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'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(ga); })(); </script> </head> <body class="archive category category-historical-action category-34058227 custom-background customizer-styles-applied primary secondary tertiary indexed single-author fixed jetpack-reblog-enabled"> <div id="page" class="hfeed"> <header id="masthead" role="banner"> <div class="site-branding"> <h1 id="site-title"><a href="https://andrewlawrenceking.com/" title="Andrew Lawrence-King" rel="home">Andrew Lawrence-King</a></h1> <h2 id="site-description">Text, Rhythm, Action! (Historically Informed Performance) & The Flow.Zone </h2> </div> <a href="https://andrewlawrenceking.com/" rel="home"> <img id="header-image" src="https://andrewlawrenceking.com/wp-content/uploads/2013/08/copy-alk-huete-small2.png" width="269" height="252" alt="" /> </a> </header> <div id="main"> <section id="primary"> <div id="content" role="main"> <header class="page-header"> <h1 class="page-title"> Historical Action </h1> </header> <nav id="nav-above"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/page/2/" ><span class="meta-nav">←</span> Older posts</a></div> </nav> <article id="post-3987" class="post-3987 post type-post status-publish format-standard hentry category-arianna category-dream-theory category-historical-action category-history-of-emotions category-introductions category-moving-the-passions category-music-and-philosophy category-rhetoric category-text tag-baroque tag-baroque-music tag-baroque-opera tag-early-music tag-early-opera tag-emotions tag-hip tag-history-of-emotions tag-muovere-gli-affetti"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2022/12/29/enargeia/" rel="bookmark">Enargeia – Visions in Performance</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2022/12/29/enargeia/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"> <p>The ‘enargetic’ approach to the arts may be described as rhetoric of presence and display, or aesthetics of evidence and imagination. Visual imagination plays a major role in the concepts of effect in oratory, poetry, and drama of … the Early Modern Age, above all in the works of William Shakespeare.</p> <cite><span style="font-style: normal"> Heinrich F. Plett <em>Enargeia in Classical Antiquity and the Early Modern Age: The Aesthetics of Evidence</em> (Brill, Leiden 2012)</span></cite></blockquote> <p></p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg"><img data-attachment-id="1375" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/arianna-and-bacchus/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg" data-orig-size="1255,959" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Arianna and Bacchus" data-image-description="" data-image-caption="<p>Alessandro Turchi ‘Bacchus &amp; Ariadne’ (c1630). Historical Action is more than just Baroque Gesture.</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=440" width="440" height="336" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=440" alt="" class="wp-image-1375" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=880 880w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=768 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><figcaption class="wp-element-caption">Alessandro Turchi ‘Bacchus & Ariadne’ (c1630).</figcaption></figure> <p></p> <p><strong><em>Enargeia </em></strong>(Greek εναργεια, in Latin <em>evidentia</em>, in 17th-century English <em>visions</em>) is one of many artistic and performance concepts taken into 17th-century aesthetics from Classical Antiquity. It is of fundamental importance in the performing arts, but there has so far been almost no attempt to study its historical meaning in order to shape a modern approach to the practicalities in performance in Early Music and period drama. </p> <p>As a literary device, <strong>Enargeia</strong> seeks to heighten emotional effect by intense, richly detailed visual description, so that the listener sees what is described, as if it is there, before their own eyes. Perhaps the best-known examples are Shakespeare’s detailed descriptions of imagined scenes, performed on the bare stage of the Globe Theatre. Enargetic writing is often introduced by the <em>cernas </em>(you see) formula – Behold! <em>Ecce</em>! <em>Siehe</em>! <em>Ecco</em>! – or by deictics – Here! There! </p> <p>In music, <strong>Enargeia </strong>is realised by composers ‘painting the words’ with high notes for <em>paradiso</em>, low notes for <em>inferno </em>etc. Such ‘madrigalism’ is scorned by modern musicologists, but was fundamental to the period Art of composition: it is far more effective in performance, than on the page, especially when coupled to historical Action and baroque Gesture. </p> <p>According to the anonymous (c1630) <em>Il Corago</em> <a href="http://www.ilcorago.com" target="_blank" rel="noreferrer noopener">here</a>, <strong>Enargeia</strong> is also expressed by the changing tone-colours of the singer or speaker, a subtlety difficult to acquire and easily lost, unless vocalising prioritises transmission of the <span style="text-decoration: underline">text </span>over beauty of sound, constant vibrato, or maximum volume. </p> <p><em>Enargeia </em>presents emotions as if in passionate story-telling, reminding us of the importance of narration and messenger-scenes in early opera, and of the original designation of Monteverdi’s <em>Orfeo </em>as <em>favola in musica:</em> a Story in Music. 17th-century libretti often link visual details of the imagined scene to actual sights close by the theatre, helping the audience make the visionary connection between art and reality. </p> <p><strong>Enargeia </strong>is central to the period theory of emotional communication. <strong>Visions </strong>are created in the audience’s minds by poetic imagery in the sung/spoken text, by watching an embodied performance, and by the visual spectacle of stage set and action. Meanwhile, music creates emotional sound-effects that underline those same Visions, articulating changes from one Vision to another. </p> <p>It is these fleeting Visions in the minds of performers and audience alike that inspire changes in the balance of the<strong> Four Humours</strong>, producing the physical signs and feelings of emotion. </p> <p>My investigation of <strong>Enargeia </strong>followed on from the previous project of <strong>Text, Rhythm, Action!</strong>, in which we studied the performance priorities of the period, priorities which differ sharply from those of today’s early music practitioners. That study redefined the practical processes of performance and revealed the fundamental importance of Visions. </p> <p>This ongoing investigation of <strong>Enargeia</strong> looks beyond the act of performance itself to examine pre-performance processes of libretto-writing and musical composition (processes which in this repertoire are nevertheless shared with improvising performers), real-time synthesis of vision and performance, and postperformance outcomes, the effect of enargetic Visions on audiences. </p> <p>Significant themes that have emerged are <strong>Mindfulness </strong>– the need for performers to remain ‘in the moment’, synchronising their reception of Visions from the Text with their projection of those Visions in Action, that synchronisation controlled by musical Rhythm – and <strong>Detail</strong>. </p> <p>According to the Rhetorical requirement for <strong>Decorum</strong>, attention to detail and coherence of small detail with the ‘big picture’ are vital. This suggests a contrast between Romantic ‘artistry’ and Early Modern ‘<strong>Good Delivery</strong>’. In earlier repertoires new <strong>Art </strong>is created by passionate attention to small detail, rather than by a blinding flash of ‘genius’ or by some invented, foreign concept, applied with a broad brush. </p> <p>Thus Leonardo da Vinci enargetically uses highly detailed observation and scientific investigation to produce utterly new concepts (e.g. helicopters) as well as emotionally powerful art (the Mona Lisa). </p> <p>Many period texts link <strong>Enargeia</strong> (vivid description) with <em>energia</em>, the lively Spirit of passion, an animated energy that is transmitted especially from the performer’s eyes. Both <em>energia </em>and <strong>Enargeia </strong>associate passion in musical performance with inspirational vision. </p> <p>As with <strong>Text, Rhythm, Action!</strong>, investigation of, training in, and performances using <strong>Enargeia – Visions in Performance</strong> are expected to reveal new insights not so much from the discovery of hitherto unknown source-material, but rather by close reading of known sources within the new contexts established by TRA and other recent research; by the thorough and uncompromising application of period philosophy to the practical necessities of rehearsal and performance; and by reflective analysis of the results.</p> <p>My vision is to extend the concept of<strong> Historically Informed Performance</strong> beyond period instruments, techniques and performance styles, to encompass also the<strong> emotional framework </strong>within which the act of performance takes place, and within which an audience receives that performance. </p> <p>In today’s Early Music, a musician might well play baroque violin with period technique and style, but within a 19th-century framework of emotional performance, in which the audience is expected to admire the performer’s ‘emotionality’ and ‘expressiveness’. In contrast, <strong>Enargeia </strong>offers us a detailed view of a period framework within which a performer’s emotions and their transmission are of less interest than the poet’s Visions and their reception, i.e. the <span style="text-decoration: underline">audience</span>’s<span style="text-decoration: underline"> </span>emotional reactions. </p> <p>We musicians and musicologists need to re-focus our questions, away from self-centred “How did the <span style="text-decoration: underline">performer </span>do?”, and towards our audiences: “How did it feel to <span style="text-decoration: underline">you</span>?”. </p> <p>My approach so far has been to investigate the historical theory of <strong>Enargeia</strong>, in order to develop rehearsal methodologies, workshopped with students and tested in professional productions of early music-drama with live audiences. As we progress, the focus is gradually shifting from experimental & educational projects to cutting-edge international-level professional productions of major repertoire in mainstream venues, a shift already accomplished in the context of <strong>Text, Rhythm, Action!</strong>, with award-winning results at international levels –<a href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/">read more here</a>.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png"><img data-attachment-id="4000" data-permalink="https://andrewlawrenceking.com/2022/12/29/enargeia/enargeia-vip-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png" data-orig-size="278,290" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="enargeia-vip" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png?w=278" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png?w=278" width="278" height="290" src="https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png?w=278" alt="" class="wp-image-4000" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png 278w, https://andrewlawrenceking.com/wp-content/uploads/2022/12/enargeia-vip.png?w=144 144w" sizes="(max-width: 278px) 100vw, 278px" /></a><figcaption class="wp-element-caption">Andrew Lawrence-King</figcaption></figure> <div id="atatags-26942-674310925e0ba"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-674310925e0ba', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3987" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2022/12/29/enargeia/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3987" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2022/12/29/enargeia/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Enargeia%20-%20Visions%20in%20Performance&body=https%3A%2F%2Fandrewlawrenceking.com%2F2022%2F12%2F29%2Fenargeia%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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<article id="post-3682" class="post-3682 post type-post status-publish format-standard hentry category-continuo category-early-harps category-historical-action category-history-of-emotions category-italian-baroque-harp category-moving-the-passions category-music-dance-swordsmanship category-rhetoric category-rhythm category-text category-triple-harp tag-baroque tag-baroque-music tag-early-music tag-early-opera tag-emotions tag-hip tag-history-of-emotions tag-muovere-gli-affetti tag-rhythm"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/" rel="bookmark">Altri canti senza battuta: Madrigals of Love, War & Tactus</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p><em>Altri canti d’Amor, tenero Arciero… di Marte io canto.