323:
Warren has supplied a composer. Gladstone writes (p. 41) that "The worst of the literature set to music was either destroyed or suppressed...Catches were still written but not to objectionable words." Nevertheless, catches had from early times exploited the gaps revealed by rests to reveal hidden meanings from other lines, usually with amusing intent. In the first volume of the
Collection is an epitaph by Giardini (p. 29) which exploits the division of syllables "in a count-ry churchyard" in this way, so perhaps members reading the lyrics, and not the music, did not find them objectionable. This seems to have set the tone for a revival of this style of catch since there are many more in this vein.
233:
similarity in their printed appearance. Thomas Cross regularised an engraving system, and the commercial advantages were seen by John Walsh from the beginnings of his business in 1695. From there Walsh dominated music publishing through the first half of the 18th century. Further, the new method was cheaper and quicker, so publications diversified and increased in number. Though Walsh preferred the sort of anthology published in the previous century, it gradually became more common to see single-composer collections. Those anthologies that appeared usually also included glees, printed in score as compared with the separate parts which prevailed for example in 1667.
138:. The subject matter includes more in the way of street cries and conviviality than in the Ravenscroft catches, and 37 (of 138) are devotional hymns and canons, only a few of which are in Latin. "Here dwells a pretty maid" by Cranford, another church musician, is the sort of minority contribution that made some nineteenth commentators consider all catches to be bawdy; it is said that a soldier singing this three-part catch (alone?) was heard by
375:
been especially encouraged until the Catch Club started to award prizes. Their encouragement eventually led to the formation of further clubs explicitly devoted to glees, starting in 1783 with the Glee Club and another at Harrow School in 1787. On the whole the glees stimulated by the prizes started with a clearly pastoral or abstract content and developed a style which separates them from the earlier part-songs published in catch collections.
331:. On the whole the glees stimulated by the prizes started with a clearly pastoral or abstract content and developed a style which separates them from the earlier part-songs published in catch collections. Catches on the other hand increasingly exploited the gaps revealed by rests which reveal hidden meanings from other lines, to the extent that many began to believe that this is the essence of the catch.
815:
224:
were also covered; smoking (Aldrich) and congested water travel (Isaak), though conviviality (wine, women and song) accounted for an even greater share than before. Purcell was probably the most prolific contributor with 53 catches to his name including two that are bawdy and many more wrongly attributed to him, most of which are bawdy.
103:. There is no evident distinction between rounds and catches and no set terminology for part-songs. Though the catches are generally short, one or two take a whole page to print (four parts of 13 bars), and subject matter is varied, including pastoral, descriptive and devotional items, and none that might be described as bawdy.
61:
a signal. A catch does not necessarily require the lines of lyrics to interact so that a word or phrase is produced from one part in the rests of another. This view became prevalent in the later part of the eighteenth century under the influence of the competitions sponsored by the
Noblemen and Gentlemen's Catch Club.
77:". Other early survivals are in manuscripts devoted to topics other than music, and though there may well have been many more over the years, few survived. The first major collection is in the Henry VIII manuscript dated about 1515; but they are really courtly art-songs and too complex to be sung informally.
440:
One format which became popular later in the 20th century exploited rests at the ends of lines. Probably the most widely known of these is "Liverpool Street
Station", beginning, "The girl that I love has given me the shove \\ She says I am too low for her station".. An alternative approach picks out
60:
In early collections the terms "catch" and "round" were interchangeable and, with part-songs and multi-voice canons, were all indexed as "songs". The catch and round differ from the canon in having a cadence on which the song can terminate after a specified number of repeats or when the leader gives
374:
won 27 prizes and was especially known as a glee composer, becoming
Librarian of the Glee Club at its formation and later Secretary of the Catch Club. It is said that he developed a style which is regarded as the essence of the glee. So, though the City Glee Club dates from the 1670s, glees had not
249:. Greene became Master of the King's music when Eccles died (1735), and he changed the way in which catch music was presented. Hitherto it had been written in a continuous line, but Greene had it printed in score. Moreover, he published only his own catches, a practice followed by Hayes and others.
