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Queen of Scots Deux-Elles Music for the Queen of Scots The Flautadors Recorders and Drums in Scotland The role of the recorder in Scotland is very House, Berwickshire notes that she paid one similar to its use in England in that from me- Mr Crumbin for teaching her daughter the diaeval times it was employed at the court as recorder. The recorder was also listed as one a ‘soft’ instrument to provide entertainment of the instruments still being taught in the indoors during meals and special entertain- Aberdeen Sang Schule in 737. ments. In addition to a company of violaris, Mary, Queen of Scots was known to have The instruments used in this recording con- employed musicians (pyparis) who would sist of a matching consort made by Thomas have played recorder and other woodwind in- Prescott after existing 6th century recorders struments. A generation later, accounts of the in the Vienna Kunsthistorisches Museum. baptism of James VI’s first son, Henry, tell us that “a still noise of recorders and flutes” was Tabors, tambourines and finger cymbals heard. As well as bringing courtly pleasure, were ubiquitous in renaissance Europe but the recorder was ideal as a folk instrument and perhaps worthy of note is the high opinion no doubt this was in James Thomson’s mind held by Mary’s grandfather James IV of a when he compiled his book for the recorder black African drummer in his court. As well in 70. His publication gives us an idea of as paying for his drum to be finely painted, the popular tunes the recorder enthusiasts James spent a considerable amount of money of Edinburgh would have enjoyed playing on a horse for him and he gave many presents and, as well as Scots melodies and pieces by to his family. Shrove Tuesday at court in 505 the likes of Henry Purcell, Thomson gives had a particularly international feel to it with us a fingering chart and some indication of a troupe of African drummers present as well various ornaments. The 8th century saw the as some Italian dancers. The lasting influence recorder as a favourite instrument amongst of such exotic flavours on the musical tastes of the gentry of Europe and Scotland was no Scotland is not documented but leaves a lot to exception. Lady Grisell Baillie of Mellerstain the imagination. Page Page 1 Alas, a lass 542 2–3 Mary’s infancy 542-58 manual. This famous book contains detailed 7–10 Queen of France 558 instructions for the dancers alongside melodies By 50, James V of Scotland had everything: Born in 542, Mary Stuart was crowned for each dance, and it is here that we find two In 558, Mary was married in splendour in a secure kingdom, two infant sons as heirs, queen of Scotland in 53. Ever quick to Branles d’Ecosse in the form of a single tune Notre Dame Cathedral. Within a year King much wealth and great standing at both home spot a beneficial opportunity, King Henry with no accompaniment. Première Suytte de Henri was dead, killed in a horrible jousting and abroad. Two years later, the King of Scots VIII wished to unite England and Scotland Bransles d’Escosse appears in the 557 publica- accident. Francis was King and Mary was cut a rather tragic figure. His sons had died through the marriage of Mary to his young tion Septieme Livre de Danceries by Etienne du now Queen of both Scotland and France, in 541, several battles had been lost and he son Edward. However, Mary’s mother pushed Tertre as well as Jean d’Estrées Second Livre de but her world was soon turned upside down was now a sick man. He took to his bed in for a marriage contract between her daughter Danseries, 559. Unfortunately the collection when King Francis died in 560 leaving her a Fawkland Palace and simply willed himself and the Dauphin Francis, eldest son of the of dances by Etienne du Tertre is incomplete, widow with only one kingdom to her name. to die. In gloomy early December, he was French King Henri II and so in 58 Mary, so only one suite of Scottish Bransles exists brought news that his queen had given birth Queen of Scots set sail for France. today and indeed the contratenor and bassus The well-known love songs De tous biens to a princess. Making a play on words, he parts are missing in both the third and final playne and Jouissance vous donneray appear in simply murmured, “It came with a lass and The anonymous Prince Edward’s Pavan and Bransles in the suite. Certon’s courtly song many sources and have been set by a number it’ll gang with alas”. He died on the 14th and, Departe, Departe both come from the Wode La, la, la je ne l’ose dire (about a jealous and of composers from the period. Claudin de at only a few days old, Mary