</em><br>Others sing of Love, the tender Archer… I sing of Mars!</p></blockquote> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p><em>Altri canti di Marte e di sua schiera… io canto amor.</em><br>Others sing of Mars and of his army… I sing of Love!</p><cite>set by Claudio Monteverdi</cite></blockquote> <p></p> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>Others sing without Tactus…</p><cite>ALK</cite></blockquote> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png"><img data-attachment-id="3799" data-permalink="https://andrewlawrenceking.com/monteverdi-book-viii-love-war-title-page/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png" data-orig-size="575,839" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="monteverdi-book-viii-love-war-title-page" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png?w=206" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png?w=440" width="575" height="839" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png?w=575" alt="" class="wp-image-3799" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png 575w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png?w=103 103w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/monteverdi-book-viii-love-war-title-page.png?w=206 206w" sizes="(max-width: 575px) 100vw, 575px" /></a></figure> <p>Modern-day performances of the concerted madrigals of Monteverdi’s Eighth Book <em>Madrigali Guerrieri ed Amorosi</em> (1638) usually adopt one of two strategies: a modern onductor; or no conductor at all, perhaps with some leading from the first violin. Tempi are chosen at the performers’ whim. None of this corresponds to period practice.</p> <p>This repertoire is precisely the ‘difficult’ genre of ‘modern madrigals’ discussed by Frescobaldi, where there are contrasting movements (<em>passi</em>) and passionate vocal effects. <a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/" target="_blank" rel="noreferrer noopener">Frescobaldi </a><a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/">Rules, OK? here</a>.</p> <p>In this period, rhythm was almost always directed by Tactus-beating from within the ensemble. The Tactus-beater is usually a singer, because instrumentalists’ hands are occupied. </p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png"><img data-attachment-id="3777" data-permalink="https://andrewlawrenceking.com/tactus-lute-song-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png" data-orig-size="350,450" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="tactus-lute-song" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png?w=233" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png?w=350" loading="lazy" width="350" height="450" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png?w=350" alt="" class="wp-image-3777" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png 350w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png?w=117 117w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/tactus-lute-song.png?w=233 233w" sizes="(max-width: 350px) 100vw, 350px" /></a></figure> <p>Nevertheless continuo-players have the role of ‘guiding and supporting’ the entire ensemble of voices and instruments [<a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2013/10/08/sparrow-flavoured-soup-or-what-is-continuo/" target="_blank">Agazzari 1607, here</a>]. And Frescobaldi’s rules – formulated for keyboard players – remind us that Tactus is present as a guiding concept even when it is not physically realised. Many sources recommend that instrumentalists beat Tactus with a foot.</p> <p>All this matters because the sound and feeling of Tactus-led music-making are very different from modern conducting AND from modern-day chamber-music playing. Tactus-beating maintains a minim-pulse that is “regular, solid, stable, firm, clear, sure, fearless and without any perturbation.”</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png"><img data-attachment-id="3662" data-permalink="https://andrewlawrenceking.com/tactus-is-by-zacconi-1592/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png" data-orig-size="2716,2196" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="tactus-is-by-zacconi-1592" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=440" loading="lazy" width="440" height="355" src="https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=440" alt="" class="wp-image-3662" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=878 878w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/tactus-is-by-zacconi-1592.png?w=768 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></figure> <p>In contrast, most modern conductors make a free choice of which note-value to beat, and apply rallentando and other speed variations (deliberately, or otherwise!). The requirement to synchronise with a steady Tactus guards ensembles against rushing or dragging, and against the lurching changes associated with the oft-heard comment “this phrase goes towards such-and-such a note”. The concept of “goes towards” is not found in period sources: rather the Tactus is stable, and within that stable beat individual notes are Good or Bad, Long or Short. <a href="https://andrewlawrenceking.com/2013/09/22/the-good-the-bad-the-early-music-phrase/" target="_blank" rel="noreferrer noopener">The Good, the Bad and the Early Music phrase, here</a>.</p> <p>So much for the <em>canti senza gesto</em> – the songs without action. But Monteverdi’s Book VIII also includes some ‘short episodes’ <em>in genere rappresentativo</em>, in show-style, in theatrical style. For those pieces, the convention was not to use any visible Tactus-beating, since the singers were representing dramatic characters. They might well use their hands to gesture expressively, but nobody beats time. This devolves the responsibility for time-keeping to the continuo, who in this style ‘rule’ or ‘regulate’ (<em>reggono</em>) ‘guide’ or ‘drive’ (<em>guidano</em>) the singers.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png"><img data-attachment-id="3780" data-permalink="https://andrewlawrenceking.com/senza-battuta-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png" data-orig-size="1025,763" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="senza-battuta" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=440" loading="lazy" width="1024" height="762" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=1024" alt="" class="wp-image-3780" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=1024 1024w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png?w=768 768w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/senza-battuta.png 1025w" sizes="(max-width: 1024px) 100vw, 1024px" /></a><figcaption>The <em>genere</em> <em>rappresentativo</em> in Monteverdi’s Book VII <em>Concerto</em> (1619)</figcaption></figure> <p><a href="https://andrewlawrenceking.com/2018/12/08/measuring-a-shepherdess-heart-rate-lamento-della-ninfa/" target="_blank" rel="noreferrer noopener">Read about the difference between the ‘tempo of the hand’ and the ‘tempo of the heart’ in the <em>Lamento della Ninfa</em>, here</a>.</p> <h2 class="wp-block-heading" id="fundamental-tactus-minim-60">Fundamental Tactus: minim = 60</h2> <p>In all these pieces, in both chamber-music and dramatic genres, Monteverdi’s notation indicates a basic tempo which might be tweaked to exaggerate contrasts of <em>affetto </em>(mood, emotion) and of musical activity. This basic tempo is regulated by a fundamental Tactus in mensuration mark C of approximately minim = 60: a human (and therefore subjective) feeling for the <em>misura </em>of Time itself. The usual way to beat was simple: down for a minim, up for a minim.</p> <h2 class="wp-block-heading" id="proportions">Proportions</h2> <p><em>Altri canti d’amor</em> is one of the few pieces to include all three triple-metre Proportions: slow <strong>Sesquialtera</strong>, medium-fast <strong>Tripla </strong>and fast <strong>Sestupla</strong>. As Carissimi observed, the note-values in each of these proportions have the same quantitative duration, but the emotional quality of the movement is very different. <a href="https://andrewlawrenceking.com/2015/01/13/quality-time-how-does-it-feel/" target="_blank" rel="noreferrer noopener">More on Quality Time here.</a></p> <p><strong>Sesquialtera </strong>Semibreve = 90 Movement based on semibreves</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png"><img data-attachment-id="3776" data-permalink="https://andrewlawrenceking.com/altri-canti-damor-incipit/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png" data-orig-size="821,73" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="altri-canti-damor-incipit" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=440" loading="lazy" width="440" height="39" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=440" alt="" class="wp-image-3776" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png?w=768 768w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/altri-canti-damor-incipit.png 821w" sizes="(max-width: 440px) 100vw, 440px" /></a><figcaption>Others sing of love…</figcaption></figure> <p></p> <p><strong>Tripla </strong>Dotted semibreve = 60 Movement based on minims</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png"><img data-attachment-id="3784" data-permalink="https://andrewlawrenceking.com/lorgolioso-choro/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png" data-orig-size="654,515" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="lorgolioso-choro" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png?w=440" loading="lazy" width="654" height="515" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png?w=654" alt="" class="wp-image-3784" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png 654w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/lorgolioso-choro.png?w=300 300w" sizes="(max-width: 654px) 100vw, 654px" /></a><figcaption>The proud choir…</figcaption></figure> <p></p> <p><strong>Sestupla </strong>Dotted semibreve = 60 Movement based on semi-minims</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png"><img data-attachment-id="3786" data-permalink="https://andrewlawrenceking.com/le-battaglie-audaci/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png" data-orig-size="594,546" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="le-battaglie-audaci" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png?w=440" loading="lazy" width="594" height="546" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png?w=594" alt="" class="wp-image-3786" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png 594w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/le-battaglie-audaci.png?w=300 300w" sizes="(max-width: 594px) 100vw, 594px" /></a><figcaption>The audacious battles…</figcaption></figure> <h2 class="wp-block-heading" id="binary-tactus-ternary-metre">Binary Tactus – ternary metre</h2> <p><em>Altri canti di Marte</em> has a short section with an unusual notation that creates the impression of ternary metre, but in the steady speed and black notation of regular crotchets. </p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png"><img data-attachment-id="3790" data-permalink="https://andrewlawrenceking.com/i-trionfi-di-morte-good-syllables/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png" data-orig-size="667,708" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="i-trionfi-di-morte-good-syllables" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png?w=283" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png?w=440" loading="lazy" width="440" height="467" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png?w=440" alt="" class="wp-image-3790" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png?w=141 141w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png?w=283 283w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/i-trionfi-di-morte-good-syllables.png 667w" sizes="(max-width: 440px) 100vw, 440px" /></a><figcaption>The triumphs of death…</figcaption></figure> <p></p> <p>The Tactus beat here is the standard down-up at minim = 60, but the word-accents do not coincide with the Tactus beats. Reading from unbarred part-books, singers are not threatened by the ‘tyranny of the bar-line’. Similarly in the choral recitation of <em>Hor che ciel e la terra</em>. </p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png"><img data-attachment-id="3792" data-permalink="https://andrewlawrenceking.com/hor-chel-ciel-e-la-terra-good-syllables/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png" data-orig-size="726,582" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="hor-chel-ciel-e-la-terra-good-syllables" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png?w=440" loading="lazy" width="726" height="582" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png?w=726" alt="" class="wp-image-3792" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png 726w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/hor-chel-ciel-e-la-terra-good-syllables.png?w=300 300w" sizes="(max-width: 726px) 100vw, 726px" /></a><figcaption>Now that heaven and earth and the wind are silent…</figcaption></figure> <p>Another binary notation with ternary effect is seen in Act II of <em>Orfeo</em>. Again, the beat is the standard minim = 60, producing a slower movement than would result from Proportional notation.