Wired for sound: the bandora and orpharion

Ian Pittaway bandora, Barley William, basso continuo, broken consort, cittern, consort, continuo, Cutting Francis, Dowland John, English consort, English theorbo, Ferrabosco Alfonso, Holborne Anthony, Johnson John, lute, Meuler Jobst, Meuler's wire, mixed consort, orpharion, Palmer Francis, penorcon, Playford John, poliphant, poliphon, poliphone, polyphant, Praetorius Michael, Robinson Thomas, Rose John, Talbot James, theorbo, Tieffenbrucker Wendelin, Tielke Joachim 2 Comments

In the early music revival, many renaissance and baroque instruments have received their due recognition: the lute in its various forms, the viol family, early violins, recorders, guitars and keyboards, for example. Less familiar and less played are two related instruments, the bandora and orpharion. Both were strung with wire and plucked, they shared the same scalloped shape and fanned frets, and both were particularly popular in England. The deep pitch of the larger bandora made it eminently suitable as the plucked bass of the mixed consort, while the orpharion shared the tuning and repertoire of the renaissance lute and was considered an interchangeable alternative.

This article gives a brief history of both instruments, with indications of their respective repertoires, the descriptive testimonies of contemporaneous writers, some lost related instruments, and videos of both the bandora and orpharion being played.

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“Why do you not praise her?”: the Virgin Mary and the troubadours (Cantigas de Santa Maria article 1/6)

Ian Pittaway Alfonso X, Cantigas de Santa María, Edi beo thu heuene quene, Edi beo thu hevene quene, mediaeval, medieval, troubadours, trouvères, Virgin Mary 0 Comment
Troubadour Jaufré Rudel dying in the arms of the countess of Tripoli, from a 13th century French manuscript (BnF ms. 854, folio 121v).

This is the first of six articles about the Cantigas de Santa Maria – Songs of Holy Mary – composed by the King of Castile, Alfonso X, and unnamed assistants between 1257 and 1283. Most medieval music enthusiasts will be familiar with the manuscripts’ many depictions of medieval musicians and their instruments, and with some of its 420 songs. These six articles focus on the influences behind the compositions and the contents of the songs, and will be followed by two stand-alone articles about the historical principles upon which a medieval musical arrangement may be made, focussing primarily on the Cantigas.

In order to understand the background to the Cantigas de Santa Maria, we must first appreciate a medieval musical movement which may at first appear unrelated, but which is fundamental to both the music and theology of Alfonso’s compositions: the troubadour tradition. In this article, we see that troubadour influence not only spread well beyond its home in Occitania (southern France), it had a profound effect upon the Catholic faith Alfonso inherited. The Catholic response to troubadour songs, which the church perceived as spiritually corrupt, was to develop a new Mariology, a major shift at the heart of Catholic worship. It was within this context that Alfonso composed the Cantigas de Santa Maria.

We begin with a performance (in English) of Cantiga 260, which praises the Virgin in terms that exactly mirror troubadour love poetry, while also criticising troubadours for not praising her.

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Kalenda maya, the troubadours, and the lessons of traditional music

Ian Pittaway ars antiqua, estampie, folk music, historically informed performance, Jean de Grouchy, Johannes de Grocheio, Kalenda maya, medieval, medieval notation, Notre Dame school, O'Neill's Music of Ireland, Raimbaut de Vaqueiras, rhythmic modes, Souvent souspire mon cuer, traditional music, troubadours, trouvères 6 Comments
BnFms854f.75vRaimbautdeVaqueiras
Raimbaut de Vaqueiras as depicted
in a 14th century French manuscript
(Bibliothèque nationale de France ms. 854, folio 75v).

Kalenda maya is a 12th century song by troubadour, Raimbaut de Vaqueiras, one of the Occitanian (later southern French) poets and singers who developed the musical tradition of fin’amor, refined or perfect love. Via Roman fertility festivals and Irish fiddle tunes, this article discusses the poetic content of the song and the problems of interpreting the musical notation of Kalenda maya, penned when written music was still developing in medieval Europe. Can there be a definitive version when there are textual variants of the same song or melody? How credible are renditions of Kalenda maya that impose a musical rhythm not present on the original page?

Raimbaut de Vaqueiras based the melody of Kalenda maya on an estampie he heard at court in Italy. Using principles written in 1300, I attempted to reverse engineer the sung estampie back into the tune it originally was. The reasons this proved impossible tell us something important about medieval music and the continuance of the spirit in which it was played.

