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 third of three articles on this topic for medieval music, aiming to be practical guides with plenty of musical examples and illustrations, and a bibliography for those who wish to delve further.
The first article discussed historical instrument combinations and the second how to create polyphonic accompaniments for music written monophonically. This third and last article discusses a wide variety of questions of style: the performance of the non-mensural (non-rhythmic) notation of the troubadours; the role of the voice and instruments; ornamentation; questions of intelligibility, language and sung translations; musical preludes and postludes; and the effect of the various functions of music on the way it is performed.
This article features a video of Martin Carthy singing a traditional English song on the basis that his free style, with the voice leading and guitar following, each verse phrased differently, so free that it is mensurally unwritable, may have something important to tell us about the historical performance of troubadour songs.
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 lyrical content of the song and the problems of interpreting the notation of Kalendamaya, 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 dance tune 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.
With a video of two interpretations of the melody played on gittern.
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.
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 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.