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•;• RE-EXAMINING PERFORMANCE PRACTICES •>

John Haines The style of performing medieval Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 HE uninitiated customer browsing for recent T recordings of medieval monophonic music may be surprised by an eruption of Arabic sounds: and responsories undulating in a manner more reminiscent of Koranic recitation than the sober tones of conventional interpretations,' trouba- dour and trouvere tunes declaimed to the accompa- niment of an 'ud (Arabic )2 and pulsing with the beat of various North African ,' or French courtly dances filtered through a Moroccan (frame ).4 Our curious customer might rightly enquire where the interpretation of using an Arabic style originated. In fact, this recent 'Arabic' interpretation goes back to a much earlier fascination with the , the phenomenon known as orientalism.5 Musical orientalism can be found as early as the monumental Description de l'£gypte (1809-28), which contained many beautiful engravings from Napoleon's Egyptian expedition, including one of a '' (actually a rabdb) player (illus.i). The 19th century marked the beginning of both orientalism and on a large scale; the West looked to 1 'Le joueur de violon' from Description de l'£gypte, £tat 6 the and to the Orient for its roots. moderne, Planches, vol.2, plate E (1817) Novels such as Gustave Flaubert's Salammbo (1862) evoked a primitive and sensuous East, while musical foundations for the study of medieval music. An works conjured up an oriental sound with such oriental Middle Ages emerged in such works as Sir instruments as and —generic Walter Scott's Ivanhoe (1819), where Scott described rather than country-specific signifiers.7 the 'wild barbaric music' of a tournament proces- At around the same time medieval themes began sion: 'it was of Eastern origin', Scott wrote, 'having to appear in literature, from the popular ' trou- been brought from the Holy Land.'" We also findth e badour' around 1800 to Lord Alfred Tennyson's same oriental Middle Ages in music histories: Jean- Idylls of the King (1859), while scholars such as Francois-Joseph Fetis claimed that Charles-Edmond-Henri de Coussemaker laid the were 'nothing more than memories of oriental

John Haines is Assistant Professor of at Shorter College, Georgia, where he teaches Western and non-Western . He has published on medieval French music and its histori- ography, and is currently at work on a reception history of troubadour and trouvere .

EARLY MUSIC AUGUST 2001 369 songs put to new words', concluding that the very The nascent industry of sound record- 'origins of medieval are Oriental'; ing at the beginning of the 20th century would ulti- Edward Dent wrote of the close contact between mately not resist orientalism. Unlike Baroque and Eastern music ('the in Spain, the Saracens in , medieval monophonic repertor- ') and that of the medieval West; Gustave Reese ies were largely ignored by recording companies opened his account of medieval history with the until after World II, possibly because perform- ldiophones of and , and placed ers were less confident about how these should be the origins of Christian sacred in the lost vocal interpreted. Curt Sachs's Anthologie sonore drew

art of ; and Curt Sachs placed the beginnings of upon traditional Swiss mountain songs for inspira- Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 Our musical heritage in 'The Orient' (the title of his tion in one of the very few recordings of Minnesinger second chapter), whose musical 'inertia' still con- and trouvere before the 1950s. Sachs was tained echoes of the distant musical past.9 For all attempting to produce as authentic a performance as these writers the primitive of the possible by drawing on living traditional songs Middle Ages had been filtered from its pure, oral which he thought may have had links to medieval oriental state through the corrupting minds and Germanic ancestors.13 The result was nonetheless a notation of the West. carefully literal interpretation of the musical text by Nineteenth-century orientalism led to Arabic the tenor Max Meih.14 hypotheses in medieval scholarship in the first half Beginning in the 1950s performers such as Safford of the 20th century. Formal and topical similarities Cape (with Pro Musica Antiqua) and Russell Ober- between troubadour verse and earlier Arabic lin approached troubadour and trouvere songs in a led to a theory that the one was influenced by the similar fashion to Sachs. Cape's group featured other. This 'Arabic hypothesis' produced some heavy voices and long, rubato phrasing, while Ober- remarkable research, most notably Alois Nykl's lin's stately countertenor was echoed by a sparse magisterial defence of the hypothesis, Hispano- .15 At the end of the decade, how- and its relations with the old Provencal ever, New York Pro Musica's The play of Daniel (1946), and the more tempered study of inaugurated a new approach, their costumes explod- Pierre Le Gentil, Le et le vtllanaco: le probleme ing with colour, their sound bristling with 'Arabian des ongines arabes (1954). However, since the hypo- nakers ... and jingles, and Near Eastern finger thesis was usually inferred from general points of cymbals'.16 Their exotic and ostentatious demeanour contact such as the rather than conclusive was reminiscent of the costumes and antics of the evidence of troubadour knowledge of Arabic, the early music innovator Arnold Dolmetsch, who had majority of scholars, including specialists of Old gone so far as to make a pilgrimage to in Occitan, remained sceptical; Le Gentil, for instance, 1929 to draw inspiration from .17 The concluded that no direct Arabic influence could be only instruments the New York Pro Musica actually proven.10 A similar hypothesis was developed for imported from the Orient were percussion, but as medieval music. Its main champion was Henry well-known signifiers they were all that was needed George Farmer, an orientalist whose position rested to evoke things Arabic. A Fetisian narrative was even on certain indisputable facts, including the general recalled in Paul Henry Lang's liner note preface: influence on Western of Arabic schol- ars such as Al-FarabT (fl. early 10th century)." Early Christendom's music grew on the shores of the Mediterranean and in its spirit It was not really purely Another proponent was Julian Ribera, who based his Western, for the flowering magic of the remained highly subjective transcriptions of troubadour mel- Eastern in character The oriental could create the long odies on loose connections between these and later coloratura chain of melody but was unable to write it down, Spanish songs.12 Despite their advocacy of the Arabic the western monk could, but as he did so he immediately hypothesis in medieval music, both Ribera and exerted the characteristic rational and poetic bent of the European Farmer had to admit the absence of positive musical documentation of contact between East and West. In other words, the West was smarter than the East,

