early music – Early Music Muse

The guitar: a brief history from the renaissance to the modern day

Ian Pittaway baroque, baroque guitar, Broonzy Bill, Carthy Martin, citole, cittern, early instruments, early music, folk music, gittern, guitar, kithara, Latin guitar, Moorish guitar, orpharion, Paul Les, renaissance, renaissance guitar 4th September 202028th August 2024 4 Comments

The origins of the guitar are much-discussed and much-disputed, and some pretty wild and unsubstantiated claims are made for its heritage, based on vaguely guitar-like instruments in medieval and even pre-medieval iconography, about which we often know little or nothing beyond an indistinguishable drawing, painting or carving; or based on instruments which have names that sound like ‘guitar’. This article is an attempt to slice through the fog with a brief history of the instrument, charting its development from the renaissance, through the baroque period to the modern day, based only on what can be claimed with evidence. The article is illustrated with pictures, videos and sound recordings, beginning with a short video of guitar history.

This is an expanded version of an article originally published in 2015, with a new video.

The trees they do grow high: a ballad of medieval arranged marriage?

Ian Pittaway broadside ballads, Burns Robert, Carthy Martin, early music, Fletcher John, folk music, harp, Herd David, Johnson James, Lady Mary Ann, Lloyd A. L., Maidment James, mediaeval, medieval, medieval harp, myths, North Countrie Garland, Scots Musical Museum, Shakespeare William, traditional music, Trees they do grow high, Two Noble Kinsmen, Young Laird of Craigstoun 13th February 201625th June 2024 6 Comments

The trees they do grow high is a traditional ballad about an arranged child marriage, also known as The trees they grow so high, My bonny lad is young but he’s growing, Long a-Growing, Daily Growing, Still Growing, The Bonny Boy, The Young Laird of Craigstoun, and Lady Mary Ann. The song was very popular in the oral tradition in Scotland, England, Ireland, and the USA from the 18^th to the 20^th century. Questions about its true age (medieval?), the basis of its story (describing an actual marriage?) and its original author (Robert Burns?) have attracted conjectural claims. This article investigates the shifting narrative of the story over its lifetime and sifts the repeated assertions from the substantiated evidence.

The Lyke-Wake Dirge: the revival of an Elizabethan song of the afterlife

Ian Pittaway Aubrey John, Boulton Harold, Canterbury Tales, Chaucer Geoffrey, early music, folk music, harp, Lyke-Wake Dirge, mediaeval, medieval, medieval harp, renaissance, Ritson Joseph, Scott Walter, Sidgwick Frank, traditional music 3rd January 20164th November 2023 18 Comments

The Lyke-Wake Dirge, with its dark, mysterious imagery and its brooding melody, is known to singers of traditional songs through its resurrection in the repertoire of folk trio The Young Tradition in the 1960s, and its subsequent recording by The Pentangle and others. What many of its performers may not realise is that its history can be reliably traced to Elizabethan Yorkshire, with a hint from Geoffrey Chaucer that its origins may be earlier. This article uses direct testimony from the 16^th and 17^th century to explore its meaning, its perilous and punishing “Whinny-moor”, “Brig o’ Dread”, and “Purgatory fire”; and discovers the surprising origin of its doleful dorian melody.

On the medieval fiddle: a short introduction to the vielle

Ian Pittaway bourdon, bowed lyre, crwth, early instruments, early music, fiddle, fiddle tunings, Henry VIII, hurdy gurdy, Jerome of Moravia, jongleurs, lyre, Mary Rose, mediaeval, medieval, medieval fiddle, medieval fiddle tunings, minstrels, organistrum, organum, simfony, Tractatus de Musica, troubadours, trouvères, viella, vielle, vielle à roue, vielle tunings 22nd November 201530th October 2023 2 Comments

A mention of the violin today is likely to conjure up images of a classical, orchestral, or jazz musician, whereas the word fiddle is more likely to suggest a traditional or folk musician, even though they’re essentially the same instrument, set up differently to suit different styles of playing. This class-based relegation of the term fiddle was not always so. Centuries before the creation of the violin there was the medieval fiddle, also known by its French name, the vielle. This brief introduction demonstrates that the playing style and sound of the medieval fiddle had more in common with the hurdy gurdy and the crwth (bowed lyre) than the modern violin. Includes illustrations and video examples.

