Sequentia

Ensemble for Medieval Music. Benjamin Bagby, Director

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Sequentia celebrates its 40th anniversary in March 2017
 
 

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E-mail: info@sequentia.org

Representation
(Europe)

Katja Zimmermann
VCzimmermann@gmx.net

Representation
(exclusive of Europe)

Seth Cooper
Seth Cooper Arts Inc.
4592 Hampton Ave.
Montréal, QC, Canada
www.sethcooperarts.com
sethcooper.arts@gmail.com
Tel: 514-467-5052

In association for
Season 2016-2017 with:

Jon Aaron
Aaron Concert Artists 
220 West 148th St. 4J
New York City 10039, NY / USA
Tel: 212-665-0313
jon@aaronconcert.com

 

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The Rheingold Curse

A Germanic Saga of Greed and Vengeance from the Medieval Icelandic Edda

The Reconstruction of Eddic Performance

Although we know that medieval epic poetry was the domain of bards and singers, no written musical sources of the Eddic poems dating from the Middle Ages are known to exist; indeed, we would have no reason to expect such sources to have been written at all. The milieu in which these poems were originally transmitted, sung, and acted out was that of a uniquely oral culture, and professional minstrelspassed on repertoires and techniques from generation to generation without the hindrance and expense of writing. As is almost always the case with medieval song, the use of musical notation is linked to the world of the monkish scriptorium and the noble or ecclesiastical collector, not to the world of the practicing musician. We can assume that the performing traditions of the Edda were probably already in decline by the time the main text manuscript, Codex Regius, was copied in the 13th century. Given this situation, how can we possibly reconstruct sung performances of Eddic poems as they would have been known in pre-Christian Iceland?

The earliest witness which we possess to musical settings from the Edda is an account found in Benjamin de la Borde´s Essai sur la musique ancienne et moderne, published in 1780. Among other examples (collected by a musician at the Danish Royal Court, Johann Ernst Hartmann), we find a strophe from the Völuspá set to a simple melody. Unfortunately, we will never know if this melody represents part of an unrelated Icelandic folk tradition of the 17th and 18th centuries, or if it indeed survived in this form from its origins as an oral formula for the vocalization of Eddic poetry.

In searching for paths to the vocalization of these texts, it was obvious to me that more musical information would be needed than this scrap of melodic material from the late 18th century, and I decided to make use of the techniques of "modal language" which Sequentia has developed over the years in work with medieval song. Briefly, we identify a mode not as a musical scale, but rather as a collection of gestures and signs which can be interiorized, varied, combined and used as a font to create musical "texts" which can be completely new while possessing the authentic integrity of the original material. But like the powerful magic mead which gives the god Odin the gift of poetry, this "modal mead" is a concoction which is both inspiring and dangerous. We need a strong knowledge of the practice of singing epic poetry as it still exists in various world cultures to show us how such performances must be given a form and a soul, to temper the limitless freedom of modal inotxication.

Having temporarily put aside monsieur de la Borde, where did I turn first for the basic ingredients of this modal brew? Iceland, of course. To give one example: in the sung oral poetry known as rímur - which in itself is a tradition dating from the 15th century, but whose roots may touch much earlier skaldic poetry - I found a vast repertoire of modal material, which clearly could be grouped into several types. During research residencies in Reykjavik in 1995 and again in 2001, I was graciously permitted to work in the tape archives of the Stofnun Árna Magnússonar, where I listened to hundreds of recorded performances of rímur and related song-types, making notes and analyses of the types and uses of modal materials. The result of this process of digestion (which included a weeding-out of obviously later melodic types) was a series of modal vocabularies grouped by structural "signals", which could then be taught to the other singers and applied to the metrics of the Eddic texts as taught to us by the Icelandic philologist Heimir Pálsson. Everything was learned in a process very much resembling oral tradition: we have only worked with our Edda texts and our memories; there were rarely any written musical documets. And in light of this knowledge, the melody found in de la Borde began to make sense. However one chooses to see its transmission, the fact is that this melody demonstrates characteristics which point to the use of a specific modal vocabulary consisting of a few limited elements which are repeated and varied. And so, the attentive listener might hear its "genetic code" echoed in our reconstructions, just as an experienced Icelandic rímur-singer hearing us sing these poems might find at times that some undefinable element makes him feel he actually knows the unknown piece being sung.

In cases where two singers declaim the same text, different versions of the modal gestures may sometimes be heard simultaneously, resulting in a kind of heterophonic texture (verging on improvised polyphony) typical of many traditional musical cultures. The sound of parallel 5ths, still sung in Iceland today in the two-voiced tvísöngur, is also heard. Other aspects of the reconstructive work include a study of Icelandic sources besides rímur, as well as a study of the ancient dance-song melodies of the Faroe Islands and certain Baltic traditional song forms.