370 EARLY MUSIC AUGUST 2001 but lacked its vitality; Western music performance ';23 and Howard Mayer Brown went so far practice could be made more authentic by tapping as to call theirs 'an ethnomusicological approach to the oriental source The play of Daniel was the perfect performance practice' M Listeners found in their piece for such an endeavour. Set in ancient Babylon, recordings a product of 'superior imagination and it even included at one point a fire-eater and a . educated guesswork'; earlier efforts were now sword-swallower It became the New York Pro deemed 'ill-conceived, bland and boring'25 By the Musica's most popular performance.18 early 1970s the Studio had single-handedly inaugu- performers, too, would turn eastward rated an authoritative modern performance practice

for musical inspiration in the next decade- the Beat- of medieval monophony which continues to have an Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 les to India and Brian Jones of the Rolling Stones to enduring influence on both its critics and adherents. Morocco.19 The early 1960s thus anticipated an inno- vator who would forge a new sound for the field of HAT was the nature of the Andalusian classi- early music. That innovator was Thomas Binkley W cal music, or Muslqd andalusiyya, that Bink- Thomas Binkley (1932-95) first studied at the Uni- ley and his ensemble heard in Morocco in the 1960s? versity of Illinois and later moved to Munich, where Rooted in Persian dance forms, the Andalusian in 1959 he founded the Studio der fruhen Musik musical style emigrated from Baghdad to Spain in (a.k.a. Early Music Quartet) with fellow American the 9th century, then to North Africa from the 10th Sterling Jones and the Estonian singer Andrea von century on, after which each country developed its Raram.20 Binkley, who had read the works of Le individual tradition. Since none of this music was Gentil and Farmer in support of the Arabic hypo- written down until modern times, it is impossible to thesis, travelled in the early 1960s to India, assess the stability of the tradition over eight cen- and North Africa, where he heard musical perfor- turies, though some, notably Farmer, have argued mances which inspired him to bring these theories to for a certain continuity.26 It is likely, however, that life.21 It was at this time that the Studio began a regional fragmentation and oral transmission marathon recording spree, producing over 15 LPs in assisted in significantly transforming Andalusian the span of a decade (1963-73), and covering music from the Middle Ages to the early Baroque. (See Table 1 Studio der fruhen Musik, selected discography, table 1.) Taking its cue from New York Pro Musica, 1963-73 the ensemble released in 1964 an of the Latin songs. This ushered the listener Abbreviated titles Label into an unprecedented recorded musical landscape combining jangling tambourines and bells, a Middle 1963 Fruhe Musik Italien Teldec SAWT 9466-B Eastern rabdb and darbukka, and the flutey subtlety 1964 Bauern-lieder Teldec SAWI 9486-A of boy soprano and countertenor voices. Its release Carmina burana, vol 1 Teidec SAWT 9455-A Music of Elizabeth I Archiv 199 001 propelled the Studio der fruhen Musik to fame: 'the High Renaissance Dowland Archiv APM 14 345 recording was an immediate success, and was win- 1965 Florid-song in England Teldec SAWI 9472-A ning prizes' (liner notes). Like Dolmetsch in the late 1966 und Spruchdichtung Teldec SAWT 9487-A 1920s the ensemble then journeyed to Morocco to Secular music Teldec SAWT 9504-A experience Arabic music at first hand, specifically the 1967 Carmina burana, vol 2 Teldec SAWI 9522-A classical Moroccan Andalusian suite or nuba " As a 1968 Teldec SMT 1244 result of the Moroccan pilgrimage the Studio gradu- Musica Ibenca Teldec SAWT 9620-1 ally developed what Binkley called an 'Arabic' or 1970 der Troubadours Teldec SAWT 9567-B 'Southern' style which explicitly took after the 1972 Reflexe 1 C063-30106 Andalusian nuba. As Harry Haskell later saw it, the Oswald von Wolkenstein Reflexe 1 C063-30101 Studio had 'revolutionized the interpretation of Reflexe 1 C063-30103 medieval monophonic music . by applying impro- 1973 Martin Codax Reflexe 1 C063-30118 Camino de Santiago Reflexe 1 0063-30107-! visatory techniques derived from Middle Eastern