This is one of two editions of this article, being a short introduction to the vielle, intended for the general reader. There is a longer version, The mysteries of the medieval fiddle: lifting the veil on the vielle, which has 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.

The beautiful Boissart mandore, part 3 of 3: Creating a new mandore inspired by the ‘Boissart’ design

Ian Pittaway Baker Paul, baroque, Boissart, Boissart mandore, early instruments, early music, gittern, lute, lutherie, luthier, mandore, renaissance, V&A, Victoria & Albert Museum 23rd September 20151st September 2024 13 Comments

It is difficult to describe the joy of a private viewing of the beautiful and tiny mandore in the Victoria & Albert Museum. The instrument, repaired in 1640 by the mysterious Monsieur Boissart and made c. 1580–90, is exquisite. You can view photographs and read my observations about it in the second of these three articles. The first article traces the history and of the mandore, with its origins in the lute and gittern familes. This, the third and final article, is a record of the design and making of a new mandore based on, but not a replica of, the V&A’s instrument. The affable and ever-accommodating maker was Paul Baker; the delighted and very lucky player is Ian Pittaway, the author of this piece. This was to be a new journey for us both: me never having played a mandore, Paul never having made one. The article includes a video of the completed mandore playing 3 pieces from the John Skene mandore book of 1625-1635, accompanied by photographs of its construction.

The Psilvery Psound of the Psaltery: a brief history

Ian Pittaway Berkeley manuscript, bourdon, bowed psaltery, Canterbury Tales, Cantigas de Santa María, Chaucer Geoffrey, clavicembalum, dulcimer, early instruments, early music, Girolamo da Santacroce, hammer dulcimer, harpsichord, mediaeval, medieval, Memling Hans, Mersenne Marin, piano, psalterion, psaltery, renaissance, roof angels, There comes a ship a sailing 4th September 201526th September 2023 28 Comments

Psaltery played by a cat in a Belgian Book of Hours, c. 1470. — Psaltery played by a cat in a
Belgian Book of Hours, c. 1470.

There is something quite enchanting about the silvery sound of the psaltery. Its name probably originates in religious use, as an accompaniment to singing songs from the psalms, known as psalmody and sung from a psalter, thus the psaltery. The word is from the Old English psealm or salm and Old French psaume or saume, derived from Church Latin psalmus, which itself comes ultimately from the Greek psalmos, a song sung to a harp, and psallein, to pluck on a stringed instrument. Appearing in Europe from the 11^th century, the psaltery’s wire strings rang out in religious and secular contexts until around 1500, with a little evidence of a pocket of survival for a few decades after that. Its regular appearance in manuscript iconography, church iconography and in Geoffrey Chaucer’s Canterbury Tales are evidence of its wide use and appeal. Its influence and development is surprisingly widespread, giving rise to the hammer dulcimer, the harpsichord family and ultimately the piano.

Bird on a briar: interpreting medieval notation, with a HIP harp arrangement

Ian Pittaway bird on a briar, bourdon, bryd one brere, Chaucer Geoffrey, early instruments, early music, Gothic harp, harp, historically informed performance, Lambertus, Langland William, Magister Lambertus, mediaeval, medieval, medieval notation, rhythmic modes, square notation, troubadours, trouvères 27th July 201516th October 2024 7 Comments

The aim of this article is to arrive at a performable and historically justifiable arrangement of the problematic song, bryd one brere, c. 1290–1320. This is the oldest surviving secular love song in the English language with a complete lyric and so it is early music gold-dust, but it does have some severe holes: it is for two voices, but one voice is missing; and some of the roughly-written notation is difficult to decipher. What follows is not the only possible musical solution; but on this journey I’ll take you through the process step by step, so you can decide for yourself if you’re convinced. I’ll also delve a little into the background of the song, arguing that it is clearly influenced by the troubadour and trouvère tradition of fin’amor – refined or perfect love. The article starts with a video performance on voice and medieval harp.