414:
On the other hand, the extension of musical education and easier methods of dissemination, especially the internet, have revealed an active community of people writing canons and rounds. Perhaps a drawback is that many of the older rounds and catches so disseminated have become detached from their
118:
is described as "A choice collection of
Catches rounds and canons". Inside there is a table of "catches and rounds in this book", followed by "a table of the Sacred Hymns and Canons"; however, none of the first section is specifically described as catch or round. In the last section the canons are
338:
submitted his first glee at the age of 18 and the following year, 1784, carried off three of the prizes, and was a frequent prize-winner until their abolition in 1794. He may well have assisted in their abolition by submitting nearly 100 compositions in one year. Singers were hired to try out the
322:
The first secretary of the Club was Thomas Warren (later Warren-Horne after an inheritance) who published an annual collection of catches and glees from 1762 to 1793, generally known as the Warren
Collection. Some are anonymous, which accords with the Club's submission rules, though in most cases
223:
The biggest change in subject matter was politics, sometimes explicitly and at others hidden deep in allegory and allusion, especially in the 1680s. This accounted for the largest number of catches circulated anonymously in MS (to avoid arrest) though some were openly party propaganda. New habits
64:
Catches were originally written out at length as one continuous melody, and not in score. The change to printing in score was first made in the early eighteenth century, and this is now the normal method of presentation. In the score for a catch the different voices are usually labelled "1", "2",
306:
An event which changed matters substantially in
England was the formation of the Noblemen and Gentlemen's Catch Club in 1761, and especially its decision to award prizes. Notwithstanding its name, glees featured strongly in its repertoire from the start, as they did for most clubs of the period.
232:
John
Playford retired in 1684, and his place was taken initially by Henry Playford working with Richard Carr, but they were overtaken by new technology. Hitherto there had been little change in music printing since the mid sixteenth century; all of the publications discussed so far have a basic
399:
By the nineteenth century the
Noblemen and Gentlemen's Catch Club sang few catches, and its repertoire consisted largely of glees sung by professional members. This was true elsewhere, and choral societies began to absorb the interests of amateur musicians. There was a revival of interest in
236:
With increasing prosperity more music was printed and, though plates were initially more expensive to engrave, it was their re-use in new anthologies which kept costs down. Even so, catches seem less popular in the early eighteenth century, as other forms of music became more popular. Less
84:, which include most of the Lant pieces and most of those in the Melvil collection. Taking all three sources together this amounts to about 145 catches or rounds with a few part-songs. The contents list in all three Ravenscroft publications refer to "the songs in this book".
65:"3", etc. This indicates that voice "1" sings its part first and continues to part 2. When part 1 has been completed it is sung by voice "2" and so on. A common mistake in performance is for all parts to start together as though the score were to indicate a part song.
193:, dominated music publishing until the end of the century. Music meetings had begun during the Commonwealth and Catch singing was much practised by displaced choirmen; and so the Playfords encouraged the formation of more catch clubs to buy and sing their music.
57:. That is, it is a musical composition in which two or more voices (usually at least three) repeatedly sing the same melody, beginning at different times. Generally catches have a secular theme, though many collections included devotional rounds and canons.
387:(Dublin, late C17 and still extant), harmonic societies, Anacreontic societies and so forth. The Canterbury Catch Club (1779 to 1865) has resurfaced as a website with transcripts and recordings of a selection of catches and glees from the archives left in
119:
described as such, and the few "hymns" in three parts have no description; in fact unlike the catches and canons they are very much older than the rest of the contents which had been written in the first half of the seventeenth century.
326:
Similarly, glees had not been especially singled out before this period, and their encouragement eventually led to the formation of clubs explicitly devoted to glees, starting in 1787 with the Glee Club in London and another at
419:, of choosing a succinct verse well matched to suitably harmonised and polyphonic music. Names quoted include the prolific Donald Sosin (US) and Uitdenbogerd The catch technique has also migrated into other fields:
307:
Nevertheless, the award of prizes may have altered the balance. In 1762 prizes were awarded for catch, canon, serious glee, and cheerful glee. In 1768 Italian catch was added, and later we find
255:
was representative of a larger group of composers born in the early part of the century, many still employed by the church but increasingly in the theatre or pleasure gardens. This included
294:
wrote some amusing pieces including Crab Canons that can be sung upside down (and thus back to front) at the same time as forwards. Some surprisingly jocular pieces exist from the hand of
415:
origins and composers, though they can be re-connected as time goes by. Nevertheless, comparison of newer materials with 17th and 18th century catches reveal the difficulty, as in
730:
220:, whose later work was in the newly revived theatres. Examples include Purcell ("A catch upon the viol" ), Wise ("A catch upon the midnight cats" ); and Eccles ("My man John" ).