EARLY MUSIC AUGUST 2001 37I music during this long period of time; even Farmer 'itd (fretless lute), kamenja (violin), nay (), had to admit that certain assumptions were neces- (), () and darbukka sary, given the lack of evidence." Furthermore, these (drum). Western instruments such as the double changes were accelerated in the 20th century. As bass and piano may also be used.2'' Ruth Davis and Salwa El-Shawan have pointed out Beyond the characteristic form and instrumenta- with regard to and Egypt respectively, the tion, however, the proper ornamentation of the well-documented traditional Andalusian ensemble melody is the defining and integral element of Ara- has changed drastically in instrumentation, reper- bic music. Each instrument and voice actively

tory and practice since the Middle Ages. In fact, in embroiders the melody in some way. As Mahmoud Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 recently reviving these repertories, Egypt and North Guettat has argued, Africa have often taken the Western as a It is to these ornaments that the individual parts ot the m'dni model.-* owe all their charm. When used with taste and in the right The modern Andalusian nuba is a monophonic place ... they arouse, in pertormers and audience alike, a setting of several poems with inter- wonderful delight." ludes. Governed by a single melodic mode, a nuba is Some frequently used embellishments are so perva- usually divided into several movements, each with sive that they sometimes become part of the melody its own characteristic . It traditionally lasts itself. A typical instance of this is found in the second up to several hours, although modern performances phrase of ex.i, which is transcribed from the opening consist only of selections from a given nuba. The tra- of a recent recording by the Orchestra." (See ditional Andalusian ensemble is typically made up of illus.2.) a chorus and a male soloist accompanied by the fol- Inspired by Andalusian music, the Studio lowing instruments: the rabab (two-stringed ), returned to Europe with a view to transforming the

Hx.i Opening of nuba, Hijazi al-Kabir by Fez Orchestra

2. The Ft/ Orchestra performing at the 19" Basel symposium, 'W'oche der Begegnung' 1 photo: Peter Armhrusler

1.AR1.Y MUSIC AlClsT 2(101 sound of early music performance. Shortly after his Western listeners who knew nothing about Arabic Moroccan journey Binkley introduced the concept music. of a 'Northern style' and a 'Southern Arabic style' of Two years later, in the Studio's second Carmina medieval music to the Studio's 1966 record Min- burana recording, the medieval Northern and nesang und Spruchdichtung. According to the liner Southern styles were more sharply defined in the notes, the Minnesinger song Nu alrest lebe ich mir liner notes: 'The two major poles were the tradi- werde was rendered in what Binkley defined as the tional inherited performance styles indigenous to medieval Southern Arabic style of performance. The the area and the imported and superimposed Arabic

Studio's exposure to Andalusian music was manifest style.' The exact historical origins of this Arabic Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 in several aspects. They first added an Egyptian importation were not specified, and listeners were tambourine to an ensemble which included a left to supply in their imagination the gradual onen- flute, fiddle and lute, the resulting whole being tahzation of the Carmina burana melodies as they vaguely suggestive of an Andalusian ensemble. These made the trek from their Austrian homes to the instruments then performed a prelude based on courts of southern Spain. The Studio's rendition of the original medieval melody (ex.2). Furthermore, Ecce gratum linked it to the 'concept of the "nuba"' sung strophes alternated with various instrumental and 'the classical form of the late Andalusian style', interludes, a structure inspired by the Andalusian as Binkley wrote in the liner notes. An ensemble suite. consisting of a tenor, lute, fiddle and organetto was Thus was inaugurated the medieval Southern supplied with Arabic feel by means of several tam- Arabic style. Yet even with all these adjustments, bourines 'from the Orient' featured in the brief the Studio's sound could hardly have been called interludes. This rendition otherwise differed very 'Arabic'. Just as the rondo form was by no means little from the earlier Nu alrest and added nothing unique to the Andalusian suite,32 the flute, drone and substantially new to the Southern style. But what the drum combination used on the record was not 1968 Carmina burana had accomplished was a more exclusively reminiscent of Andalusian music. More explicit formulation of the Southern style and its importantly, the lack of appropriate Arabic or any presumed Andalusian connection. other ornamentation recalled the austere perfor- It was in 1971 that Binkley firmly seized the 'Arab mances of Max Meili and Russell Oberlin. The Stu- Nuba .. as a model for the creation of the accompa- dio had also introduced a more subtle element niments' in the Southern style. According to the which was not especially characteristic of the nuba, a liner notes of Chansons der Troubadours, Binkley continuous drone performed by the fiddle. Rather claimed that the nuba was 'a form which seems to than emphasizing the melody's linear aspects as in have changed little since the time when Arabian cul- Andalusian music, the drone instead created strong ture exerted such a positive influence on Western vertical structures suggestive of common period Europe.' Hitherto a shadowy idea, the Southern style tonality. In Nu alrest the D drone brought out the had become with Chansons der Troubadours a clearly melody's outline of what amounted to a minor triad articulated concept, one which nonetheless rested on on that pitch, giving the reassuring semblance of a dubious premises. The first of these was the unlikely minor key for the listener unaccustomed to medieval notion of an unchanged musical tradition over eight or Arabic modes.33 Once the experiment had begun, centuries, as mentioned earlier Binkley's next it was clear that more would be needed to make the assumption of the 'extensive influence' of Arabic Southern style more convincingly Arabic even to music on European medieval performance practice

