The 13th century song, Foweles in þe frith, is among the earliest that survive in the English language. The manuscript has two complete polyphonic voices but only one verse, and so the meaning of its nature imagery and lament for the “beste of bon and blod” has been much debated.
This article places Foweles in þe frith in the context of other surviving secular songs in English; then decodes and deciphers its words and debates its various interpretations: is it a lover’s lament; sorrow for a lost animal; or a song of religious contemplation?
The melody was written by the scribe in notation usually presumed to be non-mensural (non-rhythmic). I argue that the music shows rhythm, clearly written on the page according to medieval musical principles, performed in the video which begins the article.
bryd one brere – bird on a briar – is the earliest surviving English secular love song with a complete lyric, dated c. 1290–1320. The music was written on the back of a papal bull with a poor pen, so interpreting the notation is problematic in parts. A previous article (availablehere) addressed interpretation of the music and the poetic meaning of the words.
This article addresses a second problem of interpretation: the song was clearly intended for two voices, but the primary voice is missing, leaving us only with the second voice, the polyphonic accompaniment. Using the principles of medieval English polyphony, author Ian Pittaway has constructed three possible versions of the lead voice, based on the gymel, contrary motion, and the mixolydian mode. While we cannot know if any one of these constructions was the intention of the composer, the exercise serves as an illustration of the principles of English polyphony at the turn of the 14th century and an attempt to sing the song in the originally intended manner.
All three two-voice versions of bird on a briar are sung in a multi-tracked illustrative video by Ian Pittaway. In October 2019, all three versions were used in a concert performance by the early music ensemble Les Reverdies de Montréal, a video of which ends this article.
The most fundamental question of all in playing early music today is: how can the music be played to reflect historical practice? This is the second of three articles looking at historically-informed ways of performing medieval music, aiming to be a practical guide, with plenty of musical examples and illustrations, and a bibliography for those who wish to delve further.
The first article focussed on historical instrument combinations, using the illustrations of two 13th century manuscripts as representative examples. This second article distinguishes the difference between modern harmony and medieval polyphony, and the main body of the article looks at styles of medieval accompaniment by referencing historical models. For simplicity and clarity, the same passage of music is used as the basis for exploring a variety of accompaniments. Arrangements of the first section of Cantiga de Santa Maria 10 illustrate heterophony, parallel movement, fifthing, the gymel, the importance of medieval modes, drones and drone-like accompaniments, the type of organum derided by a cleric as “minstrelish little notes”, the rota and ground bass, and the motet.
For each method, there is a sound clip of a short musical performance, composed in historically informed style by Ian Pittaway, performed by Kathryn Wheeler on recorder and vielle, and by Ian Pittaway on harp, gittern and oud. There are links to 15 illustrative videos, putting the techniques in this article into practice. Finally, the question of what to do if there isn’t a tune is addressed.
The key message of this article is: once informed, be creative.