80:
The current catch repertoire dates from the Lant
Collection copied around 1580 and containing 57 catches and rounds. This was followed by the first printed collections edited by
403:
Unlike the glee clubs founded in the United States, there seem to be few clubs founded in the 20th century specifically for singing catches. The only known exceptions are
275:, who worked entirely outside the church. Subject matter of the catches continued as before but began to reflect theatrical work in the way that Purcell had done.
522:
Collected and published by John Hilton, printed for John Benson and John Playford,...1652; facsimiles published by Da Capo 1970, and by EEBO Editions (PoD)
96:
divides the contents into City Rounds and Country Rounds as contrasted with part-songs labelled Court varieties, City Conceits and Country pastimes.
154:
features some of the more rowdy characters drinking and singing catches late at night, of which one is said to begin "Hold thy peace, thou knave."
134:. There is evidence that the catches were sung by the composers and their friends in off-duty hours, especially the taverns and ale houses around
169:
in 1658 and 1663 with some omissions and replacements. This changed in 1667 when he included a much larger "second book containing dialogues
839:
122:
The contributors were generally church musicians such as Hilton himself, Nelham and Holmes, or court composers such as the Lawes brothers,
716:
339:
compositions before a selection committee, so this became very expensive. Callcott's popular catch "Sir John Hawkins' History of Music"
298:, all of which have been published. Even so, the idea of a group meeting regularly seems not to have taken root as it did in Britain.
181:". The list of catches in the first part continues from 1663 with the usual updates and omissions. The second part is headed simply
441:
individual syllables from an unrelated text as illustrated by Donald Sosin’s catch, "We Took Off Our Ugly Clothes," devoted to the
723:
513:
The Aldrich Book of Catches vol III (Ashworth Informatics UK, 2008, provides a performing edition of all of these catches.
674:, Novello, London, 1989; Eds. Robinson & Hall; this and subsequent volumes aim to get catches into the public domain.
189:" in this sense, and certainly seems to have established a general outline of use for some time. Playford, with his son
88:
has a running page header "Canons in the unison", but the sections are headed "rounds or catches of 3 (&c) voices".
364:
and sung by the President after supper; it was later supplied with alternative lyrics and became more widely known as "
237:
significant figures such as Richard Brown and John Church helped to bridge the gap into the new century, but it was
543:
1667; further versions 1672, 1673 &c; much used in anthologies; a facsimile available from EEBO editions (PoD)
272:
238:
30:
This article is about a technique in Western classical music. For "catchy" elements in modern popular music, see
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391:. Possibly the last to stagger on into the 20th century was the Round Catch and Canon Club (London 1843–1911).
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Various continental composers wrote in a similar vein, but all called their work canons. The most prolific was
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who published Hilton's collection continued to do so after Hilton's death (1656) with further versions of
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17:
649:, 1970, edited by Emanuel Rubin in four volumes containing 653 assorted catches, canons, glees &c.
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Men's Glee Club, in which the words "University of Michigan Men's Glee Club" can be heard at
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The Ravenscroft catches have no identified composers save for two that are known to be by
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282:, whose work remained unpublished until very recently. He encouraged his neighbours in
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Warren : Extremely rare - but a good facsimile is published by Mellifont Press,
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589:(1972) for a corrective to misplaced prudishness; and for the opposite, Rimbaud,
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who dominated this period, despite the presence of opera composers such as
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are extant, including two MS originals in BL. Likewise Michael's brother
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Of the many composers associated with the Catch Club, three stand out.
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madrigals so that even the glee as previously known was overshadowed.