The bray harp: getting a buzz from early music

Ian Pittaway arpichordium, baroque, begena, bèguèna, bray harp, Chaucer Geoffrey, Davidsharffe, early instruments, early music, Gothic harp, harp, harpichordium, hurdy gurdy, Lamento di Tristano, lyre, mediaeval, medieval, muselar, Praetorius Michael, renaissance, Robert ap Huw manuscript, rota, rote, rothe, rotta, Ur lyres, vielle à roue 24th July 201519th November 2023 16 Comments

A donkey plays bray harp while a goat sings, from the Hunterian or York Psalter, 1170. — Donkey harpist, goat singer: Hunterian/York Psalter.

The bray harp is not a sound modern ears are used to, and even most early music groups with harps don’t use the period instrument, yet it was the standard European harp of the late medieval, renaissance and early baroque periods, from the 15^th century to the 1630s, and still used until the late 18^th century in some places. The bray harp gets its name from the L shaped wooden pins at the base of the strings, positioned so the strings buzz against them as they vibrate: the effect was said to sound like a donkey’s bray. It’s an older idea than the bray harp, one shared by the oldest surviving stringed instruments, made four and a half thousand years ago.

This article traces the earliest evidence for the European harp, leading to the origins and popular rise of the bray harp specifically. We ask why there is so little surviving early harp music and try to come to a feasible historical answer; and along the way take in Pictish stones, illuminated Psalters, Geoffrey Chaucer, harp-playing angels and an ape playing a rota, with a video of the harp being brayed.

The oud: a short guide to a long history

Ian Pittaway Cantigas de Santa María, early instruments, early music, lute, mediaeval, medieval, oud 17th July 20156th November 2022 9 Comments

Ouds from the *Cantigas de Santa Maria*, c. 1257–83.

The oud or, in Arabic, al-ʿūd, is probably best known in the west for being the predecessor of the European lute; but it does have an independent life of its own in the history of early music, rooted in medieval cultural exchange between east and west. We know, for example, that ouds played an important part in the musical life of the royal court of Castile (in modern Spain) in the 13^th century and, by extension, almost certainly Iberian musical life in general. But was the oud fretted, unfretted, or both? How did western musicians come to play an eastern instrument? And did the oud really originate in desiccated human remains?

Music of the renaissance: a whistle-stop tour

Ian Pittaway baroque, broadside ballads, dance, Dowland John, Dunstaple John, early instruments, early music, lute, mediaeval, medieval, renaissance, renaissance dance 15th July 201525th July 2022 0 Comment

The renaissance marked a turning point for European culture. Beginning in Italy in the 14^th century, its influence spread across Europe, affecting all aspects of culture, including music. But it was in England that the sound of the renaissance first developed, spreading out to Burgundy, Italy, and then back to England in new forms. The invention of the printing press and the spread of literacy profoundly affected music-making, with musicians in households now able to write down music, use the new printed songbooks of composers such as John Dowland, and sing from broadside ballad sheets sold in the street. The spread of printing and literacy also affects our own knowledge of the period, with surviving instructions for dances and a wealth of music. Includes 15 active links in blue to videos of musical examples, illustrating the text.

The gemshorn: a (necessarily) short history

Ian Pittaway Agricola Martin, baroque, cornet, cornett, early instruments, early music, gemshorn, mediaeval, medieval, renaissance, Virdung Sebastian 14th July 201522nd February 2023 0 Comment

The haunting sound of the gemshorn has played a small part in the early music revival. Evidence for its historical use is sparse, scattered thinly from the late middle ages or early renaissance to the first days of the baroque period, and only within Germany. This ocarina made of goat horn was included in the completist musical lexicographies of Sebastian Virdung, 1511, and Michael Praetorius, 1618, and was deemed recognisable enough to be played by the figure of death in a series of woodcuts in 1488. This article traces what we know about the gemshorn, comparing the evidence with its use in the early music revival.

