French
Renaissance Dance:
What
Makes It Great?
presented
by
The
Southern California Early Music Society
The Guild of St. George (GSG) and El Dorado Danza (EDD)
Dr. Emma Lewis Thomas
Pavane pur la Mariage de Henri le Grand in 1600 (GSG and EDD) arr.
Philador
S. dulcian, crumhorn consort, B. viol
Branle Double La Bounette (GSG) Anonymous
musette, tambourin drum
Branle Simple (GSG) Caroubel/Praetorius
high recorder consort (Sn., Sn., S., T.)
l
In Celebration of the 400th
Anniversary of Terpsichore by
Michael Praetorius l
Bransle des Chevaux
(Horse) (EDD) Caroubel/Praetorius
vielle roue (hurdy
gurdy) and cornemuse (bagpipe)
Jouyssance vous donneray: song and bassedance (EDD) Marot/Sermisy,
Arbeau
Song: S. voice, violin, B. recorder, great-B.
recorder, B. viol
Jouyssance vous donneray (Pleasure will I give you)
from Chansons
Nouvelles, 1527, published by Pierre Attaingnant
music by Claudin
de Sermisy (1490-1562); lyrics by Clment Marot (1495-1544)
Jouissance
vous donnerai
Mon
ami, et vous mnerai
La
o prtend votre esprance.
Vivante
ne vous laisserai;
Encore
quand morte serai,
L'esprit
en aura souvenance.
Si
pour moi avez du souci
Pour
vous n'en ai pas moins aussi,
Amour
le vous doit faire entendre.
Mais
s'il vous grve d'tre ainsi,
Apaisez
votre coeur transi;
Tout
vient point, qui peut attendre
Pleasure
will I give you
my
beloved, and I will lead you
where
your hope aspires.
While
I live, I will never leave you,
and
even in death,
my spirit will always remember
If you
are worried about me
I am no
less so for you
Love
should make you understand that.
But if it
grieves you to be like this,
Appease
your troubled heart;
Everything comes to him who can wait.
Bassedance (arr. Axworthy): S. shawm, A. shawm, B.
dulcian, S. crumhorn, T. crumhorn, cornetto
Tourdion (EDD) pub.Attaignant
virginal, B. recorder
Branle Montarde (GSG) pub.Attaignant,
Paris 1550
loud band and soft band, garklein recorder
Gavottes (EDD) Caroubel
(arr. Praetorius)
low recorder consort (g-A., T., g-B., great-B.)
Torche Bransle (GSG and EDD and audience) Arbeau
loud band and soft band
Bouffons (EDD) Arbeau
loud band
Sword flouryshes: Myles Cupp (swordsman)
fife, drum (improvisation after Arbeaus
descriptions)
Pavane: Belle Qui Tiens Ma Vie (Beauty,
you who hold my life) (GSG) Arbeau
song voices S., A., T., B. cornemuse
cornetto, violin, T. cornemuse, B. cornemuse, B. viol
Belle,
qui tiens ma vie captive dans tes yeux,
Qui
m'a l'me ravie d'un souriz gracieux,
Viens
tt me secourir, ou me faudra mourir.
Pourquoi
fuis-tu, mignarde, si je suis prs de toy?
Quand
tes yeux je regarde, je me perds dedans moy,
Car
tes perfections changent mes actions.
Beautiful
one who holds my life captive in your eyes,
Who
has ravished my soul with a gracious smile.
Come
to my aid, or I must die.
Why
do you flee, dainty one,If I am near you?
When
I behold your eyes,I am lost inside myself
Because
your perfection so affects my behaviour.
Galliards (EDD) arr.
Philador
recorder consort (S., g-A., T., g-B., great-B.)
Bransle of Champagne: Casandra, Pinagay, Charlotte (GSG) Arbeau
loud band, Sn. recorder
La Bouree (EDD) Caroubel/Praetorius
vielle roue (hurdy
gurdy) and cornemuse (bagpipe)
Bouree d'Avignone (aka Playfords Parsons Farewell,
SchmelzersPolish Bagpipes) arr.
Phildor
cornetto, S. dulcian, violin, T. crumhorn, B.
dulcian, B.viol,
Composers and Sources
Thoinot
Arbeau (1519-1595): used this anagram for his real name,
Jehan Tabourot (perhaps because he was a cleric). His Orchesographie (1589) describes
social ballroom behavior and the interaction of musicians and dancers; it has
many dance tabulations, a significant innovation in dance notation.