</p> <figure class="wp-block-image size-full"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png"><img data-attachment-id="2899" data-permalink="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/ecco-pur-marked-up/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png" data-orig-size="417,284" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ecco pur marked up" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=417" loading="lazy" width="417" height="284" src="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png" alt="" class="wp-image-2899" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png 417w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=150&h=102 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/03/ecco-pur-marked-up-1.png?w=300&h=204 300w" sizes="(max-width: 417px) 100vw, 417px" /></a><figcaption>Look, I really do return to you, dear woods and beloved shores…</figcaption></figure> <h2 class="wp-block-heading" id="tweaking-the-tactus">Tweaking the Tactus</h2> <p>Frescobaldi recommends listening to the music (with the standard Tactus and Proportions) before deciding how to tweak the Tactus between sections, according to the emotional quality, or <em>affetto</em>. In Monteverdi’s madrigals, we can discern the intended <em>affetto </em>not only from the sound of the music, but also directly from the sung text. </p> <p>Words with particular emotional content can help us position the <em>affetto</em> within the historical framework of the Four Humours: <strong>Sanguine </strong>(love, courage, hope, enjoyment of good things), <strong>Choleric </strong>(anger, desire), <strong>Melancholic </strong>(pensive, unlucky in love, sleepless, ‘the blues’), <strong>Phlegmatic</strong> (cold, damped-down, a ‘wet blanket’).</p> <p>The composer will already have responded to the <em>affetto</em>, with appropriate melodies, harmonies and rhythms. Jacopo Peri explains that in dramatic monody, the <em>affetto </em>is composed into the continuo bass: the singer’s pitches and rhythms represent (in musical notation) the way this text would be declaimed by a fine actor in the spoken theatre. <a href="https://andrewlawrenceking.com/2015/09/27/logical-captain-the-implications-of-peris-preface/">More on Peri here.</a> </p> <p>None of this is ‘improvisatory’: it is <span style="text-decoration:underline;">not </span>a ‘sketch’ to be completed by the performer. Rather, the composer has written down in musical notation the period conventions of dramatic delivery. Monteverdi, ‘the divine Claudio’, was acknowledged by his contemporaries to be the master of moving the audience’s passions by his expressive harmonies and precisely notated rhythms. Much more about Monteverdi’s genius for word-setting and theatre in Tim Carter’s inspiring book o<a rel="noreferrer noopener" href="https://yalebooks.yale.edu/book/9780300217261/monteverdis-musical-theatre" target="_blank">n <em>Monteverdi’s Musical Theatre, here.</em></a></p> <h2 class="wp-block-heading" id="changing-the-tactus-according-to-the-affetto">Changing the Tactus according to the <em>affetto</em></h2> <p>When we (as performers) respond to the <em>affetto</em>, we should expect to find ourselves <span style="text-decoration:underline;">adding </span>to the contrasts that the composer has already written in. If the <em>affetto </em>of the text is agitated, the composer will have written fast notes, and we should perform these with a faster Tactus. If the <em>affetto</em> of the text is calm, the composer will have written slow notes, and we should perform these with a slower Tactus. <br><br>Even (especially) if the <em>affetto </em>is extreme, the change to the Tactus can only be small, since the composer will already have used extreme note-values, This famously agitated moment in Monteverdi’s <em>Combattimento</em> simply cannot be taken very much faster than standard Tactus, which is already 16 syllables per second! </p> <figure class="wp-block-image size-full"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png"><img data-attachment-id="3797" data-permalink="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/lonta-irrita-lo-sdegno/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png" data-orig-size="415,292" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="l’onta irrita lo sdegno" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png?w=415" loading="lazy" width="415" height="292" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png" alt="" class="wp-image-3797" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png 415w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png?w=150&h=106 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/lonta-irrita-lo-sdegno.png?w=300&h=211 300w" sizes="(max-width: 415px) 100vw, 415px" /></a><figcaption>Offence irrates anger into revenge….</figcaption></figure> <p>So the performers’ tweaking of the Tactus is subtle, and should be percieved by the listener as an emotional change, rather than an alteration of tempo as such. These changes happen between contrasting movements<em> </em> – <em>passi</em> – section by section, not word by word.</p> <p>The change of Tactus between sections is managed by means of the Tactus itself. Frescobaldi explains how: the Tactus hand is momentarily suspended on the upstroke, and then the new beat begins ‘resolutely’. No rallentando or accelerando, rather a decisive ‘gear-change’. Exciting, disturbing…. this is how to <em>muovere gli affetti</em>, move the listeners’ passions.</p> <h2 class="wp-block-heading" id="change-of-affetto-word-by-word">Change of <em>affetto</em> word by word</h2> <p>Zacconi explains how to manage changes of <em>affetto</em> for a particular word, within one movement, i.e. within a section at steady Tactus. The singer can delay the expressive syllable, but the Tactus (and the continuo) continue steadily. The singer should be back on track by the next Tactus beat. <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2021/11/20/making-time-for-beautiful-singing-a-lost-practice/" target="_blank">Read more about this c1600 ‘Ella Fitzgerald rule’ here.</a> </p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png"><img data-attachment-id="3668" data-permalink="https://andrewlawrenceking.com/zacconi-singer-has-permission/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png" data-orig-size="720,1040" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="zacconi-singer-has-permission" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png?w=440" loading="lazy" width="440" height="635" src="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png?w=440" alt="" class="wp-image-3668" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png?w=104 104w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png?w=208 208w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-singer-has-permission.png 720w" sizes="(max-width: 440px) 100vw, 440px" /></a></figure> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png"><img data-attachment-id="3670" data-permalink="https://andrewlawrenceking.com/zacconi-tactus-not-flexible/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png" data-orig-size="720,1040" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="zacconi-tactus-not-flexible" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png?w=440" loading="lazy" width="440" height="635" src="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png?w=440" alt="" class="wp-image-3670" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png?w=104 104w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png?w=208 208w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/zacconi-tactus-not-flexible.png 720w" sizes="(max-width: 440px) 100vw, 440px" /></a></figure> <p>A tender <em>affetto </em>is expressed wit<a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2021/11/17/cantar-con-gratia-a-forgotten-ornament/" target="_blank">h <em>accenti</em> (read more here).</a> A robust <em>affetto </em>avoids <em>acccenti</em>, but might encourage <em>passaggi</em> (though not in theatrical music, where <em>passaggi</em> were generally discouraged). It is important to sing <em>passaggi </em>in tempo, i.e. according to Tactus.<a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2021/12/28/passaggi/" target="_blank"> More on <em>passaggi </em>here.</a> <br><br>Words full of expressive <em>affetto </em>can be ornamented with <em>effetti</em>: the single note <em>trillo</em>, an <em>exclamatione</em> (diminuendo-crescendo on a single note), a <em>gruppo</em> (two-note trill and turn). These ornaments are used sparingly in the theatrical style. </p> <p>And we should avoid not only <span style="text-decoration:underline;">that </span>ornament, but the entire modern-day habit of ornamenting the final cadence. What? Really? Yes, really! <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2020/03/09/ornamenting-monteverdi/" target="_blank">Read more here.</a></p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg"><img data-attachment-id="2317" data-permalink="https://andrewlawrenceking.com/2019/06/29/its-recitative-but-not-as-we-know-it/wrong-ornament/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg" data-orig-size="750,742" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Wrong ornament" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg?w=440" loading="lazy" width="440" height="435" src="https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg?w=440" alt="" class="wp-image-2317" srcset="https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg?w=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2019/06/wrong-ornament.jpg 750w" sizes="(max-width: 440px) 100vw, 440px" /></a></figure> <p>Caccini explains how to manage small notes within the steady Tactus: in syllabic melody, the good syllable is slightly longer, the bad syllable slightly shorter; in melismatic passaggi, long notes can be extra long, short notes exta short; ornaments accelerate from slow to fast. <a href="https://andrewlawrenceking.com/2015/01/25/play-it-again-sam-the-truth-about-caccinis-sprezzatura/" target="_blank" rel="noreferrer noopener"> More on Caccini here.</a></p> <p>Caccini also defines the priorities for music-making in this style: “text and rhythm, with sound last of all (and not the other way around!)”. So instead of obsessing over vibrato, pitch and temperament, let’s engage with the period priorities of text and rhythm. <a href="https://andrewlawrenceking.com/2013/08/04/music-expresses-emotions/" target="_blank" rel="noreferrer noopener">Read how Music expresses Emotions here. </a></p> <p>My advice to modern-day rehearsal directors is to begin with the <strong>text</strong>, and coach performers to manage that text in <strong>Tactus-rhythm</strong>. When the music is difficult, follow Frescobaldi’s Rules, and use the omnipresent Tactus to facilitate the performance, tweaking that Tactus (subtly) when a new movement starts, when the mood (<em>affetto</em>) changes..</p> <p>In a forthcoming series of short articles, I’ll apply that advice, i.e. these historical principles to some favourite Libro VIII Madrigals. LInks will be posted below.