Ex.2 Prelude to the Studio der fruhen Musik's Nu alrest lebe ich mir werde (1966)

EARLY MUSIC AUGUST 2001 373 was not substantiated and is still regarded sceptically which merged several songs together into one con- today Finally, as Binkley had earlier maintained, the tinuous whole. A I'entrada del temps clar was shorter Studio's ' reveal the extensive influ- than A chantar, but the conspicuous percussion of ence exerted on medieval European musical perfor- this lively call and response tune suggested the nov- mance by ', bringing 'the performance elty of Eastern excitation to an audience more accus- of this music close to the elusive original, an accom- tomed to medieval music recordings in a slow and plishment thought impossible just a decade ago.'34 sober style. The notion of a recorded 'elusive original' would Despite earlier liner note claims, Binkley would

soon come under attack in the polemic surrounding later admit that it was with the 1973 double LP Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 authenticity in early music performance.35 Camino de Santiago that the Studio first incorpor- But the problems with these arguments were not ated the Andalusian style: 'I tried here for the first remarked on at the time, and Chansons der Trouba- time to imitate the Andalusian practice and to mix it dours received an enthusiastic reception. The Studio with other styles.'38 This release focused on Mediter- had here revealed a new recorded interpretation of ranean repertories associated with the pilgrimage to early music which, in the words of one reviewer, in north-west Spain If the 'promises (and deserves) to become a classic ' The troubadours' musical contact with Arabic styles was same writer went on to say that Chansons der Trou- historically questionable, the Spanish cantiga reper- badours 'compels one to declare: "That's what it tory could demonstrate indisputable iconographic could have sounded like."'36 From this release on, proof of such a connection: the famous miniatures other early music groups began imitating the Stu- of cantiga El Esconal b.1.2 depict Span- dio's Arabic style by adopting extensive preludes and ish and Arabic playing together (evidence interludes, drones, and Middle Eastern and North used earlier by Ribera); some of these were repro- African instruments (especially percussion), with an duced on the record sleeve. The most distinctive increasing attention to instrumental improvisa- rendition on Camino de Santiago was Non e gran tion.37 causa. Like Nu alrest and A chantar, it alternated Following its gestation during the 1960s, the sung verses with strongly contrasting instrumental Southern style had burst into sound with Chansons interludes. This performance took A chantar's ambi- der Troubadours. Nineteenth-century orientalism tions of length a step further, however, stretching and medievalism were revived on vinyl grooves with the cantiga into a 20-minute suite with solo and the new promise of an authentic medieval perfor- ensemble interludes. And here for the first time mance. Two tracks especially reflected the Studio's the Andalusian connection became explicit. The evolving Arabic style, the anonymous A Fentrada del very last interlude used a melody which was clearly temps clar and the 's A chantar m'er. an imitation of—if not a direct loan from—the The latter was much like earlier renditions with contemporary Andalusian repertory (ex.3). Several its rondo form and drone. But what distinguished melodic turns are reminiscent of the Fez Orchestra this performance were the lengthy instrumental excerpt from ex.i. interludes that extended this single canso to over 10 Compared to previous efforts, this was a signifi- minutes in length; interestingly, precedents for this cant achievement and marked the culmination of had already been established in , from the ensemble's Arabic style. But this brief Andalu- the Rolling Stones' single Going home (1965) to the sian interlude was also conspicuous, for it contrasted Beatles' Sgt. Pepper's Lonely Hearts Club (1967), with the music preceding and following it, which

Ex.3 Final interlude of the Studio der fruhen Musik's Non egran causa (1973)

374 EARLY MUSIC AUGUST 2001 was more akin to the Studio's earlier experiments Studio followed the example of such performers as with the Southern style. The instrumentation ofNon Max Meili and Russell Oberlin. e gran causa featured , lute and lira, not a In fact it would be difficult to characterize as kamenja, 'ud or rabdb; as before, ornamentation was specifically Andalusian or Arabic any of the Studio's kept to a minimum in favour of a literal musical performances during their crucial decade of record- reading. Throughout Camino de Santiago a continu- ing, though a few features of their style are shared ous drone once again appealed to the vertical sensi- with Andalusian practice (table 2). Andalusian bilities of Western listeners, as in Quen a Virgen and music played only a minor role in the creation of

