. The old cryes of London. CRTSS OF LO^DO^ 25 For some reason or other, the three great contemporary musiciansnamed wrote in a new form of composition for strings and voices, thevocal parts consisting exclusively of the words and music of the OldLondon Cryes. That the words are set to the original music is provedby the fact that each composer frequently used the same words and musicfor the Cryes he introduced. It is difficult to conceive why these lyth century musicians shouldhave undertaken this very interesting task, seemingly outside their usualoutput. And surely it were a pity to let such
. The old cryes of London. CRTSS OF LO^DO^ 25 For some reason or other, the three great contemporary musiciansnamed wrote in a new form of composition for strings and voices, thevocal parts consisting exclusively of the words and music of the OldLondon Cryes. That the words are set to the original music is provedby the fact that each composer frequently used the same words and musicfor the Cryes he introduced. It is difficult to conceive why these lyth century musicians shouldhave undertaken this very interesting task, seemingly outside their usualoutput. And surely it were a pity to let such works remain unknownin the British Museum, particularly at a time when so much considerationis being given to folk-song. Here was a remarkable and rare collateralgroup ! A few words as to the new form of composition in which the Cryesare introduced may fittingly be included here. In the early part of the iyth century the popular form of concertedmusic for strings was the so-called Fancy. This, the great instrumentalform of
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Keywords: ., bookcentury1900, bookdecade1920, bookpublisherlondo, bookyear1921