We begin with a video of two interpretations of the melody played on gittern.

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Westron wynde: a beautiful fragment of longing

Ian Pittaway bray harp, Canterbury Tales, Chaucer Geoffrey, Cymbeline (play), Gothic harp, harp, Henry VIII, Lloyd A. L., medieval, renaissance, Royal Appendix 58, Shakespeare William, Western wind, Westron wynde 0 Comment

SandroBotticelli.Zephyrus&Chloris.BirthOfVenus1484-86.The 16th century song, Westron wynde, is an expression of longing to be with one’s love. It is just one verse and melody in a manuscript from the court of King Henry VIII. Much ink has been fancifully spilled over the meaning of its four lines. This article traces the history of its treatment through renaissance masses, folk music and 20th century pop music; attempts to elucidate its meaning without fancy; and presents an arrangement to renaissance musical principles on bray harp.

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Calen o Custure me: a Tudor love song with garbled Gaelic?

Ian Pittaway Cailín ó Chois tSiúre mé, Calen o Custure me, Caleno custure me, Callin o custure me, Callino Casturame, Callino Custurame, calmie custure me, Henry V (play), renaissance, Shakespeare William 5 Comments

Calen o Custure me was a popular 16th century love song, published in a printed anthology two years after it was registered as a broadside, arranged multiple times for a range of instruments, and referenced by William Shakespeare in his play, Henry V. The song is something of a mystery: what does its repeated refrain mean, and what language is it? This article examines the claim that the mystery title originates in Irish Gaelic, then traces the use of the melody from the 16th to the 19th century; with a performance of the song by Alfred Deller and Desmond Dupré, and three other illustrative videos.

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The song Shakespeare stole from: a discovery from the 16th century

Ian Pittaway broadside ballads, Romeo and Juliet, Shakespeare William 2 Comments

ShakespeareWinkA 16th century broadside ballad recently found in Glamorgan reveals that William Shakespeare stole some of his best-loved and most famous lines from a song he must have known in his youth. The broadside ballad sheet was found folded into the back leaf of a household book, circa 1574. The book itself includes no music. This article includes a video performance of the ballad and an account of the plays in which the Bard’s borrowed lines appear.

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Angelus ad virginem: why early music and traditional music share the same gene pool

Ian Pittaway Angelus ad virginem, Barbara Allen, Chaucer Geoffrey, folk music, Gabriel fram evene king, Gabriel fram heven king, Kalenda maya, Lowlands of Holland, Souvent souspire mon cuer, traditional music, troubadours, trouvères 5 Comments

Angelus ad virginem was a popular medieval and renaissance song, appearing in six manuscripts from the late 13th to mid 16th century in England, France and Ireland, with Latin words – Angelus ad virginem – and English words – Gabriel fram evene king. In each source, the melody is recognisably similar but different in detail, indicating a constant reworking of the musical material. This is also the central feature of traditional or folk music. Via Geoffrey Chaucer, Barbara Allen and the troubadours, this article traces the history of the variant versions of Angelus / Gabriel, arguing for the familial relationship between early music and traditional music, beginning with a performance of Angelus on medieval harp.

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The pavan, the priest and the pseudonym: ‘Belle qui tiens ma vie’ and Arbeau’s ‘Orchésographie’ (1589)

Ian Pittaway Arbeau Thoinot, Belle qui tiens ma vie, branle, Branle de l’Official, Branle des chevaulx, bransle, brawl, dance, Horses’ brawl, la volta, lute, Official branle, Orchésographie, Orchesography, Pavan for ten plum dumplings, Pavana za deset švestkových knedlíků, renaissance dance, Spirituál kvintet, Tabourot Jehan, volta 28 Comments

Belle qui tiens ma vie – Beauty who holds my life – is today one of the most well-known songs of the French renaissance. It survived for posterity only due to it being a sung dance and thereby included in the personal project of Jehan Tabourot, 16th century priest, to write a book of the social dances he remembered from his youth, complete with their choreography and music. The book was Orchésographie, written in 1588-89 and published in 1589 under an anagrammatic pseudonym, Thoinot Arbeau.

This article has a brief biography of Jehan Tabourot and an explanation of the importance of Orchésographie for renaissance music and dance, followed by the beautiful words and meaning of the danced song, Belle qui tiens ma vie.

We begin with a video of the song, sung in English with renaissance lute.

