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The complete lyrics for each of these songs can be found at http://www.mudcat.org/thread.cfm?threadid=68881
Shake it to the East [The middle person rejoins the circle and doees the shaking dance along with the others]Voices Solo soprano Solo tenor Solo bass Woodwinds 2 flutes (2nd doubling piccolo) 2 oboes 2 bassoons Brass 2 horns in F 1 trumpet in C 1 trombone The first recorded show to have involved the Punch-style marionette was performed in England in May 1662, outside of London in Covent Garden, by Bologna-born puppeteer Pietro Gimonde, also known as Signor Bologna. [21] This marionette was named Punchinello, later shortened to Punch, and finally becoming wholly British with his transformation into Mr. Punch. The British Punch is far more childlike and violent than Pulcinella but is renowned for being just as funny. [22] Always seen with cudgel in hand, Punch is more menacing than his Italian counterpart. In many performances, he murders his wife and child, as well as the Devil. In 1851, Henry Mayhew wrote of one performer who described the character's enduring appeal: "Like the rest of the world, he has got bad morals, but very few of them." [23] Rudlin, John (1994). Commedia dell'Arte: An Actor's Handbook. London, England: Routledge, an imprint of Taylor & Francis Group. p.141. ISBN 978-0415047708. Fava, Antonio (2013). "Pulcinella Character and Mask Description". AntonioFava.com. Antonio Fava . Retrieved December 9, 2016. Nowadays most children in the United States only know a few singing games/"play party" games. And the singing games that are known are rarely played by children over 12 years old. Most of the singing games/play party songs which children in the United States know were taught on the college level to prospective teachers or child care givers. Those teachers/child care givers then taught the form & words of those games that they learned to their elementary school ages students (usually under age 12 years) and/or the pre-school/day care children who are under their care. The usual venue for teaching these games in elementary schools is music classes. Video #2 below is an example of this practice.
Duchartre, Pierre Louis (1966). The Italian Comedy. United States of America: Dover Publications, Inc. pp. 209. ISBN 978-0486216799. Verse #4: During the fourth verse, the center person remains in the middle of the circle. She (or he) closes her eyes, puts her right hand over her eyes, and stretching out her left arm, puts at the people forming the circle while slowly turning around in a circle. The center person stops turning around at the end of that rendition of the song. And, btw, it's good to hear from a felllow Pittsburgher, even though you moved away from that city :o)If I recall correctly, the person in the middle closed her or his eyes. pointed while turning around the center. At the end of the song, the person who sh or he was pointing to was "It" and the game began again from the beginning. It appears that the name "Punchinella" is very often used in the United States and in some other English speaking nations instead of the name "Punchinello". As per point #2, "Punchinella" or "Punchinello" can be either male or female.
In the school i worked at previously, i was surprised to see the children playing this game on the yard, with the same lyrics The music is based on pieces then believed to have been by the Italian composer Giovanni Battista Pergolesi. The following is a description of the musical forces and movements.
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At Roger Q. Mills Elementary in Dallas, Texas cira 1960 it was a playground game. All the kids stood in a circle with one person in the middle. Then we sang: I grew up in Jamaica, West Indies, playing this game at school during recess. In the 1950s, the words we sang were: a b Rudlin, John (1994). Commedia Dell'Arte: An Actor's Handbook. London, England: Routledge, and imprint of Taylor & Francis Group. p.140. ISBN 978-0415047708. A Baltimore version of this American singing game was collected from 20th century Baltimore, MD. Baltimore has its own Little Italy. The Baltimore version of the game was called "Punch and Netta." (One could speculate that meant it could have derived from American Baltimore children misunderstanding another version of the name, "Pulcinella," as "Punch 'n Nella.")" Although the original "Pulcinello" was always a male, and "Punch" in Punch & Judy shows was always a male, the center person in the "Punchinello"/"Punchinella" singing game can be either male or female. Note the words to an early version of that game - "What can you do Punchinello, funny fellow."
Conductor Ernest Ansermet wrote to Stravinsky in 1919 about the project. The composer initially did not like the idea of music by Pergolesi, but once he studied the scores, which Diaghilev had found in libraries in Naples and London, he changed his mind. Stravinsky adapted the older music to a more modern style by borrowing specific themes and textures, but interjecting his modern rhythms, cadences, and harmonies.Mordini, Emilio (2011). "Pulcinella Secrets". Bioethics. 25 (9): ii–iii. doi: 10.1111/j.1467-8519.2011.01938.x. PMID 21988143. Sometimes in advance of the itinerant entertainers at market fairs, Pulcinella migrated first within Italy, to Rome (from the 1620s onward), to Emilia-Romagna, and to Venice, where his popularity in St Mark’s Square was so great that he inspired namesake puppets called puricinei. In each case, Pulcinella adapted to his new environment and local language. At the same time he was becoming popular in Europe. During the 1640s, his French counterpart was performing in Paris by a member of the Brioché lineage; meanwhile Pietro Gimonde, known as “signor Bologna”, introduced Pulcinella in Munich in 1656 and then in London in 1662. In Germany, puppeteers like Johann Peter Hilverding were called “ Pulcinella Spieler”; in France, Polichinelle was born; in Great Britain, Punchinello gave rise to Punch; later on in Spain the term purchinelas came into use (see Don Cristóbal).
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