Quis dabit, where one could hear F major and D Binkley's Southern style, which was largely an eclec- Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 minor, respectively. tic fabrication, albeit an effective one. Binkley's By 1973 the Studio had perfected their Southern ensemble chose a middle ground between accepted Arabic style with the gradual addition of percussion practice and innovative ideas, and successfully jug- instruments, the creation of a Western Andalusian gled the paradoxical modern demands for fashion- hybrid ensemble, and the use of extensive instru- able sounds and historical accuracy. In this scheme, mental preludes and interludes. Yet these Arabic Arabic music was used more as a pretext to revive graftings, like the final interlude ofNon egran causa, orientalism than as a scientific working out of the made all the more clear the gap which separated actual sounds, as the tantalizing goal of an authentic recorded early music repertories from orally trans- medieval performance was attempted. Just as 19th- mitted traditional Arabic music. The most glaring century Europe had gone to the Islamic Orient for its discrepancy was the lack of appropriate style, best own roots, so did the European-American Studio illustrated in the Studio's inability to integrate the turn to Arabic music after World War II for the ornamentation so fundamental to Arabic music.39 renewal of early music performance practice. Perhaps the ensemble could not bring itself to Following the publication of Binkley's retrospec- improvise too much on Western , having tive in the 1977 issue of the Easier Jahrbuch fur his- inherited from Safford Cape and Noah Greenberg a tonsche Musikpraxis, Rene Clemencic pessimistically reluctance to tamper too much with the musical declared that 'a satisfying reconstruction of medieval text, a need to present it literally. This was not an iso- performance practice on purely scholarly grounds lated phenomenon. Robert Philip has pointed out is never possible—indeed, impossible even in for recorded Western orchestral repertory that a principle', thus expressing an idea which was soon restrained approach replaced the more casual treat- to become common currency. Clemencic proposed ment characteristic of recordings before World War the idea of a 'performance practice of medieval II.40 At the same time that it sought to depart from music in the twentieth century'.4' Thanks to the earlier recorded interpretations, in its literalism the Studio's earlier contributions, such a practice

Table 2 Some points of comparison between Andalusian music and Studio der fruhen Musik recordings

Andalusian Music Studio Recordings

Repertory several modem poems transmitted orally one medieval poem transmitted in writing Voice tenor: clear, no vibrato alto-bass: some vibrato Instruments rabdb, 'ud, kamenja, nay, qdniin, tar, darbukka vielle, flute, , , etc with 'ud, , tar, darbukka Form five movements (several hours) one movement (3-10 minutes) Style heterophonic (extensive ornamentation) monophonic (little ornamentation) Tempo slow-fast-slow within movement no tempo change varying (e g. 4+2, 5+3) usually 3/4 or 4/4 Melody modes (tubu) using 'A and 3/4 tones Western modes no use of 'A or 3A tones

EARLY MUSIC AUGUST 2001 375 already existed in the form of the new Arabic style. (although a key one) to an orientalism of early music Following his remarkable decade of recording, performance practice already established by the Thomas Binkley would go on to become one of the 1950s. It had been imagined by 19th-century music most influential figures in early music performance, historians and practised as early as Dolmetsch; Noah first in his position at the Schola Cantorum in Basel Greenberg's New York Pro Musica's 'Arabian nakers in the 1970s, and later as founder of the Early Music and Near Eastern finger cymbals' had etched it onto Institute at the Indiana University School of Music. vinyl posterity. Beginning with Carmina burana, His later official accomplishments have perhaps Binkley and the Studio built upon this existing ori-

overshadowed what was, if not his most important, entalism and experimented their way into the South- Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 then at least one of his most enduring contributions, ern style of performance, picking up the odd instru- although one about which he himself had ambiva- ment and fact as they became available. And on their lent feelings.42 way to discovering an Arabic medieval style, the Stu- The Studio der fruhen Musik—to return to my dio der fruhen Musik revitalized the 20th-century opening argument—was but one contributor performance practice of medieval music.

1 de l'£ghse de Vepres du ('997). PP 137-70, R P Locke, 'Cut- concerning William IX of Aquitaine', jour de Paques, Ensemble , throats and casbah dancers, muezzins Romania, cxni (1995), pp.14-18 dir Marcel Peres (Harmoma Mundi and timeless sands musical images of 11 See especially G H Farmer, 'The the Middle East', The exotic in Western HMC 901604,1998). The liner notes Arabic influence on European music', music, ed J Bellman (Boston, 1998), explain that this re-creation is actually Glasgow University Oriental Society, pp.104-36. inspired by Byzantine chant Compare xix (1961-2), pp 1-15, G H Farmer, this approach to the popular Chant, the 8 Sir Walter Scott, Ivanhoe a romance Historical facts for the Arabian musical Benedictine monks of Santo Domingo (New York: Signet, 1962), pp 102, 383 influence (London, 1930). See also de Silos, dir Ismael Fernandez de la Later in the same work Scott refers S Burstyn, 'The "Arabian influence" Cuesta (Angel CDC 7243-5-55138-2-3, to the 'strangely sweet sound' of the thesis revisited', Current musicology, 1993) character Rebecca's songs imported xlvi (1990), esp p.119, n.i. 2 Manuscnt du Roi, Ensemble from her native Palestine. 12 J Ribera, Music in ancient Arabia Perceval, dir. Guy Robert (Anon 68225, 9 Fetis, Histoire generate de la musique and Spam, trans. E Hague and M 1992); The sacred bridge Jews and Leffingwell (London, 1929), and La Christians in medieval Europe, Boston depuis les temps les plus anciens jusqu'a nosjours (Pans, 1876), v, pp 7,11; musica andaluza medieval en las Camerata, dir. Joel Cohen (Erato 2292- canciones de trovadores, troverosy 45513-2.1990) E J Dent,'Social aspects of music in the Middle Ages', The Oxford history minnesinger (1923-5; New York, 1974) 3 The courts of love music from the of music, introductory volume, ed 13 This is Sachs's assumption in his time of Eleanor of Aquitaine, Sinfonye, P Buck (London, 1929), pp 205-6, 'The road to major', Musical quarterly, dir Stevie Wishart (Hyperion A 66367, G Reese, Music in the Middle Ages, xxix (1943), pp.381-404, and 'Primitive 1990). Trobar e cantar Gerard Zuchetto with an introduction on the music of and medieval music a parallel', Journal chante les troubadours XII' et XIII' ancient times (New York, 1940), pp 5, of the American Musicological Society, siecles (Gallo 684,1992) 67, C Sachs, Our musical heritage a xin (i960), pp.43-9 4 Bella domna the medieval woman short (New York, 14 Anthologie sonore, vol 1, record 1, lover, poet, patroness and saint, 2/1955). P 9 Sachs also wrote that to the thirteenth cen- Sinfonye, dir Stevie Wishart 'nearly all the musical instruments of medieval Europe came from Asia . tury, AS-1 (The Haydn Society, 1954), (Hyperion A 66194,1988) or from the Islamic empire' The these recordings were first released in 5 See E Said, Orientalism (New York, history of musical instruments (New the 1930s and 1940s 2/1994), esp ch.i, 2 York, 1940), p 260. 15 Chansons et du tretzteme 6 Said, Orientalism, pp 113—15 siecle, Pro Musica Antiqua, dir. Safford 10 Bibliographic references to these Cape (Archiv APM 14068a [1956]), and other works can be found in 7 D. B. Scott, 'Orientalism and musical Music of the Middle Ages, 1. Troubadour style', Musical quarterly, lxxxn (1998), R Taylor, La litterature ocatane du and trouvere songs, Russell Oberhn and PP 309-10, 327 See also J -P Bartoli, Moyen Age bibliographie selective et Seymour Barab (Musical Heritage 'L'orientahsme dans la musique critique (Toronto, 1977), pp 20-22 Society 675,1956). francaise du XIXe siecle la ponctuatwn, A recent summary of past scholarship la seconde augmentee et l'appantion is found in G T Beech, 'Troubadour 16 A twelfth century musical drama de la modalite dans les procedures contacts with Muslim Spain and the play of Daniel (Decca DL 9402, exotiques', Revue beige de musicologie, li knowledge of Arabic new evidence 1958), p.2 o