The gittern: a short history

Ian Pittaway Berkeley manuscript, Chaucer Geoffrey, citole, cobza, early music, Elbląg 'gittern', Elbląg coboz, Elbląg koboz, Elbląg kobza, gittern, koboz, kobza, Tinctoris Johannes 14th July 201530th June 2024 25 Comments

The gittern was one of the most important plucked fingerboard instruments of the late medieval period. Loved by all levels of society, it was played by royal appointment, in religious service, in taverns, for singing, for dancing, and in duets with the lute. Yet we know of no specific pieces played on this instrument. What we do have are many representations of it being played in a wide variety of contexts and one surviving instrument of the 15^th century, and from this we can reconstruct something of the history and repertoire of this widely-loved instrument. This article begins with a video of an estampie from c. 1300 played on gittern.

Medieval music: a quick guide to the middle ages

Ian Pittaway Astripotens famulos (Kind ruler of the stars), Cantigas de Santa María, citole, ductia, early music, estampie, gittern, Lambeth Palace Library MS 457, Mater dei (Mother of God), mediaeval, medieval, Mirie it is while sumer ilast, Miro genere (By a wondrous birth), polyphony, Sexte estampie Real, Sumer is icumen in 9th July 20157th July 2024 4 Comments

The middle ages covers a period of a thousand years – and yet much of its music-making is a mystery to us. We’re not completely in the dark, though, so the aim of this article is to give a broad beginner’s guide to the principles of secular medieval music. When were the middle ages? How do we know what the music sounded like? What were the earliest surviving songs? What was its dance music like? Why does medieval music sound so different to today’s? How did medieval musicians harmonise?

This article features 4 illustrative videos of medieval music and several links to further articles (click on blue text).

Greensleeves: Mythology, History and Music. Part 3 of 3: Music

Ian Pittaway baroque, broadside ballads, early music, Greensleeves, lute, lute manuscripts and books, morris dance, passamezzo antico, Playford John, renaissance, romanesca 8th July 201528th February 2024 8 Comments

The remarkable longevity of a 16^th century song and tune

Left to right: Adrien le Roy, French lutenist, one composer of passamezzo antico; William Kimber, English morris dancer and concertina player, one player of Bacca Pipes; Ralph Vaughan Williams, composer of Fantasia on Greensleeves; John Coltrane, jazz saxophonist, and Nomansland, trance dance band, both performers of Greensleeves. — **Left to right:** Adrien le Roy, French lutenist, one composer of a *passamezzo antico*;
William Kimber, English morris dancer and concertina player, one player of *Bacca Pipes*;
Ralph Vaughan Williams, composer of *Fantasia on Greensleeves*;
John Coltrane, jazz saxophonist, and Nomansland, trance dance band, performers of *Greensleeves*.

Greensleeves has captured the imagination of musicians for well over four centuries, testified by innumerous versions. This, the third of three articles about the mythology, history and music of Greensleeves, gives an audio flavour of the remarkable versatility and vitality of the melody and song, an à la carte menu to choose from. We begin with versions of the passamezzo antico and romanesca which are the foundation of Greensleeves; then advance to the song on period instruments; the Playford dance; two Greensleeves morris dances; the Christmas song; Ralph Vaughan Williams’ classical version; then a range of more modern interpretations: folk, blues, bluegrass, country, pop, rock, punk, black metal, jazz, flamenco, disco, trance, dubstep, Vietnamese ballet … and the ice cream van tune.

