O Mistress mine where are you roaming? O stay and hear, your true love's coming, That can sing both high and low. Trip no further, pretty sweeting: Journeys end in lovers' meeting, Every wise man's son doth know. What is love? 'Tis not hereafter, Present mirth hath present laughter: What's to come is still unsure. In delay there lies no plenty, Then come kiss me, sweet and twenty: Youth's a stuff will not endure.
From Shakepeare's TWELFTH NIGHT. I remember my old school performed this drama many years ago and remember the person who played the character, the clown who sings this song.
@@paulaclare9678 Wright seemed to be fascinated with the effect of light on skin. Look at the wonderfully varied skin tones and textures in this painting en.wikipedia.org/wiki/An_Experiment_on_a_Bird_in_the_Air_Pump#/media/File:An_Experiment_on_a_Bird_in_an_Air_Pump_by_Joseph_Wright_of_Derby,_1768.jpg, especially the difference between the experimenter and the shoulder of the younger girl. I think that in "The Matchmaker," he saw a flirting woman rearrange her neck kerchief to display her charms to better advantage and said, "Dang -- gotta get those beauties on canvas!"
I believe the singing in Shakespeare’s time was close to how traditional Welsh folk singing. Which is close to some Irish folk singing was. Not sure if scooping was used. This version is very accurate to the original version written for twelfth night.
O Mistress mine where are you roaming? O stay and hear, your true love's coming, That can sing both high and low. Trip no further pretty sweeting. Journeys end in lovers' meeting, Every wise man's son doth know. What is love, 'tis not hereafter, Present mirth, hath present laughter: What's to come, is still unsure. In delay there lies no plenty, Then come kiss me sweet and twenty: Youth's a stuff will not endure.
It's interesting to me to see how many versions there are of this song. I think that someone's favorite rendition is the first version that they hear.
I think that that is very true.
One of the most beautiful lyrics in the language.
O Mistress mine where are you roaming?
O stay and hear, your true love's coming,
That can sing both high and low.
Trip no further, pretty sweeting:
Journeys end in lovers' meeting,
Every wise man's son doth know.
What is love? 'Tis not hereafter,
Present mirth hath present laughter:
What's to come is still unsure.
In delay there lies no plenty,
Then come kiss me, sweet and twenty:
Youth's a stuff will not endure.
Custer LaRue totally nailed it. How could the vocal be any better than this? If I were Thomas Morley, I would say "Yes! Exactly!"
I really like this performance. The singer is wonderful! Thanks for posting.
The painting and the song both go through clarity❤️😍
Superb. Modern phrasing on top of an old standard.
An ideal rendering!
From Shakepeare's TWELFTH NIGHT.
I remember my old school performed this drama many years ago and remember the person who played the character, the clown who sings this song.
This is Custer LaRue, with the Baltimore Consort. Excellent rendition.
Would you consider her singing to be realistic considering the age this song was made? did they sing like that back then?
This song is really catchy. It reminds me of the songs in shape-note books. I wonder what a 4-part arrangement of this would sound like.
.
very close to the melody
I like . . . . ❣
Why not credit the performers in the video description above?
Amazing song
Beautiful.
This is how they heard the song in the time of James I. Highlands`s style.
Kiss me sweet and twenty
This is from Shakespeare's Twelfth Night....!
Oh mistress mine
I love the song,but who painted the scene?
This beautiful painting complements the song so well.The light reminds me of
Wright of Derby but much earlier. Could be called'The Cleavage'.
The painting is 'The Matchmakers' by Gerard van Honthurst',1592-1656, Holland.
Thank you Gerard Van Honthurst
@@paulaclare9678 Looks like van Honthurst was abundantly familiar with Carravaggio's influential work with light effects.
@@paulaclare9678 Wright seemed to be fascinated with the effect of light on skin. Look at the wonderfully varied skin tones and textures in this painting en.wikipedia.org/wiki/An_Experiment_on_a_Bird_in_the_Air_Pump#/media/File:An_Experiment_on_a_Bird_in_an_Air_Pump_by_Joseph_Wright_of_Derby,_1768.jpg, especially the difference between the experimenter and the shoulder of the younger girl. I think that in "The Matchmaker," he saw a flirting woman rearrange her neck kerchief to display her charms to better advantage and said, "Dang -- gotta get those beauties on canvas!"
00:37
This is weird but in my english clown I had to sing this but I didn't want to I rapped I rapped it to the backing track of drop it like it's hot
I want to hear that...
@523205227 Um... thanks for that. It does seem to have a slight Celtic feel.
i don't like the singing- but we cannot know how exactly it did sound in Shakespeare's day....
Did you want something more operatic? Or what? Asking respectfully.
@@oolala53 there should be no scooping, i think, it irritates me
I am not skilled enough to know what scooping is. But I accept your evaluation of it.
@@oolala53 ruclips.net/video/c38w0hfU0Ec/видео.html
I believe the singing in Shakespeare’s time was close to how traditional Welsh folk singing. Which is close to some Irish folk singing was. Not sure if scooping was used. This version is very accurate to the original version written for twelfth night.
O Mistress mine where are you roaming?
O stay and hear, your true love's coming,
That can sing both high and low.
Trip no further pretty sweeting.
Journeys end in lovers' meeting,
Every wise man's son doth know.
What is love, 'tis not hereafter,
Present mirth, hath present laughter:
What's to come, is still unsure.
In delay there lies no plenty,
Then come kiss me sweet and twenty:
Youth's a stuff will not endure.