speaker, Tho \'Tis Late','anon Mr Speaker, Tho \'Tis Late Catch 3 voices The scene is, clearly, the Houses of Parliament; the characters, equally clearly, are our elected representatives. Here we see them engaged in pursuit of their chosen calling - i.e., trying to ensure that they are heard... '),(37,'SimplePagesPage',3,1,'How to use the database','How to use the database

The database is made up of a number of items, categorised by composer, type (i.e. glee or catch), genre and voices. You can browse through all of these items by clicking on Browse Items in the main menu.

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If you would like to search for a particular title, use the Search feature which is located at the top-right of every page. Simply type in the title you are looking for and click \'Search\'. You can narrow your search parameters by using the dropdown boxes to specify a composer or a glee/catch, or even select both.

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When you browse or search for items, the relevant items will appear in a table, with the relevant information under different columns. Click on the title to view the details of the item itself.

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By clicking on other links, such as type or genre for example, the table will reconfigure to show you more items which have this feature in common (i.e. more items of the same type, or more items within the clicked genre).

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When you click the composer name, this will take you to a page filled with all catalogued items by that composer.

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ITEMS

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When you click on an item title, it will take you to an individual page with all details available for that item. This will include all available files for the item, such as images, audio and PDF files. 

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To view images, click on the image thumbnail and the image will expand in the window. You can use the left or right buttons to navigate through a gallery if there is more than one image on the page.

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To download the image, click on the \'Page\' link above the thumbnail image (e.g. Page 1, Page 2 etc.), and a new tab will open in your browser containing the image. Click \'File > Save As\' on your internet browser to save the image to your computer. Alternatively, from the item page, right-click on the \'Page\' link and select \'Save Link As\' in the same way.

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Other file types, when clicked, will open in a new window but will only display depending on the compatibilities of your browser. If you are downloading sibelius files or eps files, we recommend you save the file to your computer and view it in the appropriate program. Audio files/MP3 files should open and play fine in all browsers, but if you have a slow internet connection you may wish to download the entire file before listening.

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You can use the main menu to navigate back to \'Home\' or \'Browse Items\' at any point. \'History\' and \'About\' are simple pages that provide some background information on Canterbury Catch Club (\'History\') and about the archive itself (\'About\'). You get in touch with us by emailing via the \'Contact Us\' email form.

'),(70,'ExhibitPage',6,1,'Recordings Page 3','Recordings Page 3

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'Sleep, Poor Youth\' by J.S. Smith

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'I Cannot Sing This Catch\' by Henry Harington

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'On A Scolding Wife\' by Henry Purcell

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'As Thomas Was Cudgell\'d One Day By His Wife\' by Samuel Webbe

Recorded at St.Gregory\'s Centre for Music, Canterbury Christ Church University, July 2013. David Wilcock, counter-tenor; Paul Young, Chris Price, tenor; Jon Williams, baritone; Duncan Perkins, bass; with Andrew Lowen, producer and Terry Davey, recording engineer & editor.

\'A Drunken Old Sot\' by Anon

'),(71,'SimplePagesPage',4,1,'The Music','The Music

Content to follow...