Pierre-Francisque
Caroubel
(1556 1615) a French violinist and composer. He lived in Paris from 1576 and
collaborated with Michael Praetorius at the court of the Duke of Brunswick at
Wolfenbttel.
Michael Praetorius 1571-1621): Terpsichore (1612; our concert is in
celebration of the 400th anniversary of its publication) a
collection of mostly French dances, many originating from Caroubel, a testament
to the high regard of French dance at that time. Syntagma Musicum, v.2 De
Organographia (1618) described all the musical instruments
of the period. Contemporaneous with Terpsichore is the anonymous French dance manual Instruction pour dancer (pre-1612) which intabulates dances named in Terpsichore (according to Angene Feves). Terpsichore means
"delight in dancing" and was the Greek Muse of dance.
Pierre Attaignant (c.1494 - 1551/2): publisher in Paris, first to make extensive use of single-impression movable
type for music-printing, thus making it possible to print faster and cheaper.
Andre Danican Philador (1647-1730); librarian to Louix XIV, his F.494
contains transcriptions and arrangements of music originally from1540 to 1583.
Many tunes are also found in Praetorius Terpsichore, Attaingnant and Phalese. Philador
added a second soprano part for a total of six parts.
Consorts are
groups of the same (or like) instruments in different sizes, often constructed
as such by one maker to give a balanced volume and uniform timbre and tuning.
Most of the instruments in todays concert came in three or more sizes.
Examples: double reed consorts:
soft: crumhorns (S,A,T,B), and S. dulcian; loud band: Sn. rauschpfife, A.
shawm, T. shawm, B. dulcian; recorder
consort: we play a matched set by A. Breukink; broken consort: a mixture of variously dissimilar
instruments, but with balanced volume, examples: violin, cornetto,
recorders/crumhorn/cornemuse, B. viol, virginal.
Recorder (Sn., S., A., T., B., great-B): a fipple flute, the
most popular instrument of the Renaissance, in 8 principal sizes with
intermediates in the keys of D and G
(eg. our alto and bass in G g)
Cornetto: a cupped mouthpiece with open fingerholes, with an
expressive regal sound
Viol (viola da gamba) (B.) with 6 strings and frets
and unique bowing, it has a vocal quality highly regarded through the Baroque,
after which it was supplanted by the cello.
Violin: the great makers of the 16th C optimized
its construction (Stradavarius, Amati, etc).
Vielle roue (hurdy
gurdy):
developed from the Medieval organistrum that was used to accompany church
singing. Four drones and two chanter strings played by a keyboard, and a
percussive bridge activated with impulses of the turning hand. As a folk instrument, it gained
popularity especially in France, where in the Baroque it was refined along with
the musette as court instruments that were musical representations of pastoral
life. It continues today as the most important French folk instrument.
Rauschpfeife (loud pipe) (S.): a capped double reed, the
loudest of all instruments (although a relatively soft version is used here, to
blend with other loud instruments).
Shawm (S., A., T.): 12th 17th C; a double
reed, predecessor of the oboe.
Dulcian (curtal)(S., T., B.): a double reed, mid-16th to late 17thC,
predecessor of the bassoon.
Crumhorn (krumhorn, tournebout, "bent horn.") (S., A., T., B.) a capped double
reed bent in the shape of a J, popular
from 15th 17thC, it lasted longest in France
where is remained part of the grand curie of
Louis XIV (mid 17thC).
It may have evolved from a bagpipe chanter.
Cornamuse
(T., B.):
capped and partly stopped double reed (not to be
confused with the
cornemuse,
a French bagpipe) is similar to the crumhorn, but has a closed bell, giving it
a quieter, softer sound. All modern reproductions are based on paintings and
descriptions from the time.
Musette: a French court bagpipe, invented for the court bals
of Henri III before 1587, therefore a uniquely French instrument. This refined,
petite bagpipe was used in ballet scenes of pastoral life (of which bagpipes
were musical representations). It uses a newly invented technologically
advanced shuttle drone mechanism
(based on the reciprocating bore of the racket) that is regulatable to
select the chord key, and it is inflated with a bellows (rather than by mouth).
It became the most important instrument of the French Baroque court. The one
active maker, P. Beekhuisen, uses the one existing historic instrument and period
engravings as models.