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One song to the tune of another: early music common practice, 800 years before Humph

Ian Pittaway Bring us in good ale, broadside ballads, Bryng us in good ale, carolling, carols, Fortune my foe, goliards, Greensleeves, I’m sorry I haven’t a clue, Pepys Samuel, Perspice Christicola, salutacyon, Salutation, Sumer is icumen in 2 Comments
clue4
A classic Clue line-up, left to right:
Tim Brooke-Taylor, Humphrey Lyttelton,
Barry Cryer, Willie Rushton, Graeme Garden.

Listeners to BBC Radio 4’s long-running antidote to panel games, I’m sorry I haven’t a clue, will be familiar with the round, one song to the tune of another. The joke is predicated on us being used to thinking ‘These are the words and this is the tune and they belong together’. The uniting of these separated elements is made funnier by an extreme contrast of styles: the words of Girlfriend In A Coma to the tune of Tiptoe Through The Tulips; the words of A Whiter Shade of Pale to the tune of The Muppet Show; the words of Ugly Duckling to the tune of Harry Nilsson’s Without You.

The stock-in-trade of the show is satire, the programme itself being a satire of panel games. Clue has been going since 1972, chaired for nearly all of that time by late jazz trumpeter, Humphrey Lyttelton, known to cast and listeners as Humph. What Humph and the rest of the panel may not have known is that the principle of one song to the tune of another, with sometimes wildly contrasting words fitted to the same tune, was widely used in early music, the earliest evidence for which stretches back 800 years before even Humph was on air. This article, with illustrative music videos, traces the history of the practice from 16th and 17th century broadside ballads back to medieval carols, to songs with both secular and religious sets of words, and to the iconoclastic musical comedy of the goliards.

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L’homme armé / The armed man: the remarkable life of a 15th century song and its contemporary resonance

Ian Pittaway armed man, Aron Pietro, Busnois Antoine, Busnoys Antoine, Dracula, Il sera pour vous, Jenkins Karl, L’homme armé, lute, renaissance, Vlad the Impaler 4 Comments

armedman4L’homme armé – The armed man – has but one verse and a fabulous melody. It is like a door ajar, inviting us into a menacing world: “Everywhere it has been proclaimed that each man shall arm himself with a coat of iron mail. The armed man should be feared.” We don’t know its origin or who composed it, only that it emerged in the middle of the 15th century as a secular song in the French language. It enjoyed huge popularity across Europe among composers of masses, who incorporated its melody as a cantus firmus. Why did this single verse about fearing the armed man have such unprecedented resonance? The answer is in a disastrous military defeat in 1453 which cut to the very heart of renaissance cultural identity, a mirror to events and issues which strike at the core of our international identity today.

With a video of the melody arranged for lute, this article outlines the history and meaning of the song from the 15th century until the present day, including the roles of Sultan Mehmet II, Pope Pius II, and the sadly all-too-real Dracula, Vlad the Impaler.

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A brief history of farting in early music and literature

Ian Pittaway Aubrey John, bonacon, bonnacon, Bosch Hieronymous, Canterbury Tales, catch clubs, Chaucer Geoffrey, d'Urfey Thomas, de Vere Edward, Elizabeth I, Ellis William, farting, Garden of Earthly Delights, Luther Martin, marginalia, My Lady and her Mayd, Pepys Samuel, Playford Henry, Playford John, Puritans, Shakespeare William, Sumer is icumen in, Swift Jonathan, Two Gentlemen of Verona 7 Comments

TheVowsOfThePeacock.c1350.This may seem like surprising material. Indeed, this article started out as a bit of silliness based on a few farty fragments, but soon became a serious study when I uncovered the surprising historical meanings behind flatulence in the medieval, renaissance and baroque periods. A 17th century music society sang gleefully about it (for which there is a music video in this article); Thomas D’Urfey published several songs about it; and a buck does it in the earliest surviving piece of English secular polyphony. Plus there’s Geoffrey Chaucer, William Shakespeare, Jonathan Swift, Edward de Vere’s bottom burp in front of Queen Elizabeth, and farting musical marginalia. So rest your cheeks, wind down, and let rip with a brief history of farting.

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The crumhorn: a short history

Ian Pittaway Agricola Martin, bagpipes, bladder pipe, cornamuse, cornemuse, crumhorn, lute, sackbut, shawm, tourdion, Virdung Sebastian 5 Comments

To modern ears, the most distinctive musical wind sound of the renaissance is the crumhorn, the J shaped wind cap instrument of the 15th–17th centuries. So unusual is its sound today that it was used in a Doctor Who episode to help create an unfamiliar soundscape (Doctor Who and the Silurians, 1970). In the renaissance, however, it was associated with the royal court, with ceremonial occasions and religious worship. This article briefly traces its history, and its perhaps surprising link with the bagpipes. With three accompanying videos: a crumhorn / lute pairing; the sound of the crumhorn’s probable predecessor, the bladder pipe; and a pavan played by a crumhorn consort.

