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A Medieval Renaissance Showcase

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A Medieval and Renaissance Showcase presented by Lumina Vocal Ensemble and Lyrebyrd Consort with guest artist Artistic Director: Anna Pope Lumina Conductor: Clive Conway Dr Rob Morrison Assistant Conductor: Meg Pope as Narrator AA MMeeddiieevvaall && RReennaaiissssaannccee SShhoowwccaassee Programme notes by Anna Pope Given how many hundreds of thousands of musical pieces date from the Mediaeval and Renaissance period, it has been a real challenge to choose just a few to represent the breadth of styles and ideas that developed during 700 years of European history. Lumina and Lyrebyrd have selected 23 pieces to showcase the medieval period, starting with a beautiful plainsong Caritas abundat by the powerful 12th century Abbess Hildegard of Bingen: Loving tenderness abounds for all from the darkest to the most eminent one beyond the stars, Exquisitely loving all she bequeaths the kiss of peace upon the ultimate King. Next, we hear from Richard the Lionheart, King of England and parts of France for just a decade at the end of the 12th century, but renowned for his bravery during the Crusades. The doleful ballad Ja nun hons pris complains that his friends seem to have forsaken him: I have many friends but their gifts are few in number. They will be shamed if I remain in captivity these two winters because my ransom is not paid. Then we move into the 13th century with a popular song from England. Miri it is features many of the instruments we’re introducing today including oud, lute, harp, rebec, cornemuse, garklein recorder and percussion. Merry it is while summer lasts and we hear the birds sing. But alas in winter the nights are long, the weather harsh, and we sorrow and fast. After thousands of years of music that was mostly one line, music in two or three interweaving parts became common by the 13th century. Some examples include the following three-part pieces for recorder: J’aloie l’autre jor errant by Thibaut de Champagne, King of Navarre (c1230) and an anonymous Dance tune from c1300. Of the over 200 recordings Lumina have uploaded to YouTube, by far the most popular is the 13th century English song Sumer is icumen in. The song has a timeless charm that captures audiences today. One of the most striking instruments of the mediaeval period is the crumhorn, a recent challenge taken up by Lyrebyrd. Next is the first of two pieces in today’s concert featuring the instrument: Belial vocatur from the 13th century Codex las Huelgas, and later a piece from c1500. Contrasting with the crumhorn’s strident sound, Lyrebyrd next present a meditative interpretation of Laudemus (from the Montserrat Codex), featuring plucked string instruments including oud, lute, psaltery, Finnish kantele, harp, rebec and vielle. We then enter the 14th century with music by two of its most influential composers: Guillaume de Machaut and Philippe de Vitry – the latter described by Petrarch as ‘the greatest musician of his day’. Machaut’s Puis qu’en oubli is a captivating lyrical three-part secular song that tells of unrequited love: Since I am forgotten by you, sweet friend. I say farewell to the life of love and joy. In contrast, Philippe de Vitry’s extraordinary isorhythmic motet Vos qui admiramini virginem is dedicated to the Virgin Mary – at least in part. However, there is also a crossover with the theme of courtly love. While the lower parts sing of a ‘Most dear virginal image, adorned with bodily purity’ the upper part sings ‘Take heed you who admire maidens. If we are to be worthy of wedding the one above all others, after we have married her she must be greatly loved’. The piece ends with evocative words, both spiritual and sensuous: O king of kings, join eye to eye and mouth to mouth for a kiss, and breathe a word from your lips, which when received may make this flesh godlike. Next we meet all of the seven sizes of recorder being played by Lyrebyrd today, from the tiny garklein to the great bass in Fauvel nous a fait by Romain de Fauvel. We finish our visit to the medieval period with the rollicking Trotto – another piece that is particularly popular on Lumina’s YouTube channel – and the intricate four-part song Doctorum principem by Johannes Ciconia (1370?–1412). The work celebrates the life of Ciconia’s patron Francesco Zabarella: Let us sing in the sweetest melody, let our honeyed voices touch the stars, let us play our song concordantly on the lyre, let the cithara be struck and sound through our choirs… Francesco Zabarella… posterity will celebrate your skills for all time, world without end. The birth of the Renaissance In the second half of our performance today we move into the Renaissance period, starting with majestic choral works by two of the towering geniuses of the 15th century. Johannes Ockeghem’s Mort, tu as navré de ton dart remembers the much-admired medieval composer Gilles Binchois: Death, you have wounded with your dart the father of joy in unfurling your standard over Binchois, that paragon of