<br></p> <p>ALTRI CANTI D’AMOR</p> <p>HOR CH’EL CIEL E LA TERRA</p> <p><a href="https://andrewlawrenceking.com/2018/12/08/measuring-a-shepherdess-heart-rate-lamento-della-ninfa/" target="_blank" rel="noreferrer noopener">LAMENTO DELLA NINFA</a></p> <p>MOVETE AL MIO BEL SUON</p> <p>ALTRI CANTI Di MARTE<br><br>GIRA IL NEMICO</p> <p>COMBATTIMENTO DI TANCREDI E CLORINDA</p> <p>BALLO DELLE INGRATE</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png"><img data-attachment-id="3801" data-permalink="https://andrewlawrenceking.com/guerriera-amorosa-e-rappresentativa/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png" data-orig-size="401,39" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="guerriera-amorosa-e-rappresentativa" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png?w=401" loading="lazy" width="401" height="39" src="https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png?w=401" alt="" class="wp-image-3801" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png 401w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/01/guerriera-amorosa-e-rappresentativa.png?w=300 300w" sizes="(max-width: 401px) 100vw, 401px" /></a><figcaption>Madrigals: Warlike, Amorous & Theatrical</figcaption></figure> <div id="atatags-370373-674310926b434"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-674310926b434', { sectionId: '370373', format: 'inread' }); }); </script> </div><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3682" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3682" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Altri%20canti%20senza%20battuta%3A%20Madrigals%20of%20Love%2C%20War%20%26%20Tactus&body=https%3A%2F%2Fandrewlawrenceking.com%2F2022%2F01%2F26%2Fmadrigals-tactus%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. You may need to create a new email yourself." data-email-share-nonce="3288bcedee" data-email-share-track-url="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/?share=email"><span>Email</span></a></li><li class="share-print"><a rel="nofollow noopener noreferrer" data-shared="" class="share-print sd-button share-icon" href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/" target="_blank" title="Click to print" ><span>Print</span></a></li><li><a href="#" class="sharing-anchor sd-button share-more"><span>More</span></a></li><li class="share-end"></li></ul><div class="sharing-hidden"><div class="inner" style="display: none;width:150px;"><ul style="background-image:none;"><li class="share-twitter"><a rel="nofollow noopener noreferrer" data-shared="sharing-twitter-3682" class="share-twitter sd-button share-icon" href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/?share=twitter" target="_blank" title="Click to share on Twitter" ><span>Twitter</span></a></li><li class="share-end"></li></ul></div></div></div></div></div><div class='sharedaddy sd-block sd-like jetpack-likes-widget-wrapper jetpack-likes-widget-unloaded' id='like-post-wrapper-56032818-3682-674310926c813' data-src='//widgets.wp.com/likes/index.html?ver=20241124#blog_id=56032818&post_id=3682&origin=andrewlawrenceking.wordpress.com&obj_id=56032818-3682-674310926c813&domain=andrewlawrenceking.com' data-name='like-post-frame-56032818-3682-674310926c813' data-title='Like or Reblog'><div class='likes-widget-placeholder post-likes-widget-placeholder' style='height: 55px;'><span class='button'><span>Like</span></span> <span class='loading'>Loading...</span></div><span class='sd-text-color'></span><a class='sd-link-color'></a></div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/continuo/" rel="category tag">Continuo</a>, <a href="https://andrewlawrenceking.com/category/early-harps/" rel="category tag">Early Harps</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/italian-baroque-harp/" rel="category tag">Italian baroque harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a>, <a href="https://andrewlawrenceking.com/category/early-harps/triple-harp/" rel="category tag">Triple Harp</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" rel="tag">Early Music</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/rhythm/" rel="tag">Rhythm</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2022/01/26/madrigals-tactus/" title="Permalink to Altri canti senza battuta: Madrigals of Love, War & Tactus" rel="bookmark" class="permalink"><span class="month upper">Jan</span><span class="sep">·</span><span class="day lower">26</span></a></p> </footer> </article> <article id="post-3573" class="post-3573 post type-post status-publish format-standard hentry category-historical-action category-history-of-emotions category-moving-the-passions category-music-and-philosophy category-music-dance-swordsmanship category-rhetoric category-rhythm tag-baroque-music tag-baroque-opera tag-historical-action tag-history-of-emotions tag-proportions tag-rhythm tag-tactus tag-tempo"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2021/05/05/looking-for-a-good-time/" rel="bookmark">Looking for a Good Time?</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2021/05/05/looking-for-a-good-time/#comments">4</a></p> </header> <div class="entry-content"> <p>This article is a personal summary and commentary on the Colloquium presented online on Sunday May 2nd 2021 by Aapo Häkkinen and Domen Marinčič and hosted under the aegis of the Helsinki Baroque Orchestra in collaboration with the Slovenian Academy of Sciences and Arts – <a rel="noreferrer noopener" href="https://www.facebook.com/events/1341752336196308?active_tab=about" target="_blank">more details, and a video of the live event, here.</a> Where I have reproduced citations given by presenters, I ask the reader to bear in mind that I was taking hasty notes from a live talk, and to consult the video and the original sources for authoritative details.</p> <p>The event’s subtitle <em>Tempo Rubato – Use, Flexibility and Modification of Time</em> deserves further comment (see below), appearing to threaten a presentation of only one side of a debate which – like discussions of Vibrato in Early Music – all too often features campaigning for fixed personal opinions, rather than investigation of historical evidence. But as various speakers gave their papers, there was ample consideration of temporal structures, and if anything was missing, it was investigation of <strong>how</strong> rhythm might be ‘malleable’ (to use a word that emerged during the event). </p> <p>In general, questions of <strong>What </strong>and <strong>When </strong>were examined carefully, and Jed Wentz gave an impeccably concise and impressively persuasive account of ‘<strong>How </strong>to do <em>Affekt</em>‘ in the mid-18th century: otherwise, questions of <strong>how</strong> to apply the rich information provided were left for another occasion.</p> <p>One such future occasion might be my presentation on <em>Music of an Earlier Time </em>for Amherst Early Music, which will offer participatory exercises exploring <strong>how</strong> the period philosophy of Time can be applied to practical music-making, using historical terminology, conceptual frameworks and embodied practices: <strong><a href="https://andrewlawrenceking.com/2021/05/05/music-of-an-earlier-time-in-respect-of-before-and-after/" target="_blank" rel="noreferrer noopener">Saturday June 5th 2021, read more here. </a></strong></p> <div class="wp-block-media-text alignwide is-stacked-on-mobile"><figure class="wp-block-media-text__media"><img data-attachment-id="3552" data-permalink="https://andrewlawrenceking.com/time-wings-hour-glass-book/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png" data-orig-size="408,337" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="time-wings-hour-glass-book" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png?w=408" loading="lazy" width="408" height="337" src="https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png?w=408" alt="" class="wp-image-3552 size-full" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png 408w, https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2021/05/time-wings-hour-glass-book.png?w=300 300w" sizes="(max-width: 408px) 100vw, 408px" /></figure><div class="wp-block-media-text__content"> <p class="has-large-font-size"></p> </div></div> <p>The event image was an 1851 illustration of the motto <em>Tempus fugit</em> (Time flies). The metaphor dates back at least to Classical Antiquity, and is cited in the opening phrase of the first ‘baroque opera’, Cavalieri’s <em>Anima e Corpo</em> (1600) <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2017/05/22/act-with-the-hand-act-with-the-heart-motion-and-e-motion-in-cavalieris-preface-to-anima-corpo/" target="_blank">read more here.</a> The context of this motto, in Virgil’s <em>Georgics</em> (29 BC), Cavalieri’s drama, and in general (including this 19th-century illustration) is <em>memento mori</em>, a reminder that our life-time is short, with the implied challenge to use time well.</p> <p>Other images from earlier periods address the specific question of the relation of Time and Music (significantly, Movement is usually – always? – also featured). One of my favourites is Poussin’s <em>Dance to the Music of Time</em> (c1635), rich with iconographical symbolism: you’ll notice Time playing his music on Earth, but don’t miss Apollo’s Time-Chariot in the sky above. </p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg"><img data-attachment-id="3550" data-permalink="https://andrewlawrenceking.com/?attachment_id=3550" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg" data-orig-size="4889,3825" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"ScanMaker 1000XL","caption":"","created_timestamp":"1444919984","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Dance to the Music of Time highest res" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=440" loading="lazy" width="1024" height="801" src="https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=1024" alt="" class="wp-image-3550" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=1024 1024w, https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=2048 2048w, https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2021/05/dance-to-the-music-of-time-highest-res.jpg?w=768 768w" sizes="(max-width: 1024px) 100vw, 1024px" /></a></figure> <p>I also have a favourite early 20th-century image which would seem to express most aptly the ‘malleability’ of Tempo Rubato in this period, Dali’s <em>The Persistence of Memory</em> (1931). And indeed the first paper at this Colloquium examined the strong focus on metronomic precision in this very period, but with little mention of the strong advocacy of Tempo Rubato in precisely the same period.</p> <p> </p> <div class="wp-block-media-text alignwide is-stacked-on-mobile"><figure class="wp-block-media-text__media"><img data-attachment-id="431" data-permalink="https://andrewlawrenceking.com/2019/05/09/time-free-will-historical-psychological-time/dali-persistence-of-memory/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg" data-orig-size="500,364" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="Dali Persistence of Memory" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg?w=440" loading="lazy" width="500" height="364" src="https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg?w=500" alt="" class="wp-image-431 size-full" srcset="https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg 500w, https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2014/02/dali-persistence-of-memory.jpg?w=300 300w" sizes="(max-width: 500px) 100vw, 500px" /></figure><div class="wp-block-media-text__content"> <p class="has-large-font-size"></p> </div></div> <h2 class="wp-block-heading">Terminology</h2> <h3 class="wp-block-heading">Rubato?</h3> <p>We should take great care with the term Rubato. Paderewski’s views on Tempo Rubato were first published in 1909: the term is also strongly associated with Chopin (1810-1849). In a very quick online search, the earliest dictionary reference I found was 1883. </p> <p>The standard work on the subject is Hudson <em>Stolen Time</em>. Hudson (from page 43) declares Tosi (1723) to the be the first to use the term, in the phrase <em>rubamento di tempo</em>, and in the context of the <em>aria patetica</em> (passionate aria): Tosi specifies that this happens ‘exactly on the true motion of the bass’ (as translated by Galliard in 1743). Hudson cites Roger North’s terminology of “breaking and yet keeping time”, found in several sources, the earliest being an untitled MS c1695, shortly after Tosi’s visit to London.<br><br>It is clear that these citations c1700 refer to occasional freedom for a soloist to anticipate or (more usually) delay, whilst the bass continues steadily. Galliard’s mid-18th-century footnote draws attention to Tosi’s repeated insistence on regard for, and strictness of Time, and to the ‘singular’ [rare, unusual, isolated] application of ‘stealing the time’: again we read that “the bass goes an exactly regular pace” and that the soloist “returns to exactness, to be guided by the bass”. </p> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>The bass goes an exactly regular pace (Tosi/Galliard 1743)</p></blockquote> <p>Hudson also cites Quantz <em>Versuch </em>(1752) illustrating <em>eine Art vom Tempo rubato</em>, again with anticipations and delays to the solo flute, whilst the continuo-bass remains steady.</p> <p>Froberger’s c1710 marking <em>a discretion</em> and the notation of <em>preludes non mesurées</em> show that some music was indeed unmeasured, and more work is needed to explore how such music would have been realised, for example by careful examination of sources that combine specific note-values with (seemingly contradictory) indications of being ‘un-measured’. See my take on <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/" target="_blank">Senza misura in baroque music, here</a> (scroll down the article until you see the Cuisenaire Rods!) </p> <p>Even with an improved understanding of how to play unmeasured music, the case has certainly not been proven that such an approach should be applied to measured music. Indeed, the quality of being ‘measured’ is the essential defining quality of most early music. <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/" target="_blank">See Time:</a><a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/" target="_blank" rel="noreferrer noopener"> </a><a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/" target="_blank">the Soul of Music, here.</a></p> <h3 class="wp-block-heading">Use?