Greensleeves: Mythology, History and Music. Part 2 of 3: History

Ian Pittaway baroque, broadside ballads, early music, Greensleeves, lute, lute manuscripts and books, Merry Wives of Windsor, morris dance, passamezzo antico, Playford John, renaissance, romanesca, Shakespeare William, Sumer is icumen in 6th July 201519th November 2024 7 Comments

The remarkable longevity of a 16^th century song and tune

Greensleeves is well over four centuries old and is, even now, still going strong. This is a song first published in 1580, its tune used for a wide variety of other 16^th and 17^th century broadside ballads; used as the basis for virtuoso lute playing; that William Shakespeare used for a sophisticated joke; a tune that John Playford published for dancing to; that morris dancers still jig and kick bottoms to; that has become a Christmas favourite; and that pop singers continue to sing. This is the second of three articles, looking at the song’s mythology, its true history, and video examples of its musical transformations.

One of the first sources for the tune, in lute tablature as greene sleues in MS. 408/2, an anonymous amateur anthology dated c. 1592–1603. — One of the first sources for the tune, in lute tablature as *greene sleues* in MS. 408/2, an anonymous amateur anthology dated c. 1592–1603. (As with all images, click for higher resolution.)

Greensleeves: Mythology, History and Music. Part 1 of 3: Mythology

Ian Pittaway Boleyn Anne, broadside ballads, Chappell William, Dowland John, early music, Flood William H. G., Greensleeves, Henry V (play), Henry VIII, lute, lute manuscripts and books, Merry Wives of Windsor, myths, Poulton Diana, renaissance, Shakespeare William, Tudors (TV series), Twelfth Night 3rd July 201520th November 2024 23 Comments

The remarkable longevity of a 16^th century song and tune

Greensleeves, composed anonymously in 1580, is a song which has been a magnet for fanciful claims. This article examines the claims that Henry VIII wrote it for Anne Boleyn; that Lady Greensleeves was a loose woman or a prostitute; and that the song has Irish origins. This is the first of three articles, looking at the song’s mythology; its true history; and video examples of its musical transformations.

The beautiful Boissart mandore, part 2 of 3: Observations on the Boissart mandore

Ian Pittaway baroque, Boissart mandore, early instruments, early music, gittern, lute, mandore, renaissance, V&A, Victoria & Albert Museum 24th June 20152nd September 2024

The history of a stunning 16^th century instrument, observations on its lutherie, and questions over its dating.

In part 1 we looked at the history of the renaissance and baroque mandore. Now we examine one exquisite instrument, the Boissart mandore in the Victoria and Albert Museum, London, decoding its remarkable carvings and reconstructing its biography from the visible evidence of the changes it has been through. As far as I know, this is the first critical examination of the life of the Boissart mandore.

00_MandoreBoissart1640_Sideview02 — All photographs by Ian Pittaway, included courtesy of the Victoria and Albert Museum, London.
(As with all pictures, click to see larger in a new window, click in new window to further enlarge.)

The beautiful Boissart mandore, part 1 of 3: The pre-history of the mandore

Ian Pittaway Agricola Martin, baroque, Berkeley manuscript, Boissart mandore, early instruments, early music, gittern, lute, mandore, mediaeval, medieval, oud, renaissance, V&A, Victoria & Albert Museum, Virdung Sebastian 14th May 20151st September 2024

The history of a stunning 16^th century instrument, observations on its lutherie, and questions over its dating.

The Boissart mandore, dated by the V&A to 1640. (As with all pictures, click for higher resolution view.) — The Boissart mandore, dated by the V&A to 1640. Photograph by Ian Pittaway, included courtesy
of the Victoria and Albert Museum, London. (As with all pictures, click for a larger view.)

In the family of renaissance plucked instruments, the mandore is the result of a union between two mediaeval string families: the oud and the lute on one side, and the gittern on the other. The resulting offspring is a small instrument with a musically significant (but alas now largely unplayed) surviving repertoire. Some actual instruments survive, and there is no doubt that the most exquisite of these is the beautiful Boissart mandore in the Victoria and Albert Museum. This article and two to follow will: (1) trace the pre-history of the mandore; (2) examine the V&A’s beautiful Boissart mandore and attempt to reconstruct its personal history for, as far as I know, the first time; (3) describe the making of a new mandore based on the Boissart model.