- Pro Musica Erotica
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The Restoration Revisited or The Pursuit of Happiness
- Upon Sir Toby's Gaining Ground - Anonymous Time: 1:19
- The Magdalen - Anonymous Time: 1:13
- No, No, Says Rose, I'll Die - Mr. Matthew Prior Time: 1:55
- Come On, Here's John - Mr. J. Hawkings, Sr. Time: 0:38
- The Amourous Parley - Mr. Edward Mulso Time: 0:42
- 'Mongst Other Roses - Dr. William Boyce Time: 2:06
- A Catch On The Midnight Cats - Mr. Michael Wise Time: 1:18
- Young Anthony Peeping - Mr. William Turner Time: 1:06
- Milady's Longing - Dr. John Blow Time: 0:31
- Phoebe's Picture - Mr. Henry Purcell Time: 4:00
- 'Tis Strange Sister Ruth - Arranged By Mr. John Jenkins Time: 1:51
- Upon His Measure - Mr. Henry Purcell Time: 1:19
- To Thee And To The Maid - Mr. Henry Purcell Time: 0:30
- Chloe At Cock's Auction - Anonymous Time: 2:05
- The Virginal Lesson - Mr. John Isum Time: 1:21
- Milady's Coachman - Mr. Henry Purcell Time: 1:15
- A Stitch In Time - Mr. Thomas Wood Time: 1:28
- Upon John Cooper's Timber - Dr. William Boyce Time: 1:20
- Look At Mine Eyes - Dr. John Blow Time: 2:37
- Once, Twice, Thrice - Mr. Henry Purcell Time: 0:52
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THE RESTORATION REVISITED
or The Pursuit of Happiness
by the
PRO MUSICA
EROTICA
ABOUT THE MUSIC
It was during the reign of Charles II in England that short vocal pieces called "catches" and "glees" attained a popularity which lasted through the 17th & 18th centuries. Their spirit is even found in the short canons of the young Mozart. But it was during its vogue in the reign of Charles II that the catch (round, or sometimes called a canon in unison) acquired that especial quality of ribaldry which even today can often make the boldest blush deep. But this point is too much belabored, thus overlooking the wonderful humor and pointed satire many times to be found in the text and also often in the musical accompaniment. This latter is usually as simple as possible since these songs were meant for "popular" consumption. But listen for example to " 'Tis Strange Sister Ruth," whose text dates from the late 17th century; the double entendre and satire on religiosity are well illustrated by both words and accompaniment. Again, the humor of Purcell's "Milady's Coachman" still makes its point some 275 years later. For the rest, these songs are a delightful social commentary: we "moderns" have lost to a great extent this naive ability of the 17th and of the more sophisticated 18th centuries to view humans and their unpredictable behavior with interest, humor, enjoyment, and the compassionate laugh at their foibles and follies.
Cover Illustration: RALPH ROBINSON
Design: IVAN X. SPEAR
RIAA Curve Engineered by Edgewood Studio
Printed in U.S. A.