Cornemuse (bagpipe) (from Bourbonnaise, center of
France) The
French love the bagpipes and other double reeds (see Crumhorn), and have more
different bagpipe models than any other country. This bagpipe continues today
as an important folk instrument of France (along with vielle roue).
Virginal: a small, square harpsichord (faux marble painting
and voicing by Curtis Berak).
Fife: predecessor of the piccolo flute; a high pitched
transverse flute, used for military purposes.
Percussion: rope snare drum (A., T.), wood xylophone (possibly of
African origin, in Europe by 1511), tamborine (round, head covered, jangles),
tambourin (a uniquely French instrument; box, tuned strings, beater), various
bells and cymbals.
Wessex Consort, Bruce Teter
and John Robinson, Co-Directors; Mark Walter, Marisa Rubino, Julie
Edwards-Mantanga, Thomas Axworthy, Phil Charlton, Paul Christensen, Marischka
Hopcroft, Ph.D., Curtis Berak. The Wessex Consort performs music of the Renaissance and
early Baroque periods on a variety of early wind instruments, complemented by
strings, voices, percussion and keyboard. Since its formation in 2007, they have performed Polish
music and dance with Mme. Ujda, and serve as the court band for the Guild of
St. George. www.wessexconsort.com
The
Guild of Saint George, John Smith (Guild Master), Larry Hansen (Dance Director); John Higley, Alyxx Ianetta, Rebecca Roberts, Robin Smith,
Renee Turner, Myles Cupp. The
Guild of Saint George is a nonprofit educational
corporation dedicated to teaching the history of Elizabethan England through
interactive theater. The
guilds dance program is a part of a larger effort to accurately replicate all
aspects of the Elizabethan world, from costume to language to dinnerware. Over the past twelve years, the guild
has demonstrated the lifestyle of the Elizabethan aristocracy at the Getty
Center, the Huntington Library, and various schools and civic events throughout
Southern California. www.guildofstgeorge.org
El
Dorado Danza, Irene Ujda, Director; Cynthia Harper, Gerard J. Reyes, Lavendar
Lynne McGrath, David G.A. Weidner, Jennifer Christie, Alejandro Herrera, John
Simons, and guest Michael Hudson-Medina.
El Dorado Danza is a Continental Early Dance project of Yesteryears
Dancers (YYD), augmenting prior collaborations with Wessex Consort (as Vistula
Danza) on Polish Renaissance dance. YYD has also worked with Tom Axworthy including
his LA Recorder Orchestra, with John Warren's New World Baroque Orchestra, and
perform dances from rococo to ragtime. www.yesteryearsdancers.com
Emma Lewis Thomas, Ph.D. has taught dance history at UCLA
since 1971. Collaborating with musicians, she focuses on praxis in western European dance since
1400, translating verbal and notation descriptions into movement. As a professional dancer in Berlin she was
sparked by medieval and renaissance tunes woven into Carl Orffs Carmina
Burana,. She formed
Balliamo, a Renaissance music and dance ensemble that performed in Southern
California and toured Europe twice. She lectures worldwide on authenticity in
re-creating dance and music from historic sources.
Southern California Early Music Society, SCEMS (http://www.earlymusicla.org)
Holy Nativity Episcopal Church and Father Peter Rood
(www.holynativityparish.org)
Special thanks to
Thomas Axworthy for his
contributions and instruments (Southern California Entertainment and Music
Concepts) (scemc@earthlink.net)
Sony
Pictures Entertainment (Irene Ujda). Song translations: Jouyssance: Serpent Publications; Belle Qui: David S. Barr
Concert
programming and notes by Bruce Teter (with contributions from everyone)
Elizabethan
Feast:
an authentic recreation of an evenings entertainments from Elizabethan
England.
The
Guild of St. George will sing madrigals and demonstrate 16th century French
and Italian court dances, accompanied by the Wessex Consort. A meal of period
dishes will be served and eaten in the Renaissance manner accompanied by music
by Elements String Ensemble. Costumes welcomed! Friday, August 17, 2012, in a
beautiful hall in Pasadena. Tickets are $65 per person. For tickets or
information, email JHSmithIV@aol.com.
Bastille
Day L.A.
Yesteryears Dancers (Irene Ujda) and Plaisirs Champetr (Bruce
Teter, Curtis Berak) will perform and teach historic and contemporary French
dances with audience participation on Sunday July 15, 2012.
http://bastilledaylosangeles.com/