Equally important in these musical reconstructions are the instruments which play independant pieces and also accompany the vocalists. In the 12th century, the two most important European instruments for courtly entertainment were certainly the fiddle and the harp, although other types of instruments (for instance, wind and percussion) were certainly known in popular culture. The harp which is used in this performance is copied from remains of instruments found in 7th-century Germanic burial sites. This type of "lyre" would have been known throughout northern Europe well into the 13th century, together with the more recent triangular cithara which we recognize as the most common harp form today. These instruments have very few strings (the lyre, for instance, has six gut strings), and the tuning systems, based on medieval theories of consonance, yield a series of basic intervals which in turn can inform the text being accompanied. The tuning system of the instrument is closely related to the mode which the singer has chosen, so that the instrument must be re-tuned to accompany in a new mode. Regarding playing technique, it hardly needs stating that an instrument of six strings is not suited to playing chords and elaborate melodies. Instead, we have here a harp type (such as is still known in several non-European musical cultures), which has as its means of expression the use of pattern and variation, and on the playing of modal vocabularies. Just as the singers rely on a small repertoire of potent modal gestures for the vocalization of their texts, the harp makes a virtue of its seeming limitations and, like an interlaced Viking design, brings a richness of articulation to the expression of the mode. The fiddle used here is based on one of the earliest depictions of a fiddle in Europe, dating from the 11th century, and was created especially for this production. Techniques of early northern fiddle playing can still be found today hidden within the thriving hardingfele tradition of Norway, and Elizabeth Gaver’s own in-depth researches into the possible medieval antecedants to this tradition have yielded a convincing style of stringing, tuning and articulation which harmonizes easily with general medieval ideas about the use of bowed instruments in courtly music. Likewise, the use of flute in this production is based on concepts of tuning and consonance from the early Middle Ages, and one instrument in particular has an almost shamanistic aura, making it ideal for the announcement of the oracular völva: a tiny flute made from a swan’s bone. Fragments of such bone flutes have been found in early Germanic burial sites. In developing the instrumental pieces and accompaniments for this production, the players have made use of the same modal vocabularies and language as the vocalists (we share a common prima materia) but then they have factored in the particular playing and tuning characteristics of their own instruments, so that in the end each piece is unique and can only be played by the musician and instrument which shaped it. There is no “improvisation” as such, but then there are also no written scores aside from a few sketches, and so we prefer to think of ourselves as working within a rather strict oral tradition.

Further Reading

The Rheingold Curse: Introduction

The Reconstruction of Eddic Performance

Excerpts from reviews of ‘Rheingold Curse’ performances in the USA (January-February 2010)

 

Upcoming Concerts

05 October 2017
Paris (FR), Musée de Cluny
Monks Singing Pagans

09 to 13 October 2017
Venice (IT), Fondazione Cini
Seminar Roman de Fauvel

20 April 2018
Konstanz, D
Oswald in Konstanz

See full concert schedule

 

News

Benjamin Bagby's recent activities as teacher/lecturer, linked to his performances

At the invitation of the music department, Benjamin taught a performance workshop on the music of Hildegard von Bingen for students at Princeton University (29 March), where he also performed 'Beowulf' in a collaborative production with digital light designer Craig Winslow. Following this, at the invitation of the medieval studies program and the English department, he gave a lecture on his work with reconstructing the 'Beowulf' performance, at Yale University (3 April).

At the Université Paris – Sorbonne, where Benjamin is on the faculty, the yearly 'Entretiens de la musique ancienne' were held this year in honor of his life-long work with reconstructing 'lost songs'. The main event was his performance of 'Beowulf' (11 May), with French video titles, in the Amphithéâtre Richelieu of the Sorbonne, followed by two days of symposium at the university's Centre Clignancourt, sponsored by the historical music organization IREMUS and the musicology department of the university. During this symposium, Benjamin gave a lecture on his work with reconstructed harps and the kinds of clues they can provide ('Beowulf ': dans l'atelier d'un conteur d'histoires).

 

2017 Barbara Thornton Memorial Scholarship awarded by Early Music America to string-player Allison Monroe

This scholarship is given by EMA to “an outstanding and highly-motivated (and possibly unconventional) young performer of medieval music who seeks to widen his/her experience through more advanced study and/or auditions in Europe.”  The recipient is chosen by a jury of musicians who knew or worked with the great medieval music specialist and teacher, Barbara Thornton (1950-1998), who co-founded Sequentia together with Benjamin Bagby in 1977. Read more about Allison here.

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