goodness. Weep, whoever is of good will, weep for your university, pray for his soul. It is fitting, therefore, to follow Ockeghem’s masterpiece with a stunning work by Josquin des Pres in memory of Johannes Ockeghem. Nymphes des bois pays homage to Ockeghem in both word and musical form, with plaintive cries. Wood-nymphs, goddesses of the fountains, Skilled singers of every nation, Turn your voices, so clear and lofty, To piercing cries and lamentation Because Atropos, terrible satrap, Has caught your Ockeghem in her trap, The true treasurer of music and master, Learned, handsome and by no means stout. It is a source of great sorrow that the earth must cover him. Put on the clothes of mourning, Josquin, Pierre de la Rue, Brumel, Compère, And weep great tears from your eyes, For you have lost your good father. May they rest in peace. Amen. We then present several instrumental groupings and pieces that would have been popular in the Renaissance period, including a fanfare from the crumhorns and then two dances on rebecs. The Washerwoman’s Bransle (pronounced ‘brawl’) is a traditional dance dating back to medieval times, and was published in Thoinet Arbeau’s Orchesography in 1589 (one of the best records we have of early dances from the medieval and Renaissance periods). The dance includes hand claps depicting the way washerwomen bet their cloths on the banks of the river Seine. La Morisque is believed to date back to 1150 and was influenced by the Spanish Moors. The dance was later arranged and published by Tielman Susato. Next, Lyrebyrd’s recorder consort will perform a delightful dance by Holborne, followed by the viol consort playing a dance by Susato. We finish our Renaissance sojourn in England, first in the Tower of London where the unlucky second wife of Henry VIII awaited her execution. Although Anne Boleyn’s O Deathe rocke me asleepe may have been written by one of her admirers rather than herself, it remains achingly poignant. We then return to court with a fanfare from the cornemuses Passo media, followed by the jolly Pastime with good company attributed to Henry VIII. That’s all we could fit into today’s program, but if you want to hear some more wonderful music from the medieval period, don’t miss our July 2020 concert Alchemy – the search for medieval gold in the Umbrella Festival. If you also love the Renaissance period, then you have the chance to hear more in our August 2020 concert Elegance – Explorations in Early Music (Dufay to Purcell), also in the Umbrella Festival. We hope to see you there! Anna Pope, February 2020 LLuummiinnaa VVooccaall EEnnsseemmbbllee SINGING OUTSIDE THE SQUARE Sopranos: Rachel Sag, Carolyn Wilkins & Anna Pope (Artistic Director) Altos: Penny Dally, Sarah Lea, Meg Pope, Rosemary Byron-Scott & Kate Tretheway Tenors: Melinda Pike, Eleanor Pope, Tim Muecke, Fiona O’Connor & Peter Mahoney Basses: Clive Conway (Assistant Conductor), Kenneth Pope & Kym Waters Founded in 1999, Lumina specializes in discovering and performing music that is rarely heard. Ranging from medieval gems to masterpieces of the Renaissance and later, Lumina has also established a niche nurturing Australian composers, including performing dozens of world premieres. Based in Adelaide, Lumina has developed an international following via recordings and the internet. With five physical and two electronic CDs published and over 200 tracks available online, Lumina is listened to by hundreds of people every day and has over a million views on YouTube. The most popular works are those from the medieval period, but the contemporary Australian music is also getting a steady exposure. This is what Lumina is about – sharing wonderful music with the world, seeking out moments of magic, challenging listeners with new ideas, and giving both old and new composers a new voice. Biographies of performers are included on our website lumina.org.au/singers Have you seen Lumina on YouTube? 200+ clips and over 1.7 million hits! www.YouTube.com/user/LuminaVocalEnsemble LLyyrreebbyyrrdd CCoonnssoorrtt Anna Pope: kantele, soprano crumhorn & percussion Rachel Sag: psaltery, soprano crumhorn & cornemuse, garklein & descant recorder Sarah Lea: bowed psaltery & alto cornemuse Kenneth Pope: oud, sopranino & treble recorder, alto crumhorn & percussion Kari Dawson: tenor cornemuse; bass crumhorn; descant, treble & tenor recorder & finger cymbals Rosemary Byron-Scott: lute, bass crumhorn & bass recorder Tim Muecke: descant, tenor & great bass recorders, bass crumhorn, treble viol, rebec & vielle Lizzie Zeuner: rebec & tenor viol Eleanor Pope: rebec, vielle, bass viol & percussion Meg Pope: harp, tenor rebec & bass viol Additional percussion played by Clive Conway, Carolyn Wilkins and Peter Mahoney LLyyrreebbyyrrdd CCoonnssoorrtt Founded in 2008, the Lyrebyrd Consort explores early music using a combination of medieval and Renaissance instruments (or at least modern reproductions thereof).
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  • ACET Junior Academies'

    ACET Junior Academies'

    ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression.