parsonage is the Revenewe of a free gramer schole here in Yorke and appropryated to the Deane and Chapter of the Church of Yorke for that use and so imployed; the schole I assure your Lordship is and for these many yeres (I here) hath bene verie well used and the onelie good schole in this great Cytie, so that to have the same utterlie taken away were pitifull. Two hundreth scholars or theraboutes (the most of them poore men's children) are vertuously trayned uppe ther. The cause concerneth the Churche and therfore I make bold to pray this favour that James Moyser (the Churche's tennante of the Rectorie) may be admitted and allowed to pleade the generall yssue, And so lett the matter come to ordinarie tryall. The Deane and Chapter do not distruste their tytle, they only seke to upholde the Schole, and your Lordship I well hope will favour and further. And so betaking this cause to your due consideracyon I cease your trouble. Cawood this thirde of October 1589. Your Lordshipps Loving frende."
MUSIC RECITAL BY OWEN BRANNIGAN It is some time since a singer of national repute gave a recital to the School, but on Thursday, 24th January, in Big Hall, the School was treated to a programme given by Owen Brannigan, the famous bass. Mr. Brannigan sang selections from 17th and 18th Century English Music, from Mozart's operas, and from English Folk Songs, thus dividing the recital into three. From the very beginning, in the five items by Henry Purcell there were at least four kinds of song with their different interpretations. "Ye Twice Ten Hundred Deities" and "Arise ye Subterranean Winds" gave scope for spacious phrasing, long crescendos, and the powerful voice Owen Brannigan possesses. To temper the mood of these two, came a winter song suggesting snow and quiet, and then a song Purcell wrote in a very frivolous mood—"The Owl is abroad". After "Man is for Woman made" we heard a song, "Whilst I'm carousing", by Richard Laveridge, a friend of Handel's, who wrote all his songs, so Mr. Brannigan told us, about drink or under its influence. "Drink to me only"—in very different mood—was the best-known piece in this section and was sung with a great amount of feeling. To appreciate this music, as all his programme, one must see Owen Brannigan in person, otherwise there seems to be "something" missing in the warmth of the songs. Three songs rounded off the first part. 29