</h3> <p>Before 1800, the concept of ‘using Time’ seems to be found exclusively in the context of<em> </em>how one makes best use of one’s lifetime, rather than in music-making. Thus Herrick’s (1648) <em>Gather ye Rose-buds while ye may / Old Time is still a-flying</em> concludes …. <em>use your time</em> for love and marriage, following the motto <em>carpe diem</em>. In the musical context, Time is characterised as <strong>measuring</strong> music, indeed for Zacconi (1592) the terms <em>tempo, misura, battuta</em> and <em>tatto</em> (Tactus) are synonomous.<br><br>But the word ‘use’ also had a particular meaning in the context of 17th-century Arts. ‘Art’ itself was defined as a collection of rules, a set of organising principles. What we nowadays mean by ‘art’ – those mysterious, ineffable beauties that transcend everyday experience is renaissance ‘Science’. In this period terminology, ‘Use’ is the nitty-gritty of what was actually done in practice – we might almost think of it as ‘technique’. In general, period sources tell us more about period ‘art’ – the rules – than about period ‘use’ – how to do it. <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2013/08/26/what-is-music/" target="_blank">More about Science, Art, Use here.</a></p> <p>In this particular sense of ‘techniques related to Time’, the ‘use of Time’ is a fascinating topic for historical investigation: we should be careful not to equate this with any period assumption that Time was a commodity available for musicians to use as they chose to. </p> <p>Historical discourse rarely (if ever?) characterises Time as ‘flexible’, before the period Paderewski, Dali and Bergson, whose interlinking of psychological Time and Freewill dominated the philosophy of culture in the early 20th century. <a href="https://andrewlawrenceking.com/2019/05/09/time-free-will-historical-psychological-time/">Read more here.</a></p> <h3 class="wp-block-heading">Modification?</h3> <p>Although ‘modification’ of Time has come to be an accepted phrase in modern-day discussions of Metre in Music (<a rel="noreferrer noopener" href="https://www.amazon.com/Meter-Music-1600-1800-Performance-Perception/dp/0253213916" target="_blank">see for example George Houle’s essential book (1987) here</a>), this is not historical terminology nor a period concept of the relationship between humans and Time. There is no doubt that something of this nature was practised – as Domen Marinčič showed in his presentation – but the period phraseology was of “guiding” or even “driving” Time: the Italian word <em>guidare</em> is also used for driving a chariot. We can catch a glimpse of the period concept when we consider the myth of Phaeton, who seized the reins of Apollo’s time-chariot, but was unable to control it and crashed spectactularly. Early Music welcomes careful drivers…</p> <div class="wp-block-media-text alignwide is-stacked-on-mobile"><figure class="wp-block-media-text__media"><img data-attachment-id="1360" data-permalink="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/phaeton-van-eyck/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg" data-orig-size="741,800" data-comments-opened="1" data-image-meta="{"aperture":"74099370.67","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"74099370.666667","iso":"0","shutter_speed":"74099370.666667","title":"","orientation":"1"}" data-image-title="Phaeton van Eyck" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=278" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=440" loading="lazy" width="741" height="800" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=741" alt="" class="wp-image-1360 size-full" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg 741w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=139 139w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/phaeton-van-eyck.jpg?w=278 278w" sizes="(max-width: 741px) 100vw, 741px" /></figure><div class="wp-block-media-text__content"> <p class="has-large-font-size"></p> </div></div> <p> Careful consideration of terminology is vital, if we are to avoid imposing modern-day assumptions when we glibly apply modern-day vocabulary to earlier periods; and if we wish to understand how the rules of period ‘Art’ were embedded in historical philosophies, in order to appreciate how those old rules <strong>felt</strong> ‘natural’ to musicians back then.</p> <h3 class="wp-block-heading">Tempo?</h3> <p>In discussions of Historical Performance Practices related to Musical Time, there is also a need to distinguish clearly between two – interlinked – questions: <em>tempo</em> as the ‘speed’ of music; <em>tempo</em> as the regularity or otherwise of rhythm at any given speed. In both these aspects, <em>tempo</em> is closely related to <em>Affekt</em>. And underlying all of this, but not addressed in this Colloquium, is the question of Time itself, since Science, Philosophy and general perceptions have changed significantly over the centuries that separate Aristotle, Newton, Einstein and Hawking. </p> <h2 class="wp-block-heading">Alexander Bonus on ‘metronomic’ Tempo</h2> <p>This paper was concerned with the use of the metronome to establish rhymthic regularity, not with questions of ascertaining musical speed. Although Maelzel’s metronome was patented in 1815, and Loulié’s chronometre was describle in 1696, AB made the point well that the use of machines to train musicians to play in ‘metronomic rhythm’ became prominent only in the early 20th century. He did not address the prominence of discussions of Tempo Rubato in this very same period: surely these two phenomena are closely interlinked.<br><br>AB’s message seemed rather to be that ‘metronomic’ playing is undesirable, but is a phenomenon of the 20th century. It is hard to disagree with those points, although I readily confess that I greatly appreciate the excitement and emotional power of late 20th-century rock music (but my favourite vintage pre-dates the routine use of click-tracks in popular music, and this may well be crucially significant). <br><br>AB was greatly concerned that “the belief that tempo is defined by clock technology” is “so central… to performance… even to the reading of notation”. I would agree that this is largely a 20th-century phenomenon, as is the contermporary (over-) reaction against <strong>any </strong>kind of rhythmic regularity. Both are a feature of modern-day Early Music, and that is regrettable in both instances.</p> <p>Citing Hofmann in 1905 “keeping of absolutely strict time is thoroughly unmusical and deadlike”, AB also gave highly negative spin to such phrases as “the inexorable beat”, and “the beat is the steady pulse”, even to the whole notion of musicians being beholden to “external tempo”, to rhythm “not depending on the will”, </p> <p>Here AB went too far, in trying to limit regularity to the 20th-century alone. The inexorable character of Time itself is expressed by Virgil (the <em>tempus </em>that<em> fugit</em> – flies – does so <em>inreparabile</em>, unrecoverably), and the steadiness of the renaissance Tactus beat is strongly characterised in many period sources, for example Zacconi. <br><br></p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png"><img data-attachment-id="1972" data-permalink="https://andrewlawrenceking.com/?attachment_id=1972" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png" data-orig-size="2716,2196" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus is…" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=440" loading="lazy" width="1024" height="827" src="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=1024" alt="" class="wp-image-1972" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=1024 1024w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=2046 2046w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/tactus-is1.png?w=768 768w" sizes="(max-width: 1024px) 100vw, 1024px" /></a></figure> <p>Zacconi’s person who administers the Tactus’ would create an ‘external tempo’ for all other members of an ensemble. And the ancient concept of the Music of the Spheres, still current in the 17th century, implies that human ‘free will’ is a lower priority than the divine perfection of heavenly music, which we should imitate in our earthly performances. According to the religious views of the time, “free will” is in general a concept fraught with dangers.<br><br>The concept of the Music of the Spheres also connects good music-making to physical, spiritual and moral health. AB noted that in 1895 regular rhythm “equates to good, healthy behaviour”. No doubt, Dowland would approve.</p> <div class="wp-block-media-text alignwide is-stacked-on-mobile"><figure class="wp-block-media-text__media"><img data-attachment-id="1344" data-permalink="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/dowland-above-all-things-original/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png" data-orig-size="567,423" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dowland Above all things original" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=440" loading="lazy" width="567" height="423" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=567" alt="" class="wp-image-1344 size-full" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png 567w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=300 300w" sizes="(max-width: 567px) 100vw, 567px" /></figure><div class="wp-block-media-text__content"> <p class="has-large-font-size"></p> </div></div> <p>AB also mentioned a crucial distinction: in 1889 “by accurate rhythm is not meant <strong>metronomic</strong> accuracy”. </p> <p>Here is the gateway towards a much more productive approach than mere trash-talk about metronomes. In what way was Zacconi’s and Dowland’s measure ‘equal’, and precisely where was there room for what we would nowadays call ‘freedom’?</p> <h2 class="wp-block-heading">Julia Dokter on German organ music c1700<br></h2> <p>Julia Dokter’s presentation outlined the central conclusions of her book, published in the last few days, <a rel="noreferrer noopener" href="https://www.amazon.com/Tempo-Tactus-German-Baroque-Performance/dp/1648250181" target="_blank"><em>Tempo & Tactus in the German Baroque</em>, here</a>. Her approach was an exhaustive survey of theoretical sources, applied to case-studies of various musical compositions, all within a specific genre. She was most properly cautious about extending specifics from this particular repertoire and genre to other countries, periods or genres. Nevertheless, the concepts she introduced seem to reflect fundamental practices related to musical time in this period. Notably, her results were strikingly parallel to those presented in Aapo Häkkinen’s paper, addressing another repertoire and with different methodology.<br><br>JD focussed on Tempo transitions, informed by three types of period notation: time-signatures, note-values and tempo-words. <br><br>Looking at Baroque time-signatures, as they evolved from renaissance mensuration marks, she first cited Michael Praetorious in the early 17th century, explaining two notational systems for duple metre: Motets in C/ time, counted as two semibreves; and Madrigals in C time, counted as two minims. These two notations are NOT proportional: the minim-beat in C is neither twice as fast, nor the same as the semibreve-beat in C/. Rather, the difference is ‘about one and a half’: we should bear in mind that the period concept of a ‘half’ is not necessarily as strictly 50%, but rather more loosely as some part less than the whole and more than nothing. So we beat C/ somewhat slower (and that beat represents semibreves), and C somewhat faster (and this beat represents minims). This is similar to what we read in Zacconi, who warns that the Tactus-beater should not mistake his mensuration marks and give the beat at the ‘other speed’, as this would probably crash the entire ensemble.<br><br>JD explained that this is consistent with a general principle in Baroque practice, that time signatures denominated in smaller note-values (i.e. 3/8 compared to 3/4) have a slower Tactus, so that the small note-values go faster, but not twice as fast. Her later examples extended this principle to a general principle that passages in very small note-values would be assumed to require a slower Tactus – in order to be playable at all! <br><br>JD applied another early 17th-century practice, the triple-time proportions of Sesquialtera (slow), Tripla (medium fast) and Sestupla (very fast) to her case-studies in high Baroque organ-music. <br><br>Her conclusion is that there were effectively two systems of notation (and execution) of duple Tactus, each with its three associated triple-time Proportions. Similarly, each faster Proportion might be only <strong>somewhat</strong> faster, not necessarily twice as fast as the slower Proportion. </p> <p>So whether in duple or triple, smaller denominations of time-signatures and smaller note-values in what JD calls the ‘surface activity’ both suggest a slower Tactus. The result is faster surface activity, but not so much as twice as fast.