Mirie it is while sumer ilast: decoding the earliest surviving secular song in English (revised and updated)

LaboursOfThe Months.January.1475Mirie it is while sumer ilast, dated to the first half of the 13th century, is the earliest surviving secular song that is both English and in the English language, preserved only by the good luck of being written on a piece of paper kept with an unrelated book. We have the music and a single verse. This may be a fragment, but its wonderful melody and poignant lyric embody in microcosm the medieval struggle to get through the winter, nature’s most cruel and barren season.

This article examines the original manuscript, showing that the now-standard version of the song performed by early music revival players is not a true representation of the text and music, but the music itself poses many problems of interpretation. We begin with a translation of the Middle English words into modern English, continuing with a short survey of the social background and a step by step reconstruction of the music. Originally published in February 2016, this is a completely revised account, with a reworked rendering of the melody and a new performance video of Mirie, arranged for voice and medieval harp.  Read more

Edi beo þu heuene quene: a love song by any name

The Virgin of Toulouse, Notre Dame de Grasse (Our Lady of Grace), 1451-1500, now in the Musée des Augustins, Toulouse, France.Edi beo þu heuene quene is a 13th century English song in praise of the Virgin Mary, written in Middle English. It expresses familiarity in relationship with Mary and even romantic attachment; and the two part harmony sounds remarkably sweet and modern. This article explores why this is so, placing this beautiful song in its three contexts – lyrical, musical and historical – with a video of the song sung by The Night Watch, accompanied by gittern and citole.

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The mysteries of the medieval fiddle: lifting the veil on the vielle

QueenMaryPsalter.Royal2BVIIf.174The vielle or medieval fiddle was the most popular instrument in its heyday for secular song accompaniment. It first appeared in western Europe in the 11th century and continued to be played until the middle of the 16th century, flourishing in the 12th and 13th centuries. There is a wealth of vielle iconography, which can tell us a great deal about the variety of its form and the context of its use. There is a medieval source for its tuning, Jerome of Moravia in the 13th century, who gives 3 tunings, leaving us with some puzzles as to what exactly they mean in practice, which this article attempts to resolve. Our only renaissance tuning source is Johannes Tinctoris in the 15th century, which isn’t entirely clear in its meaning.

This page provides a detailed discussion of the different ways in which we can make sense of historical fiddle tunings and, in the light of that, a closely argued case for the relationship between the vielle and the crwth or bowed lyre, demonstrating that they were identical in style, having more in common with the hurdy gurdy family than modern bowed strings.

There are two editions of this article. This one included detailed analysis. For an introduction for the general reader, go to On the (medieval) fiddle: a short introduction to the vielle.

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