was Queen of Part Books (see Ower the Water below). cuckolded husband) was later arranged as a Sermisy was entrusted the job of sous-maîtres Scots. five-part ‘Bransle simple’ by Caroubel. The to François I. This involved directing the mu- 4–6 First years in France 58-56 arrangement you hear is a combination of sical activities in the court alongside fellow The melody The Scotch Queen is taken from the original song and the instrumental dance musician Jean-Loys Héault de Servissas. James Oswald’s The Caledonian Pocket Com- Mary’s court schooling was of the highest version. panion published in the early 8th century. quality. Her future father-in-law made sure Mary, Queen of Scots was the last Scotch that no aspect of her education was neglected Many branles take their name from the coun- The regret of one lost Queen and so this melody probably alludes and soon she was fluent in Latin, Spanish, tries where they are customarily danced. The As I slide into sleep to her. Oswald was responsible for collecting Italian and Greek as well as being a talented Poitevins dance their branles de Poitou, the The absent is near many old and traditional Scottish melodies player of the virginal, harp and lute. Mary’s Scots their Branles of Scotland and the Bretons And alone on my bed and his Pocket Companion was so popular presence in France sparked a fashion for Scot- branles which they call the Trihory or papsy … . I feel his touch dear that it was published several times within his tish music that would last for many years. Some ignoramuses have corrupted the move- In toil or in play lifetime, both in Edinburgh and London. ments of the branle of Poitou but I will not be We are near every day Thoinot Arbeau is an anagram of the name a party to this … . The Scottish branles were in Jehan Tabourot, a French cleric well known fashion about twenty years ago. Mary, Queen of Scots for his Orchésographie, a 6th century dance Thoinot Arbeau, 588 on the death of her husband Page 3 Page 11–12 Ower the Water 558 added comments indicating an awareness of tings of Protestant psalm tunes are quite sober many musicians playing violins and rebecs as the importance of his work “To ane great man when compared to the florid music of the well as many who sang psalms. Back in Scotland, 558 saw the return of John that has bot ane resonable gripe of musicke: Catholic church. Psalm 1 has the tune in the Knox from Frankfurt. The Protestant Refor- thir five bukis wer worthy thair wayght of tenor in keeping with the fashion of the time. Ane Exempill of Tripla and Richt soir opprest mation was about to take a firm grip on all gould” and “Notwithstanding of this travell Ane lesson upon the First Psalm comes from the come from the Art of Music and Woe worth aspects of Scottish life. Alongside many social [travail] I have taken, I can understand not but Edinburgh Sang Schule’s theory book The Art the tyme comes from Wode’s collection. It reforms, the complexity of Latin Church Musike sall pereishe in this land alutterlye”. of Music collecit out of all ancient doctouris of may well have been based on a favourite folk music was replaced with radically simplified It is interesting to see that the front covers music. Psalm 113 in reports comes from the melody of the time. settings in keeping with Knox’s teachings. of the parts depict instrumentalists playing, 635 Scottish Psalter and is by the French perhaps indicating that the music therein was composer Goudimel (c57 – 57). Psalm A cumpanie of most honest men with instruments Robert Johnson was a talented musician born suitable for non-vocal performance too. The 113 itself is a well-known Lutheran hymn of musick gave their salutatiouns at her chalmer in Duns around 500. Being a Lutheran, he vast majority of the four part pieces fall per- tune and a more complex reworking of it can windo. The melodie, a sche alledged, lyked her was eventually forced to escape a predomi- fectly within the range of an SATB recorder be heard in O Mensch, Bewein Dein Sünde weill, and sche willed the sam to be continewed nantly Catholic Scotland and seek refuge in consort, even having the same corresponding Gross in J. S. Bach’s St Matthew Passion. sum nychts efter with grit diligence. England. His setting of Deus misereatur nostri lowest notes of each instrument. John Knox - 56 (Psalm 67) was preserved by a remarkably foresighted Thomas Wode in a collection of Perthshire composer Robert Carver (c1485 – 17–19 Welcomed in Edinburgh 56 20–27 Touring and Dancing 56-568 books that he compiled painstakingly over after 567) was very probably involved in the several years.
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