</p> <p>This is a principle we see at work as early as Monteverdi’s 1610 Vespers, where at <em>Et exultavit</em> in the Magnificat there is the marking <em>va sonato tardo, perche li doi tenori cantano di semicroma</em> (will be played slowly, because the two tenors are singing semiquavers). </p> <p>Nevertheless, as became clear in Domen Marinčič’s presentation (below), this period principle is contra-indicated by other early 17th-century indications also observed by Julia Dokter in the later repertoire, that changes to faster surface activity may require a <strong>faster</strong> Tactus, to heighten the contrast.<br><br>JD noted that the “demise of the Proportional system” described by Kirnberger in 1776 can already be seen in the music of J.S. Bach c1740. As C becomes a quadruple metre, with four crotchet beats (whereas c1600 it was a duple metre with two minim beats, see above), the old system of proportions collapses. I would add that the emergence of fashionable French dances, many of them in triple metre but with subtly different speeds, rhythmic structures and subjective affekts, also contributed to the slipping of the gears of the old Proportional system. </p> <p>Nevertheless, JD proposed strict proportions for JSB’s Eb Major “St Anne” Organ fugue (the associated Prelude has passages in alla Francese ‘overture’ style), with the constant beat transferring from semibreve to dotted minim to dotted crotchet. </p> <p>I would add to this, citing Carissimi’s comment in <em>Ars cantandi</em> published in German translation in many editions around 1700, about the affektive quality of proportions: </p> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>The triple-metres all agree with regard to <em>quantity</em>, division and proportion, as is easily understood, but in the slow or fast <em>quality</em>, known by the Italians as <em>tempo</em> and by the French as <em>mouvement</em>, they are utterly different.</p><cite>Carissimi <em>Ars Cantandi </em>(1692 etc)</cite></blockquote> <p><br>Here Carissimi contrasts the quantitative – “mathematical” – elements of beat (constant), note-values (consistent between different triple mensurations), proportion (simple ratios of the underlying duple metre) with the affektive quality that results. Although the duration of any given note-value (e.g. a minim) is the same in Sesquialtera, Tripla or Sestupla, the contrasts in harmonic motion and surface activity create very different <strong>feelings </strong>for triple metres of three semibreves, three minims, or twice-three crotchets. And this qualitative, affektive element is ‘known by the Italians as <em>tempo</em> and by the French as <em>mouvement</em>‘. And in German, <em>Bewegung</em>. <br><br>So we are considering not only speed of beat, and the surface activity within that beat, but also the affektive quality that results. <a href="https://andrewlawrenceking.com/2015/01/13/quality-time-how-does-it-feel/">Read more on </a><a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2015/01/13/quality-time-how-does-it-feel/" target="_blank">Quality </a><a href="https://andrewlawrenceking.com/2015/01/13/quality-time-how-does-it-feel/">Time here.</a><br> <br>Depending on context, we may choose (or be encouraged by tempo words) to exaggerate contrasts by over-doing Proportional changes (see DM below). Or we may need (with the support of tempo words) to reduce the contrast as calculated mathematically, whilst (presumably) still acheiving an effective contrast of Affekt. </p> <p>In the conference, JD expressed the opinion that – in the later repertoires she studied – tempo words that appear to suggest heightened contrast merely warn against a more common practice of automatically reducing contrast. DM gave clear evidence – mostly in earlier repertoires – that tempo words exaggerate the expected contrasts. I would suggest that we have evidence to show that proportions could be precise, lessened or heightened in various contexts, and that tempo words help us judge which way to go, with affektive contrasts as the end-goal, and playability as an inevitable limitation.</p> <h2 class="wp-block-heading">Domen Marinčič on variations in Tactus speed</h2> <p>Domen Marinčič summarised his excellent paper on <em>Now faster, now slower</em>, citing sources that incontravertibly show changes of Tactus speed, starting with Vicentino (1555) changing measure according to the text. He suggested that this practice of changing the Tactus was only one of many options, such as “agogic freedom”, “rubato”, “managing rhythm expressively”, but he did not cite evidence for or discuss in detail these other options. </p> <p>Whilst Mersenne (1636) gives a default tempo of around one beat per second (i.e. a one-metre pendulum), DM reminded us that Mersenne also considered the pendulum an ineffective tool, since so many different lengths would be required for the slightly different speeds that are required. Nevertheless, DM’s suggestion that it is left up to performers to choose their own tempo is unsatisfactory: the period discourse asssumes that there is a correct tempo, and the performers’ job is to <strong>find</strong> it, not choose their own. Of course, we don’t always have enough, and clear enough, information to find the tempo for sure, but nevertheless, that is what we are supposed to try to do! <br><br>I would add here that Frescobaldi gives us a practical method for finding the correct tempo, a method that is quite different from the mathematical calculations and abstract musical analysis that we tend to use nowadays. Frescobaldi’s instructions are to play the music through (in some default tempo, presumably considering a standard Tactus and the apparent surface activity): as one listens, one will understand what Affekt the music has. And for how to proceed from Affekt to execution, see Jed Wentz’s paper (below). <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/" target="_blank">More on Frescobaldi Rules OK?, here.</a><br><br>Frescobaldi also gives us vital information and essential practical advice. The information is that even ‘difficult’ music with changes of Tactus is facilitated by using a Tactus beat. This contra-indicates any assumption of general rubato in this repertoire, replacing it with highly specific instructions for when and how to change the beat. The practical advice is therefore to study by physically beating Tactus with the hand, and play keyboards etc whilst physically beating Tactus with the foot. Tactus is not just a theoretical concept, it is an embodied practice.<br><br>DM cited Glareanus increasing the speed (not necessarily in strict mathematical proportion) by changing mensuration mark. Banchieri beats both C and C/ with a minim-beat, but at different speeds. Other sources change the note-value associated with the Tactus beat (e.g. Zacconi, who also changes the beat-speed accordingly). Praetorius uses a variety of time-signatures to indicate different tempi. An Entrée in <em>L’Amour Malade </em>has exceptionally many changes of time signature, and therefore, tempo.</p> <p>DM pointed out exampes in very well-known repertoires where even highly respected modern editions have ‘rationalised’ or suppressed differences in time signatures that would seem to indicate tempo contrasts: between successive Minuets and Bourées in J.S. Bach’s Cello suites, and the Minuets in the first Brandenburg Concerto. This idea was echoed, from a very different approach, in Jed Wentz’s paper.<br><br>I urge readers to consult <a href="https://dlib.si/details/URN:NBN:SI:DOC-ZUXMQ6GP?&language=eng" target="_blank" rel="noreferrer noopener">DM’s published article here</a>. </p> <h2 class="wp-block-heading">Discussion</h2> <p>In discussion amongst the presenters, AB reiterated his central points, that the intense application of the metronome to music education, the mimicking of the ticking metronome as the model of rhythm, and the concept that a mechanical standard should be followed, are all 20th-century phenomena.</p> <p>JD added a fascinating observation from her comparisons of sources of J.S. Bach’s works, that the composer seems to have changed his priority from trying to notate speed, to trying to notate Affekt. This fits well with Carissimi’s ideas of durational Quantity and affecktive Quality (see above).</p> <p>JD also suggested that strict mathematical proportions might be just the outline structure and the theoretical basis: “in practice, it becomes more malleable”. In the sense that the proportional change itself might be slightly greater or less than the mathematical ratio, this suggestion is thoroughly supported by period evidence, including many citations presented during this event. </p> <p>A written comment by an online listener expressed disappointment at so much talk of notation and structure, opining that all this had been heard before from Willem Retze Talsma in 1980, and interested to hear about “freedom, departing from those “absolute” tempi… that is the accelerando and ritardando from the basic tempo, gradually”. </p> <p>Certainly, all the evidence heard during this Colloquium fitted excellently with the notion of well-structured Tempo Giusto, though with different quantitative speeds according to mensuration marks; and with systems of Proportional relationships for triple metre, but with the possibility of ‘tweaking’ those mathematical ratios one way or another in particular circumstances. No evidence was presented at this event for any general “freedom”, nor for gradual changes of accelerando/ritardando. Indeed Frescobaldi clearly states that changes of Tactus are executed by suspending the Tactus momentarily in the air, and then starting the new movement <strong>resolutely</strong>. Based on all the evidence I have seen, my coaching mnemonic for ensembles and students is “use the gear-shift, not the accelerator/brake”. <br><br>I had the opportunity to meet, hear and talk with Talsma in the early 1980s, and this was my first encounter with the concept of <em>Tempo Giusto</em>. Of course, the ‘double-beat metronome’ theory for Beethoven etc has by now been totally exploded <a rel="noreferrer noopener" href="https://www.youtube.com/watch?v=enCgD6oxkvA" target="_blank">more here</a>, but my research findings utterly support the fundamental concept of a (more-or-less) fixed speed (but ‘fixed’ subjectively, not with any kind of clock) in mensuration mark C [although this changes during the 17th-century from a duple to a quadruple measure, see above]. Indeed, Beethoven himself comments on this concept, wishing to be free from it (and thus confirming its strong presence until then). <br><br>But, in spite of the remarks of the online listener, the application of <em>Tempo Giusto</em> nowadays differs sharply from Talsma’s version in the 1980s, in that we measure the ‘correct tempo’ with a slow Tactus, avoiding the ‘sewing-machine’ effect of Talsma’s measuring of small note-values. During recent decades, there was even an idea that counting in ever-larger note-values might be better and better (still supported by Robert Hill amongst others). Roger Mathew Grant’s excellent book on <a rel="noreferrer noopener" href="https://global.oup.com/academic/product/beating-time-and-measuring-music-in-the-early-modern-era-9780199367283?cc=us&lang=en&" target="_blank"><em>Beating TIme and Measuring Music </em>(2014)</a> shows that measuring (by the Tactus hand) was done at a particular note-value (c1600 the minim in C, and the semibreve in C/; c1700 the crotchet in C). </p> <p><strong>Inja Stanovic</strong>‘s paper on the technologies of early recording, though valuable and interesting, seemed to me to belong to another occasion. Of course, the recording industry has had a most powerful effect on modern-day Early Music, supporting it immensely, especially with the arrrival of the CD in the 1980s. But my personal experience is that the technologies of the late 20th century had less influence on performer choices than did record producers. Almost invariably, young HIP ensembles making their first recordings were supervised by more senior ‘classical’ producers, and the process was dominated by seeking to control tuning, vertical unanimity of rhythm, and the avoidance of any surprises. We used to joke that our task was to play until something woke up the producer and he called “Cut”. <br><br>By the time a new generation of producers with Early Music experience emerged, the expectations of record companies, the listening public, and even of performing musicians, had been firmly set in a certain path. Seriously, we can well consider how today’s Early Music might have turned out, if all those thousands of CDs had been commanded by jazz producers, who might have prioritised groove and swing over vertical unanimity, drama and emotion over bland smoothness. </p> <p>One of the presenters (AB?) cited Roger North’s remark that chronometers are very ‘whimmish’, that there is nothing better than a roll of paper in the [human] hand. Daniel Friderici (editor of the 1625 print of the Finnish <em>Piae Cantiones</em>, <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2016/12/02/englands-favourite-carols-are-finnish-piae-cantiones-origins/" target="_blank">more here</a>, and <a rel="noreferrer noopener" href="https://www.amazon.com/Piae-Cantiones-Andrew-Lawrence-King/dp/B082BWR4DN" target="_blank">recent Finnish recording here</a>) was also cited “some beat time like a clock, and this is an error”. All this encourages us to investigate precisely <strong>how </strong>the practice of Tactus-beating differed from clockwork, given the overwhelming weight of evidence that the character of the Tactus was steady, equal, unchanging etc.