376 EARLY MUSIC AUGUST 2001 17 G. H Farmer,'The music of ', 27 G H Farmer, A history of Arabian Ancient and oriental music, New music to the thirteenth century (1929, Oxford History of Music, 1, ed London, 1994), p.206. See, for example, E Wellesz (London, 1957), p.476 C. C Wendt, 'North Africa, an intro- VON HUENE duction', The Garland encyclopedia of 18 I Gollin, Pied piper the many lives SENSJ Africa, 1, ed. R Stone of Noah Greenberg (Hillsdale, NY, (New York, 1998), p.534 2001), ch 28 See also H Haskell, The a history (Mineola, 28 R Davis, 'Traditional Arab music 1996), pp.110-11 ensembles in modernizing alto recorder at a=415 Al-Turdth in the shadow of Egypt', 19 The Beatles' Norwegian wood (from Asian music, xxvm (1997), pp 73-108; the 1965 Rubber soul) and Love you to Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 S El-Shawan, 'Traditional Arab (Revolver, 1966) featured the , music ensembles in Egypt since 1967 Rolling Stones member Brian Jones's "The continuity of tradition within a posthumously released Brian Jones contemporary framework"?', Ethno- presents the pipes of Pan at Joujouka musicology, xxvm (1984), pp 271-88 See (1971) included live music by Moroc- also Burstyn, 'The "Arabian influence" can musicians I would like to thank thesis revisited', pp 121—5 Robert Lug for his expert assistance on these points, the Beatles' influence 29 M Guettat, La musique classique du is also mentioned in Gerard Le Vot's Maghreb (Pans, 1980), p.97, A Chottin, 'Les troubadours et la musique arabe Tableau de la musique marocaine malentendus et reahte', in Granadas (Pans, 1938), pp 85-6, Ah Aydoun, 1492 Histoue et representations (Amam, Musiques du Maroc (, 1992), 1993), p.127. p 26, on the Tunisian tradition, see R Davis, 'Arab-Andalusian music in 20 H. M Brown, 'Pedantry or liberation' A sketch of the historical Tunisia', Early music, xxiv (1996), performance movement', Authenticity PP 423-37 and early music, a symposium, ed N 30 'C'est a eux [les ornements] que Kenyon (Oxford, 1988), p.49, n 53 On les parties de la nuba doivent tout leur Binkley, see D Lasocki, 'The several charme Leur emploi avec gout et au lives of Tom Binkley a tribute', Early bon endroit suscite, aussi bien chez music America, 1 (1995), pp.16—24, and les musiciens que chez les auditeurs un J Cohen and H. Snitzer, Reprise the enchantement merveilleux' (Guettat, extraordinary revival of early music La musique classique du Maghreb, (Toronto, 1985), ch 6 P287) 21 As he later recalled in T Binkley, 31 Excerpt from instrumental prelude 'Zur Auffuhrungspraxis der einstim- to nuba, Hijazi al-Kabtr from Maroc Our Denner recorder is migen Musik des Mittelalters—ein musique classique andalou-maghrebme, ideal for the virtuoso Werkstattbencht', Basler Jahrbuch fur Fez Orchestra, dir Han Abdelknm Rais histonsche Musikpraxis 1 (1977), (Ocora c 5590 16 [1988]) It was Mr repertoire of the high pp 21-2, 75 On Binkley's familiarity Rais's ensemble which participated Baroque. Made of select with Le Gentil, I would like to thank an along with the Studio der fruhen European boxwood with Musik in a 1977 symposium on anonymous reader for communicating double holes, its clear, first-hand knowledge of this fact Andalusian and medieval music at the Schola Cantorum Basihensis bright tone, easy response 22 Binkley's later recollection of the A recording of the Fez ensemble's & superb articulation make journey's date was 1964-5 (Binkley, 1977 performance is also available it the choice of many 'Zur Auffuhrungspraxis', p 22), Andalusian music from Morocco contemporary liner notes state 1963-4 Moroccan Ensemble Fez (Harmonia professionals. 23 Haskell, The early music revival, Mundi GD 77241, [1991]) On the 1977 p.165 symposium ('Woche der Begegnung') see various articles in Basler Jahrbuch VON HUENE 24 Brown, 'Pedantry or liberation?', fur histonsche Musikpraxis, 1 (1977), and WORKSHOP, INC. P-49 N van Deusen, 'Basel, . 25 ). Beck, review of Clemencic Woche der Begegnung', Current 59-65 Boylston Street Consort's 1977 Troubadours, Romance musicology, xxm (1977), pp 20—22 Brooklme, MA 02146 USA philology, xxxvin (1985), p 420 32 The traditional Persian (asm/and (617) 277-8690 Fax (617) 277-7217 26 Farmer, Historical facts Turkish/as/, for example, are cycles

EARLY MUSIC AUGUST 2001 377 alternating vocal and instrumental 36 |. Beck, 'Thomas Binkley's of Toronto, a teacher of traditional pieces. Chansons der Troubadour.•', Romance Berber dance, for listening to and com- 33 The enduring popularity nt the philology, xxxi 11977), pp.361, 364. menting on several excerpts bv the drone in performances ot medieval Binkley's record was the first reviewed Studio der fruhen Musik in November music was recently questioned on in Romance philology. lyyi.i iconographical grounds bv S. Howell, 37 For example, Troubadours, 40 R. Philip, Early recordings anil 'The medieval instrumental drone: Clemencic Consort, dir. Rene musical style (Cambridge, iyy2i, busy bee or lazy idler?', presentation at Clemencic 1 Harmonia Mundi 90396, pp.230-34. the Thirty lirst International Congress 1977)- 41 'Rein wissenschaftlich ist eine on , Kalama/oo, 3« Hier versuchte ich /urn ersten befriedigende Rekonstruktion mittcl- Michigan, 11 May 1996. See also I. Male, die andalusische Praxis alterlicher Auffiihrungspraxis niemals McGee, Medieval instrumental dames Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 nachzuahmen und sie mit anderen moglich, prinzipiell nicht moglich' ( Bloomington, iy8y), p.36; S. Wishart, Stilen zu vermengen' I Binkley, 'Auf- (R. Clemencic, 'Auffiihrungspraxis Echoes ol the past in the present', fuhrungspraxis', p.25). At the same mittelalterlicher Musik im 20. Companion to medieval and Renais- time he denied liner-note claims made Jahrhunderl', Musica anliqua: adu sance music, ed. T. Knighton and I). between 1963 and iy7i: 'It was not my scienlificiu v ( Bydgoszcz, 197H), Fallows (Berkeley, iyy2), pp.ny-ai. intention to create an imitative species pp.29—301. See also L. Dreyfus, 'Early 34 Carmina burana, i, Studio der of Arabic music' Chs war nicht meine music defended against its devotees: a fruhen Musik (Teldec SAWT 9455 Absicht ... eine Art Nachahmung der theory of historical performance in the [ iyf>4j j, liner notes. arabischen Musikanzustreben'). 20th century', Musical quarterly, xix (19X3), pp.315-22, and R. Lug, 'Minne, 35 Burstyn, The "Arabian influence" 39 I played A I'entrada for Moroccan Medien, Miindlichkeit: Mittelalter- thesis revisited', pp.119-22; \'. Kenyon natives who had internalized Andalu- Musik und ihre Wissenschaft im CD- and R. Taruskin in Authenticity and sian music from an early age. Their Zeitalter', Zcitschrift fiir Literatur- early music, ed. Kenyon; R. Taruskin, response was that even this freer wissenschaft und Linguistik, xc/xci Text and act: essays on music and performance felt only 'slightly Arabic' performance (Oxford, 1995), pp.3-47. because the necessary embellishments I W931. PP-77-X, esp. n.14. See also Haskell, The early musk and correct feel were missing. (I wish 42 See I.asocki, 'The several lives of revival, ch.y. to thank Charles and Dahlia Obadiah Tom Binkley', p.iy.

