Piece of the Month - December 2003
Robin
Each variation consists of an A section of 4 bars, repeated (A') then a B section of 8 bars, repeated (B'). Variations 1 and 2 of Jolly Robbin correspond to variations 2 and 3 of Askue's set, except that the B' strain is different in both variations.
One reason I think Jolly Robbin might be an arrangement of the Ascue rather than the other way round is that bar 2 of the B section wants to go down to a fifth below the tonic in the bass, which in Jolly Robbin goes up an octave.
I also wonder whether these variations are based on a keyboard original, as there are several figures (e.g. first two bars of A' in Ascue) which have a keyboardy flavour.
Jolly Robbin is particularly interesting in regard to the signs for graces. My hypothesis (see my article in The Lute, 1996) that the # sign means a shake using either the upper or lower auxiliary according to context is supported by its appearance both on open strings (e.g., bar 25) and also in contexts where the lower auxiliary is implied (e.g., bars 33, 37, 39). I am not sure how to interpret the double ornament in bars 4 and 8, except that the position of the # may not be relevant - it may just indicate a "shaking" (repetition) of the fall rather than an ornament on the fourth course. In this piece, the + or x sign only appears on the third or fourth fret so it could be interpreted as a whole fall, a-c-d or a-c-e. A shaked version might therefore be a-c-d-c-d or a-c-d-c-d-c-d, etc.
Nothing is known of Robert Ascue other than his surviving music, which can be found in John Robinson's music supplement to Lute News no. 33, January 1995 (the tablature reproduced here is my own edition - I have not consulted John's edition as I could not find the relevant supplement!)
Downloads:
jollyrobin.ft2; jollyrobin.tab