</p> <h2 class="wp-block-heading">Jed Wentz on ‘the Art of Acting’ (1753)</h2> <p>This was an inspiring and well-structured presentation, summarising Aaron Hill’s instructions to mid-18th-century actors on how to acheive the appropriate body, facial and vocal expression for a particular Affekt. JW began with Kirnberger’s re-iteration of the doctrine of ‘moving the Passions’ i.e. that motion and emotion are connected (in German, <em>Bewegung</em> and <em>Gemüthsbewegung</em>], with <em>Bewegung</em> as ‘what the French call <em>mouvement</em>‘ i.e. musical Tempo (see my remarks on Carissimi, above): “and the composer must properly hit on this Movement, according to the nature of the feeling” – <em>Die Kunst</em> Part II page 106 – and my thanks for JW for his exemplary citations during a speedy online session). “This is a study that lies outside the music.”, a study which “the composer shares with the poet and orator”.</p> <p>Hidden in these citations is a vital point: whilst both composers and performers must employ the art of Rhetoric, they each have different responsibilities. The determining of Tempo (in response to the Affekt of the text) is the responsibility of the composer, who notates it as precisely as the period systems allow (and though more precise indications by chronometres were available, it seems they were not wanted): the performer’s responsibility is to understand the composer’s notation and follow it. We read in Quantz that the performer should also be like an orator, and Quantz’s highly detailed instructions on how to do this do <strong>not</strong> suggest altering the notated tempo, or any kind of general rubato, but rather explain how to structure musical time with a ‘pulse’ around 80 bpm. </p> <p>JW cited Coeffeteau’s requirement in <em>A Table of Human Passions</em> (1621) page 17 that there should be ‘perceptible changes to the body and voice” of the person feeling the emotion. JW then showed the methodology of theatrical director Aaron Hill, who also produced Handel’s <em>Rinaldo</em> in 1711, as published in the first (posthumous) edition of his Art. The actor should not attempt to ‘imitate a passion’ (by speaking his lines) until “fancy has conceived so strong an image or idea of it…. as to move the same impressive springs within his mind”. Imagination must conceive a strong idea, which (by the action of Energetic Spirits of Passion transmitting from the brain to the body) impresses its form on the muscles of the face; instantly the same impression is felt in the muscles of the body; and the those muscles (whether ‘braced’ or ‘slack’) transmit their own sensation to the sound of the voice and the disposition of the gesture.<br><br>Extending the ancient doctrine of the Four Humours, Hill categorises 10 Dramatic Passions (and Love, the ancient Quintessential, can be mixed with any of these): Joy, Grief, Fear, Anger, Pity, Scorn, Hatred, Jealousy, Wonder, Love. JW referred to Hill’s concept of the “quality of the eye”, and the sequence of this technique: reflecting on the idea in the mind, feeling it idea in the body; a physical response of the eyes and nerves; only then should the actor speak. </p> <p>In this way, the actor avoids the danger of “overleaped distinctions” – missing emotional contrasts. And on stage, these “beautiful and pensive pausing places will appear to be the natural attitudes of thinking”. Without the application of this technique, the audience will remain unmoved.</p> <p>JW concludes that pauses in performance are therefore essential. </p> <p>I would comment that Hill’s methodology contrasts sharply with the usual operating procedure in most modern-day HIP productions of ‘early opera’. Usually the focus is on teaching hand, and perhaps body, movements, with the danger that these – however beautiful – strike the audience as being ‘stylised’ and passionless, not genuine expressions of emotion. But Hill’s concepts are ancient, based on Quintilian’s theory of “visions” and the doctrine of <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2016/06/25/ut-pictura-reverse-engineering-baroque-gesture/" target="_blank">Enargeia</a>. Rather than manipulating the voice or the body directly, the first step is to create an imagined Vision of what is described in the text. <br><br>In first rehearsals of a new play, actors often struggle to ‘change gear’ quickly enough. But good coaching, effective private practice and sufficient rehearsal should empower an actor to make strong changes of Affekt as quickly as needed. Indeed, many sources on Early Opera emphasise how powerful an effect such sudden strong contrasts have on the audience, <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2017/05/22/act-with-the-hand-act-with-the-heart-motion-and-e-motion-in-cavalieris-preface-to-anima-corpo/" target="_blank">see Cavalieri for example</a>. It requires careful judgement to decide how much ‘beautiful and pensive pausing’ to allow in performance.<br><br>And in theatrical music (or indeed any passionate musical performance), that careful judgement has already been exercised by the composer, and the appropriate amount of pause has been notated. Samuel Pepys praised Henry Lawes for his precise notation in musical rhythm of ‘every pointing comma’. Monteverdi varies how each speech starts: with the continuo directly, before the continuo, shortly after, after a longer pause. Cavalieri notates the space for affektive changes during the silences at the end of each phrase [last notes notated long are conventionally sung short, <a href="https://andrewlawrenceking.com/2020/03/15/three-types-of-dramatic-monody/">see</a><a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2020/03/15/three-types-of-dramatic-monody/" target="_blank"> </a><a href="https://andrewlawrenceking.com/2020/03/15/three-types-of-dramatic-monody/">Doni</a> – giving time for reflection, gesture etc within the regular Tactus]. <br><br>I would argue that since the composer has already notated the appropriate Movement for the emotion at hand (as described by Kirnberger, also in 1600 by <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2015/09/27/logical-captain-the-implications-of-peris-preface/" target="_blank">Peri</a> and by Pepys in the late 17th-century), the performer’s task is as Hill requires, to create the response in his body and voice before singing, yet to do so within the dramatic timing carefully notated by the composer. Otherwise, we risk spoiling the pauses and continuations carefully notated by the composer: think of a waiter enthusiastically adding salt to potatoes that were already salted to perfection by the chef! <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2020/05/31/elocutio/" target="_blank">More on Pavans and Potatoes here. </a></p> <p>But see also JW’s discussion on Mattheson, below.</p> <h2 class="wp-block-heading">Aapo Häkkinen on 18th-century tempo relationships</h2> <p>It was most interesting to note that AH reached very similar conclusions to Julia Dokter, albeit in somewhat different repertoire and with an utterly different, yet properly thorough, methodology. His approach was to examine large-scale works and construct – not a pyramid of tempi, based on the slowest tempo – but what he called an ‘hour-glass’ of tempi, centred on a fundamental Tempo Giusto in C-time in the area of 60 to 80 bpm. </p> <p>From this starting point, the denominators of time-signatures indicate for example that 3/8 is faster than 3/4. And then Tempo words modify (to a lesser extent) the broad indication given by the time-signature. Both these principles are well accepted in modern-day musicology, and the speed-order of the Tempo words is not significantly in doubt. And during the course of say a Handel opera, there are so many movements, each carefully marked with time-signature with or without additional tempo word, that we end up with a large number of tempi in a well-defined order.<br><br>If we seek the central speed of Tempo Giusto, and avoid impossible extremes of fast or slow, yet create an appreciable distinction (at least a few bpm) between each and every tempo, there is, as AH put it “very little leeway in choosing tempi if one takes all the tempo words into account”. <br><br>And his findings indicated sets of tempi related by proportions, just as JD found by her, rather different, investigation.<br><br>For the application of this methodology – ordering the tempi of a large-scale work, and hence determining a fairly precise tempo for every movement – to <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2019/02/12/eternal-hieroglyphs-from-monteverdis-tactus-to-handels-tempo-ordinario/" target="_blank">Handel’s <em>Orlando</em> see here</a>. </p> <p>In their parallel, but independent, investigations, JD and AH implicitly relied upon two essential period principles, which have guided all serious study in this area, but which many performers are reluctant to accept. Firstly, the historical role of performers was not to choose their own tempo, but to find the correct tempo, which the composer’s notation was intended to convey. And secondly, two movements from the same large-scale work, or two pieces from the same repertoire, that have the same indications of tempo (mensuration marks or time signatures, level of activity i.e. characteristic note-values, time words, dance type etc) are intended to have the <strong>same</strong> tempo, as near as humanly possible. <br><br>One can make a lot of progress in any well-defined repertoire, by looking for as many pieces as possible with the same indications, and finding the range of tempi in which all of them work. As AH put it, if you have enough data, there is usually very little “leeway”. It <strong>is</strong> possible to find the correct tempo, if we take the trouble to look hard enough, rather than just inventing our own.</p> <h2 class="wp-block-heading">Interlude</h2> <p>The Colloquium’s halfway point was marked with a musical performance from Domen and Aapo, before each presenter gave a second talk. In this segment there was also discussion between the various presenters, and some questions posted by online listeners were answered.</p> <p></p> <h2 class="wp-block-heading">Jed Wentz again</h2> <p>JW warmed to his theme, emphasising the embodied experience of affektive performance. “The Actor feels the Affket in his body”. <br><br>JW looked at Mattheson’s discussion of Affekts. I note that Mattheson, as with Hill and other 18th-century sources, goes beyond and even contradicts the 17th-century categorisation into Four Humours. As JW reported, Mattheson describes Joy as a spreading out of our animal spirits (an outward, sanguine humour – ALK), whereas Sorrow is a contraction (ALK – inward, Melancholy); Love is based on a scattering of the spirits (outward, sanguine – ALK).</p> <p>JW turned to Mattheson’s analysis of Hope, famously applied to an innocent little Courante. Hope is an elevation of feeling, whereas Desperation a complete collapse of the same [outward, warm sanguine humour, inward cold phlegmatic – ALK]. These Affekts can be very naturally represented with sounds, above all when the other factors, especially Zeitmasse (the amount of Time, a different word for a different shade of meaning of Tempo – ALK) play their part.</p> <p>Mattheson shows how the Affekt might change to Desire in certain phrases of the Courante, which as JW pointed out, might suggest a pause for transition and/or a different tempo for the new Affekt. JW was also properly cautious with this suggestion, since it contradicts the instructions for dance-music found in many period sources. I would also mention that Mattheson’s switch to Desire implies a gross change to a Choleric Humour, that earlier sources would not regard as consistent with (Sanguine) Hope. <br><br>One possible approach that might square these circles is to follow JW’s advice and apply the historical technique for creating Affektive contrasts. Modern-day performers tend to make an intellectual decision to change the tempo, “because there is a change of Affekt”. But the historical practice was to feel the Affekt in the body, and allow changes of timbre, tempo etc to happen as a consequence. I would translate this as “you try to keep steady measure, and you genuinely believe you are doing so; but the changes of Affekt you experience create a change of tempo, as measured by a dispassionate observer (or indeed, a metronome, that most dispassionate observer of all!”