Program Archive

Lost Songs of a Rhineland Harper

Introduction

What did secular European song sound like one thousand years ago? Who were its singers and what instruments did they play? Where, and under what circumstances, have their songs survived? Can we ever hope to reconstruct music from such a distant age? These are the questions which led to my initial search for the lost songs of a performing musician whose name remains unknown to us, a search which now culminates - or at least pauses for reflection - in this program: Lost Songs of a Rhineland Harper.

Almost one thousand years ago a collection Latin and German song was copied into a manuscript by Anglo-Saxon monks in the Abbey of St. Augustine in Canterbury. The original source - or sources - has long since disappeared, but the manuscript copy has survived to this day, and is now found in the library of Cambridge University. Although we will never know what its exact origin was, one thing is clear: many of the songs copied by the monks come from the milieu of learned, aristocratic churchmen in the Rhineland, where cities such as Cologne, Mainz, Worms and Speyer were centers of culture and power in Germany at the turn of the first millennium. In addition, it is striking that many of the song texts from this collection display an intimate working knowledge of music, the voice, and instruments, especially the harp (cithara, lira) and even the flute (tibia). When considering possible sources of the Canterbury collection, the evidence points strongly to the performance repertoire of a learned "citharista", a bi-lingual harper/singer from the Rhineland, whose songs delighted not only aristocratic bishops and their courts, but also powerful abbots, secular nobility (inlcuding the Kaiser’s court), and the young clerical intelligentsia of those bustling river towns with their imposing cathedrals. Here we have the songs of a professional entertainer whose audience was expected to pay for his services (and he might easily have been joined on occasion by another minstrel from the ranks of the itinerant players, or even a poetically-inclined clerical cantor). Our program combines some of the earliest-known musical manuscripts of European song with reconstructions from the Canterbury manuscript, to give a glimpse into the deliciously subtle, long-lost world of an unknown Rhineland harper and his sophisticated audience.

Upcoming Concerts

22 August 2024
Brauweiler, Germany (Abteikirche St. Nikolaus Brauweiler), 7.30 pm
Musen der Sphären (World Premiere)

24 October 2024
Prague, University of Prague (Boethius 150th anniversary)
Boethius - Songs of Consolation (Quartet)

14 February 2025
Kulturzentrum Peterskirche, Kempen
Musen der Sphären

See full concert schedule

News

Benjamin Bagby's teaching activities in 2019

In March 2019, Benjamin will give two weekend courses on the solo songs of Philippe le Chancelier (d. 1236). The courses are being hosted by the Centre de Musique Médiévale de Paris. Dates: 9-10 and 30-31 March.
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After retiring from his teaching position at the University of Paris - Sorbonne, where he taught between 2005 and 2018 in the professional masters program, Benjamin Bagby continues to travel widely in 2019 to teach practical workshops for young professionals:

Folkwang Universität der Künste (Essen-Werden, Germany).
Benjamin has joined the faculty of this renowned masters program for liturgical chant performance and medieval music. The dates of his courses in 2019: 5-7 April; 26-28 April; 17-19 May; 30 May–01 June.
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For the second year in a row, Benjamin will teach an intensive course in the 8th International Course on Medieval Music Performance (Besalú, Spain): Songs of the troubadours (for singers and instrumentalists).
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Amherst Early Music Festival (Connecticut College, New London CT) 21-28 July:
An intensive course on the solo cansos of the Occitan troubadours, with a focus on songs from the great Milan songbook Bibl. Ambr. R71 sup. (for singers and instrumentalists).
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