'),(72,'Item',33,1,'Sirs! Sirs! The Serpentine River is Coming Upstairs!','Berg Sirs! Sirs! The Serpentine River is Coming Upstairs! Catch 3 vv '),(73,'Collection',19,1,'Benjamin Cooke','Benjamin Cooke '),(74,'Collection',20,1,'G. Berg','G. Berg '),(75,'Item',34,1,'The Emperor Adrian, Dying, to His Soul','The Emperor Adrian, Dying, to His Soul Glee ATBarB '),(76,'Collection',21,1,'Arne, Thomas','Arne, Thomas '),(77,'Item',35,1,'Hail, Ever-Pleasing Solitude!','Hail, Ever-Pleasing Solitude! Glee ATBarB '),(78,'Collection',22,1,'Callcott, John Wall','Callcott, John Wall '),(79,'Item',36,1,'Aldiborotiphoscophornio','Aldiborotiphoscophornio Glee TTB Note the date, and the instruction at the foot of the page; it seems clear that this is intended as a trap for the unwary in the course of New Year\'s Eve revelries... '),(80,'Collection',23,1,'Goodban, Thomas','Goodban, Thomas '),(81,'Item',37,1,'The Charter Glee','The Charter Glee Glee SATB Perhaps the most remarkably local item in the collection, this was the piece written by the Club\'s first landlord - himself a violinist, his wife a singer - in praise of the Club. Goodban, Thomas '),(82,'Item',38,1,'On His Deathbed Poor Lubin Lies','Webbe On His Deathbed Poor Lubin Lies Glee ATB '),(83,'Collection',24,1,'Baildon','Baildon '),(84,'Item',39,1,'When Is it Best?','When Is it Best? Catch 4 voices There\'s really no doubting what it is they\'re asking about. This is probably one of the more polite examples of the salacious humour which was so very, very popular... '),(85,'Item',40,1,'Epitaph On a Blacksmith','Epitaph On a Blacksmith Catch 3 voices Delightful word-play is a feature of this fitting farewell to a man who has spent his life at the forge... '),(86,'Collection',25,1,'Horsley, William','Horsley, William '),(87,'Item',41,1,'Lo! On Yon Long Resounding Shore','Lo! On Yon Long Resounding Shore Glee ATTBB Half a century before Camille Saint-Saens penned \"Danse Macabre\", William Horsley gave us this ghoulish depiction of a truly fiendish scene: on the very shores of Hell, devilish creatures \"dance on the bubbling tide\". '),(88,'Item',42,1,'No Joys On This Globe Can With Hunting Compare','No Joys On This Globe Can With Hunting Compare Catch and Glee ATB This is one of the fascinating little oddities which crop up in the Catch Club collection from time to time: it begins as a Glee, then is quite clearly intended to turn into a Catch, before the final Chorus (including a top, soprano line) rounds the whole thing off. '),(89,'Item',43,1,'Flora Now Calleth Forth Each Flow\'r','Flora Now Calleth Forth Each Flow\'r Glee SSATB This is the glee which - according to Smith himself - should have won the Prize Medal in 1782. We know this, because his fellow-composer, R.J.S. Stevens, records with some surprise in his memoirs the fact that he won the medal that year, for \"See, What Horrid Tempests Rise\", and that this became the subject of a somewhat ungentlemanly spat when they met at a Catch Club evening; Smith accused Stevens of \'cheating\' him of a Gold Medal. Stevens had the grace at the time, and afterwards in his Journal, to remark that, actually, Smith was right: \"Flora\" was the better piece, and should have won. Stevens kept the medal, however.\r\n\r\nPart of the problem, for Smith, may have been the fact that the Club used boys, rather than women sopranos, to perform the glees in order to help reach a decision. This piece grows to a very effective - and quite taxing - climax, in a riotous 6/8 finale which the boys may not have executed very well. Along the way, there is a nice little musical conceit, as Smith sets the words \"that now sleepeth in Lethe\'s lake\" in 2/2 against the 6/8 dance rhythms pirouetting around it, to represent the stillness of the subject. The whole is one of the most impressive examples of the genre; we hope to add a recording to this website in July. '),(90,'Collection',26,1,'William Hayes','William Hayes '),(91,'Item',44,1,'As Sir Toby Reel\'d Home','hayes As Sir Toby Reel\'d Home Catch 3 voices '); /*!40000 ALTER TABLE `omk_search_texts` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `omk_sessions` -- DROP TABLE IF EXISTS `omk_sessions`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `omk_sessions` ( `id` varchar(128) COLLATE utf8_unicode_ci NOT NULL DEFAULT '', `modified` bigint(20) DEFAULT NULL, `lifetime` int(11) DEFAULT NULL, `data` text COLLATE utf8_unicode_ci DEFAULT NULL, PRIMARY KEY (`id`) ) ENGINE=InnoDB DEFAULT CHARSET=utf8 COLLATE=utf8_unicode_ci; /*!40101 SET character_set_client = @saved_cs_client */; -- -- Dumping data for table `omk_sessions` -- LOCK TABLES `omk_sessions` WRITE; /*!40000 ALTER TABLE `omk_sessions` DISABLE KEYS */; INSERT INTO `omk_sessions` (`id`, `modified`, `lifetime`, `data`) VALUES 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This website has been made possible by funding from Canterbury Christ Church University.  It is the work of Chris Price, a Senior Lecturer in the Department of Music and Performing Arts and a Tenor Lay Clerk in the Choir of Canterbury Cathedral, in whose library the Canterbury Catch Club volumes are archived.

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Thanks are due to the Dean and Chapter of the Cathedral for their support for the Project, especially to the staff of the Cathedral Library and Archives, and to the librarians of the Beaney Institute (the city library in Canterbury): to Cressida Williams, Cathedral Archivist, and her colleagues, and to Karen Brayshaw, Cathedral Librarian.  Their expert and good-humoured assistance has made the enterprise far more enjoyable than work is supposed to be.