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hARIY MUSIC Aldl'M :( Announcing the founding of the Princeton Early Keyboard Center

Established in January, 2001, the Princeton Early Keyboard Center is a small, independent school devoted Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021 to the teaching of harpsichord, clavichord, continuo-playing, and all matters relating to the keyboard music and keyboard instruments of the Rennaisance and Baroque penods The main studios of the Center, located on Nassau Street in Princeton, New Jersey, contain several harpsichords and clavichords— most built by either Keith Hill or Phdip Tyre— in a variety of historic styles The instruments are all as authentic in design as possible— the harpsichords equipped with a variety of histoncally designed wooden jacks and voiced with bird quill— and all have an extraordinanly vivid and beautiful sound The teacning at the Center is always focused primarily on allowing the students to learn directly from the sound, touch, and behavior of the instruments themselves, and to relate historical knowledge and musical analysis to those instruments All students studying at the Center, whether for a long course of lessons or for an occasional lesson, coaching session, or workshop, have extensive, essentially unlimited, access to all the instruments for practicing

The principal keyboard teacher and Director or the Princeton Early Keyboard Center is Gavin Black Known especially for his recordings on the PGM label, Gavin Black has taught harpsichord, clavichord, organ, and continuo-playing, and coached Baroque chamber music, since 1979 He has been a design consultant in various organ- and harpsichord-building projects His recording of harpsichord music of Sweehnck, played on a Ruckers transposing-aouble copy, will be released in early 2002

The structure of teaching at the Center is designed to be infinitely flexible The Center of course welcomes "full-time" students, taking at least one lesson a week over a period of months or years, and will offer such students as thorough, broad, and intense a grounding in Baroque keyboard matters as can be found anvwhere However, the Center also welcomes students who want a shorter course of lessons, or just occasional lessons, or even one lesson, or a one-day "mini-workshop" targeted to a particular area of study The Center is happy to accept students of any age and any musical background Telephone or e-mail inquiries seeking advice or help about aspects of Baroque keyboard music or instruments are also most welcome

The facilities of the Center include, in addition to the instruments, a small library of music and of books, and a listening station with an extensive collection of recordings of Baroque keyboard, chamber, and The Center is also able to offer students the opportunity to make use of several Baroque- style organs, and occasionally to observe or even participate in the work or instrument builders The Center can also provide performance opportunities lor students, both as soloists and in chamber music

Anyone interested in taking advantage of the facilities and programs of the Princeton Early Keyboard Center is invited to get in touch with the Center using any of the addresses or numbers listed below

Princeton Early Keyboard Center PO. Box 385 Kingston, New Jersey 08528-0385 USA telephone (609) 430-0396 fax (732)545-5504 e-mail gavinblacR@altavista com

EARLY MUSIC AUGUST 2001 379 PWM THE CHOPIN NATIONAL EDITION

EDITION EDITED BY JAN EKIER AND PAWEL KAMINSKI

PUBLISHED BY PWM EDITION FOUNDATION FOR THE NATIONAL EDITION

OF FRYDERYK CHOPIN'S WORKS Downloaded from https://academic.oup.com/em/article/XXIX/3/369/343903 by guest on 24 September 2021

This is the Urtext Edition of all Chopin's works based on the very latest research. Here follow details of the 9 volumes published so far in a projected series of 37.

Vol.i Ballades Opp.23, 38, 47, 52 £17.95

V0I.2 Studies Opp.10, 25 & 3 New studies £16.75

Vol.4 Mazurkas Opp.6, 7,17, 24, 30, 33, 41, 50, 56, 59, 63, Mazurka in A (Galliard), Mazurka in A (from the Album La /Notre Temps) £19.95

Vol.5 Nocturnes Opp.9,15, 27, M, 37, 48,55, 62 £18.95

Vol.6 Polonaises Opp.26, 40, 44, 53, 61 £18.95 ETIUDY Vol.7 Preludes Opp.28,45 £12.75

Vol.9 Scherzos Opp.20, 31, 39, 54 £i3-5<> CHOPTTV

Vol.10 Sonatas Opp.35, 58 £18.95

Vol.11 Waltzes Opp.18, 34, 42, 64 £ii-95

For further information on this edition please ask for our comprehensive brochure, available from the Sales Department.

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