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won six prizes from 1773. His output was mostly glees, but his song "
178:
54:
774:
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Many other clubs existed under a variety of titles, including the
38:
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used a catch in the chorus of the song "Hold On" from the album
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This existed in the 1960s and '70s and published a journal,
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http://www.cpdl.org/images/7/70/Eccles_My_Man_John_PML.pdf
286:, the Mozarts, to sing and write canons, and several by
346:' work by comparison with a similarly intended work by
73:
The earliest secular round is the thirteenth century "
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and contains part-songs and may be the first use of "
621:
The Story of the Noblemen and Gentlemen's Catch Club
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Pammelia, 1609, Deuteromelia 1609 and Melismata 1611
92:
introduces part-songs labelled as "Freemens songs".
500:A small-format manuscript book of 1612 now in the
504:; a transcription was published privately in 1916.
619:Gladstone, Herbert John (Viscount Gladstone).
564:http://www.cpdl.org/images/1/1e/CatCatches.pdf
553:http://www.cpdl.org/images/b/b5/Musikcatch.pdf
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602:In this case Britain includes catch clubs in
541:Catch that catch can or the Musical Companion
319:as well as the more frequent glee and catch.
8:
698:Sandra's Book of Rounds, Canons and Catches
267:, and immigrant musicians such as Marella,
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717:
709:
587:The Penguin Dictionary of Historical Slang
591:The Rounds catches and canons of England
18:Noblemen and Gentlemen's Catch Club
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212:, who were employed by the church; and
200:a new generation of composers included
7:
634:Noblemen and Gentlemen's Catch Club
25:
623:, London, privately printed 1930.
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142:and hauled before his colonel.
1:
840:Music of the United Kingdom
672:The Aldrich Book of Catches
632:Boas & Christopherson;
431:The Art of the Ground Round
27:Type of musical composition
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395:Decline and modern revival
29:
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750:
593:, c1865 Repr Da Capo1970
409:Catch Society of America
366:The Star-Spangled Banner
443:University of Michigan
437:uses several catches.
426:The Swiss Army Romance
421:Dashboard Confessional
407:(London 1954) and the
405:The Aldrich Catch Club
360:" was written for the
358:To Anacreon in Heaven
183:The Musical Companion
647:Wilmington, Delaware
585:See Eric Partridge,
385:Hibernian Catch Club
296:Ludwig van Beethoven
167:Catch that Catch Can
116:Catch That Catch Can
696:A.L. Uitdenbogerd,
531:Twelfth Night III.2
502:Library of Congress
362:Anacreontic Society
354:John Stafford Smith
336:John Wall Callcott
158:Later 17th century
107:Early 17th century
82:Thomas Ravenscroft
75:Sumer is icumen in
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90:Deuteromelia
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69:16th century
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32:Hook (music)
379:Other clubs
271:, Berg and
259:, Baildon,
218:John Eccles
198:Restoration
146:Shakespeare
112:John Hilton
829:Categories
662:, pp.16-20
389:Canterbury
196:After the
132:Simon Ives
780:Imitation
744:polyphony
658:Aldrich,
447:this link
247:Bononcini
206:John Blow
94:Melismata
785:Ricercar
608:Scotland
417:epigrams
317:madrigal
313:canzonet
288:Wolfgang
284:Salzburg
148:'s play
140:Cromwell
86:Pammelia
795:Subject
482:Gb ckc1
453:Sources
273:Festing
179:ballads
128:William
53:at the
703:, 2005
604:Dublin
315:, and
292:Joseph
263:, and
243:Handel
177:&
130:, and
101:Lassus
55:unison
800:Voice
790:Round
775:Fugue
760:Catch
755:Canon
269:Lampe
265:Nares
261:Boyce
191:Henry
175:ayres
171:glees
124:Henry
51:canon
47:round
43:catch
39:music
742:and
606:and
257:Arne
245:and
216:and
208:and
187:glee
126:and
41:, a
433:by
411:.
368:".
309:ode
114:'s
49:or
37:In
831::
700:,
449:.
429:.
350:.
311:,
204:,
173:,
732:e
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34:.
20:)
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