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NEW DISCOVERY! Rob. mason, builder, his galiard

Ian Pittaway Cardinal Thomas Wolsey, Elizabeth I, Joyce Paul K., lute duet, Mason Robert, Trumpton Waits 4 Comments

NiccoloFrangipane,LutePlayer,16thCThe early music world has been stunned recently by a controversial new find, a single previously unknown lute duet in poor handwriting. It is the only piece of music in what is otherwise an Elizabethan commonplace or household book consisting mainly of lists of building materials. This article gives a broad outline of what the manuscript tells us about the remarkable Robert Mason, a man ahead of his time. At the foot of the article is a video reconstruction of his only surviving piece of music, a lute duet bearing his name. This is being released a day ahead of my talk to the Association of Professional Renaissance Instrument Luthiers at the Festival Of Organological Lutherie.

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Playing Shakespeare: the music of the Bard

Ian Pittaway As You Like It, Hamlet, Hold thy peace, How should I your true love know, It was a lover and his lass, Morley Thomas, Ophelia, renaissance, Shakespeare William, Three merry men, Tomorrow is Saint Valentine's day, Twelfth Night, Walsingham, When that I was and a little tiny boy 1 Comment

NightWatch_FromBardToVerse_RGBweb2Surrounded by music, William Shakespeare used it to create moments of comedy and light relief; tension and menace; tragedy and tenderness. He incorporated songs about fortune and fairies, love and loss, going mad and growing up; together with jigs, masques and Queen Elizabeth I’s favourite dance. Yet in today’s productions, the songs he included, clearly indicated by “sing” in the script, are often said as if they were spoken verse, or set to a new tune when the historical melody is there to be sung. This short article gives a little background to a select few of Shakespeare’s songs and tunes to commemorate the 400th anniversary of the Bard’s death in 1616, including videos of It was a lover and his lass; Holde thy peace / Three merry men; and When that I was and a little tiny boy.

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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 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 18th to the 20th 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.

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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 18 Comments

effigyThe 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 16th and 17th 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.

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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 2 Comments

WaltersMuseumW37f.20vA 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.  

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

Ian Pittaway Agricola Martin, Berkeley manuscript, bourdon, church modes, citole, crwth, fiddle, fiddle tunings, Guido of Arezzo, Guidonian hand, Henry VIII, hexachord, hurdy gurdy, Jerome of Moravia, Johannes Tinctoris, jongleurs, kithara, lira da braccio, lute, lyra da braccio, lyre, Mary Rose, medieval fiddle, medieval fiddle tunings, medieval modes, medieval scales, minstrels, modes, musica ficta, organistrum, organum, re-entrant tuning, rebec, simfony, Tractatus de Musica, troubadours, trouvères, viella, vielle, vielle à roue, vielle tunings 16 Comments

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 for 5 strings, leaving us with some puzzles as to what exactly they mean in practice, and whether they can be applied to fiddles with fewer than 5 strings. 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 includes detailed analysis. For a brief introduction, go to On the medieval fiddle: a short introduction to the vielle.

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The rebec: a short history from court to street

Ian Pittaway Agricola Martin, Cantigas de Santa María, Henry VIII, Jerome of Moravia, rabab, rebab, rebec, Romeo and Juliet, rubeba, Shakespeare William, vielle 0 Comment

The rebec is a late medieval and renaissance gut-strung bowed instrument with 3 strings, its body carved from a solid piece of wood. Its sound has a nasal quality, unlike the more full-sounding modern violin, which shares some of the rebec’s characteristics: strings played with a bow, a fretless neck, a curved bridge to allow strings to be bowed singly, and a soundboard carved to have a gentle upward curve. Distinguishing the rebec from other medieval and renaissance bowed instruments, in particular the vielle (medieval fiddle), has been a matter of some contention until more recent scholarship re-evaluated the primary evidence.

Though the rebec has gained a reputation as a medieval instrument, it was still being played beyond the renaissance and to the end of the baroque period in western Europe, by now having fallen from grace from a regal courtly instrument to one of lowly street entertainment.

This article begins with a video of Igor Pomykalo playing an Italian Saltarello, c. 1400, on rebec.

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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 13 Comments

mandore00It 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.

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