Thanks also to Jenna Donnelly, designer and compiler of this website, and to Cantuar, the ad hoc group of fellow-musicians whose voices bring the music to life here: David Wilcock, counter-tenor; Paul Young, tenor; Chris Price, tenor; Jon Williams, baritone; and Duncan Perkins, bass.  The members hope to be worthy successors to their 18th- and 19th-century predecessors in the Cathedral Choir, whose musical talents and mischievous temperaments would have helped to make the Catch Club evenings truly memorable.

','2013-07-22 03:30:13','2013-05-04 15:40:36',0,0,'',1),(2,1,1,1,'A brief history...','history','

The Catch Club existed between 1779 and 1865, but it was undoubtedly the first half of the nineteenth century which witnessed its glory days.  Reading the Minutes, this seems remarkable: given the endless problems with the air pump, the Ladies’ Room, and the various musical celebrities from foreign countries (Italy, America) engaged from time to time by the Club, it is something of a wonder that a series of thirty concerts of vocal and orchestral music was held every Wednesday evening from October to May throughout this period. 

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Whatever visiting celebrities may have contributed, most of the evening’s music would have been provided by the members themselves; all would have been capable of holding a part in the ‘catches’ which lie at the heart of the Club’s repertoire. The more sophisticated glees would have been sung by the more musically proficient members of the Club, and these would have included the musicians in the service of the Cathedral at the time.
 
Club subscriptions (20 shillings for a season in 1840, with fines for non-attendance!) paid for instrumental music, too.  The Club patronised an orchestra, with conductor, though this seems to have occasioned a degree of discord which belied the motto painted on the scroll above their stalls: the exhortation to ‘Harmony and Unanimity’ seems seldom to have been heeded, as the number of rules governing the conduct of the orchestral musicians proliferated throughout this time and the matter of the conductor’s salary is a running debate in the Committee’s Minutes. In spite of these vicissitudes, however, it is clear that the Canterbury Catch Club was a lively fixture on Canterbury’s cultural scene for almost a century.

','2013-11-14 10:30:30','2013-05-22 13:16:28',0,0,'',1),(3,1,1,1,'How to use the database','how-to-use','

The database is made up of a number of items, categorised by composer, type (i.e. glee or catch), genre and voices. You can browse through all of these items by clicking on Browse Items in the main menu.

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If you would like to search for a particular title, use the Search feature which is located at the top-right of every page. Simply type in the title you are looking for and click \'Search\'. You can narrow your search parameters by using the dropdown boxes to specify a composer or a glee/catch, or even select both.

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When you browse or search for items, the relevant items will appear in a table, with the relevant information under different columns. Click on the title to view the details of the item itself.

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By clicking on other links, such as type or genre for example, the table will reconfigure to show you more items which have this feature in common (i.e. more items of the same type, or more items within the clicked genre).

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When you click the composer name, this will take you to a page filled with all catalogued items by that composer.

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ITEMS

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When you click on an item title, it will take you to an individual page with all details available for that item. This will include all available files for the item, such as images, audio and PDF files. 

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To view images, click on the image thumbnail and the image will expand in the window. You can use the left or right buttons to navigate through a gallery if there is more than one image on the page.

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To download the image, click on the \'Page\' link above the thumbnail image (e.g. Page 1, Page 2 etc.), and a new tab will open in your browser containing the image. Click \'File > Save As\' on your internet browser to save the image to your computer. Alternatively, from the item page, right-click on the \'Page\' link and select \'Save Link As\' in the same way.

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Other file types, when clicked, will open in a new window but will only display depending on the compatibilities of your browser. If you are downloading sibelius files or eps files, we recommend you save the file to your computer and view it in the appropriate program. Audio files/MP3 files should open and play fine in all browsers, but if you have a slow internet connection you may wish to download the entire file before listening.

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You can use the main menu to navigate back to \'Home\' or \'Browse Items\' at any point. \'History\' and \'About\' are simple pages that provide some background information on Canterbury Catch Club (\'History\') and about the archive itself (\'About\'). You get in touch with us by emailing via the \'Contact Us\' email form.

','2013-06-21 17:05:39','2013-06-09 13:20:26',0,0,'',1),(4,1,1,1,'The Music','the-music','

Content to follow...

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