<br><br>Sources cited by JW are very firm that conventional tactics (e.g. changing tempo) alone will have little emotional effect on the listeners. The essential first step is for the performer to change their own affektive state, and this is what moves the passions of the listeners. My comment is that if this goes well, both performer and audience will feel that the tempo was the constant, it was their affektive state that changed. </p> <p>JW continued with various citations: one can form an emotional [Sinnliche] idea of all the emotions [Regungen] and form one’s inventions to it – this was directed to composers. <br><br>Dealing with Sorrow, much more than with the other emotions, anyone [ALK, this is addressed to composers, but could well be apposite for performers also] who would represent sorrow in sound must feel and experience it himself; otherwise all the so called <em>loci topici</em> [musical clichés] are useless. I would read this as a warning against the kind of Rhetorical Studies that focus on finding and naming those clichés, as if this alone will make the performance more communicative for listeners. Very few courses on Rhetoric spend time teaching students to imagine and feel within the body each of the Four Humours: though I consider this essential fundamental training in Historical Performance.</p> <p>For example, coaching Continuo-players (on theorbos, lutes, harps etc) to respond to text, I show how obvious cues from the text can be realised with simple changes to instrumental timbre (corresponding to Hill’s “braced” or “slack” muscles!): nearer the bridge/soundboard (more gritty) or further up the string (sweeter); relaxed or tensed fingers etc. But the more significant technique is just to create mental visions of the text as it goes by, as if creating a video-film to the sung text as a script, and allow those mental visions to change the physical aspect of your fingers, so that the sound of the instrument changes as a result. This is hard to specify in technical detail, but has a stronger effect for listeners.</p> <p>JW cited Diderot <em>Memoires</em> (1748) page 192 as opposing the use of clock-like tempo devices for anything more than a few bars to establish the tempo. After that the player should continue alone: “nothing more than the pleasure of the harmony suspends him”. I’m reminded of Frescobaldi’s advice: if you want to know how a piece of music feels, than just play it (see above).</p> <h2 class="wp-block-heading"> Domen Marinčič on Tempo words</h2> <p>DM referred to Milan <em>El Maestro </em>(1536) as an early example of tempo words that modify the effect of the musical notation. This is in the context of a particular style of fantasia, that contrasts harmonies in long notes – <em>consonancias</em> – with fast passagework – <em>redobles</em>. As DM mentioned, vihuela sources contain a lot of information on tempo, and Milan gives a specific tempo – in words – for each of his fantasias. <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2019/07/20/el-maestro-on-tactus/" target="_blank">More on Milan here.</a> More on the 16th-cent Spanish <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2019/08/02/the-art-of-time/" target="_blank">Art of Time</a> here.</p> <p>DM cited sources stating that purely mathematical proportions fail to observe decorum, text, or harmony. <br><br>Decorum is a technical term of Rhetoric, the requirement that every detail be consistent with the Rhetorical purpose – ALK.</p> <p>In some English 17th-century sources, ‘soft’ is linked to ‘drag’. In 1619, Praetorius links ‘piano’ to slowly. A 1613 source asks for certain passages to be softer and faster. Türk (1789) asks for certain passages to be softer and slower.</p> <p>Much more in DM’s published article.</p> <h2 class="wp-block-heading">Julia Dokter on Tempo words</h2> <p>JD had a slightly different take on the effect of Tempo words. “Tempo words either reiterate or modify information otherwise communicated” i.e. by changes of time-signature and/or note values. </p> <p>This idea, that Tempo words might merely reiterate what the musical notation has already told us, is controversial. DM considers that a tempo word that ‘goes the same way’ as a change of notation does not simply reiterate, but rather intensifies the change. I am inclined to agree with DM, as I see this usage going back all the way to Milan 1536, where the wording is unambiguously about changing the Tactus to exaggerate the change in note-values. </p> <p>It could be interesting to look for examples of a single work with proportional changes, some with modifying tempo-words, others without such words, to see whether proportional changes were <strong>always </strong>‘tweaked’, or might sometimes be left plain and ‘mathematical’.</p> <p>And perhaps this is the moment for me to add that the sung text itself can be full of “tempo-modifying words”. It would indeed lack decorum, to sing ‘Drop, drop slow tears’ in a ‘default tempo’ un-modified by slow, lacrimose affekt. My take on this is the “LY” principle: how do you sing any given text? Take the emotionally significant word and add “LY”. So we sing “Drop, drop slow tears” not necessarily softly, but certainly slowly and tearfully. We sing “Awake sweet love” not necessarily louder, but certainly wakefully, sweetly and lovingly. And so on. <br><br>Conventional dynamics, mp, mf, piano and forte are hopelessly gross and unrefined – no wonder they are little used in 17th-century music. But the sung text provides highly specific performance instructions. And – as reported by JW – treatises on the Art of Acting tell us how to put those instructions to work, by applying techniques of Vision and <a href="https://andrewlawrenceking.com/wp-content/uploads/2018/12/enargeia-vip.pdf" target="_blank" rel="noreferrer noopener">Enargeia (the emotional power of detailed description).</a></p> <p>JD emphasised that in passages of Stylus Phantasticus, the Tactus Tempo is drastically slower, whilst note-values are much shorter.</p> <p>I questioned JD’s assumption that Sytlus Phantasticus should be performed with ‘malleable tempo’. She mentioned Mattheson’s characterisation of the style as full of all kinds of surprises and changes, including temporal effects. But surely – these are notated already. Nobody is proposing to create additional harmonic surprises by treating the notated pitches as ‘malleable’…<br><br>And I think this comparison of notated pitch, and notated rhythm, is most useful. There is a 20th-century tendency to treate notated pitches seriously, whereas tempo and rhythm are the performer’s free choice. Rather like Autobahn driving: we respect the one-way signs, but choose our own speed, unless the Authenticity Police are present. 🙂 <br><br>Seriously, we now understand that the written pitches can be changed historically (history of A) systematically (transposition according to chiavette) or creatively (divisions, according to style rules and historical models). I would suggest that tempo and rhythm are notated to a similar extent, and that any changes a performer introduces should be historical (the changing speed of Tempo Giusto etc over the centuries), and within one repertoire either systematic (as JD, AH and DM all showed) or – if creative – should follow style rules and historical models (as JD and DM are investigating). There is no ‘freedom’ for rhythm, any more than there is for pitch: just a lot of historical information to be understood and applied.</p> <p>JD’s other argument for ‘malleability’ in Stylus Phantasticus was subjective, and none the worse for that, based on her rich experience of this repertoire. When you play this stuff, some adjustments seem necessary, to make sense of the wierd music. I’m sure she is right. But I suspect that those adjustments can be made within a steady Tactus – there is plenty of space to do this, since the note-values are so very small and the Tactus beat (crotchet, presumably) so very slow. Indeed, with such very slow Tactus, and so much surface activity, one’s perception/control of the Tactus diminishes.</p> <p> DM noted a sequence of markings <em>adagio – a battuta</em>, which might imply ‘malleability’ in the adagio. I would be inclined to take this literally, that the singer would not beat time with the hand during the <em>adagio</em>, and would start again – for beating time was the standard practice – afterwards. I would link this to the prohibition on beating time in theatrical music (since it distracts from the stage action, and from believing that the onstage character is ‘real’), which is gradually extended to passionate solo songs in general. And it’s also practical – whilst you are singing small note-values and/or affektive ornaments etc, you don’t want to be beating a super-slow Tactus with your hand, it’s physically inconvenient and distracting for everyone.<br><br>Alexander Bonus mentioned the boom in sales of pocket-watches in the time of Roger North. There is a far bigger story here of the circa 1800 glorification of machines, musical machines, dolls etc that moved by mechanical means, and the imitation of natural and human movement by machines. The admiration of the semitone mechanism of the late 18th-century pedal harp, <em>harpe organisée</em> is part of this story. Such machines were prized because they successfully imitated the perfection of the Clockwork of the Heavens. This is an uncomfortable topic for the anti-metronome brigade, as is the desire of earlier philosophers to make astronomy more regular than it really is. The wish that planetary orbits be circular blocked scientific advance until Kepler established ellipses beyond doubt, and Newton provided a mathematical model for this. <br><br>Just as with the Vibrato debate, we cannot hide behind over-simplistic black-and-white positions. Historical Tempo was both regular and irregular – we have to understand <strong>how</strong> this worked in each repertoire, and we are unlikely to find a ‘one size fits all’ solution. But just as Jed Wentz made the case for an embodied approach to Affekt, I would suggest that we can only begin to understand Tempo if we embody it as they did back then, with the physical movement of the Tactus Hand. If we try to solve problems only by abstract thinking, we are certainly going to ‘overleap distinctions’…<br><br>AB cited Brower (1929) advocating a “metronome in one’s head”. I’m not so appalled by this: but what I want to have in my head is a vision/memory of a Tactus Hand, with visions of the changing, text-based Affekts projected onto it!<br><br>Descartes comments on the particular significance of ‘first part of the measure’ were cited. Good stuff, and let’s also keep in mind the influence of French dance, Lully’s down-bow on the down-beat etc on how time felt for his contemporaries. We cannot generalise 18th-century concepts of the hierarchy of the bar back into the early 17th-century, when most music was unbarred anyway. <br><br>Nevertheless, we do need to seek an (embodied) understanding of how time <strong>felt</strong> for musicians of the past. This Colloquium made a valuable contribution to advancing such understanding, and the organisers and contributers should be warmly thanked for their work. </p> <p><br><br><br></p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png"><img data-attachment-id="1521" data-permalink="https://andrewlawrenceking.com/2015/12/12/modus-agendi-or-how-to-act-preliminary-exercises-for-baroque-gesture/tactus-beaters/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png" data-orig-size="960,720" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus beaters" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=440" loading="lazy" width="960" height="720" src="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=960" alt="" class="wp-image-1521" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png 960w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=768 768w" sizes="(max-width: 960px) 100vw, 960px" /></a><figcaption>Tactus is a hands-on experience!</figcaption></figure> <p></p> <p></p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3573" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2021/05/05/looking-for-a-good-time/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3573" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2021/05/05/looking-for-a-good-time/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Looking%20for%20a%20Good%20Time%3F&body=https%3A%2F%2Fandrewlawrenceking.com%2F2021%2F05%2F05%2Flooking-for-a-good-time%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/historical-action/" rel="tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/proportions/" rel="tag">Proportions</a>, <a href="https://andrewlawrenceking.com/tag/rhythm/" rel="tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a>, <a href="https://andrewlawrenceking.com/tag/tempo/" rel="tag">Tempo</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2021/05/05/looking-for-a-good-time/" title="Permalink to Looking for a Good Time?" rel="bookmark" class="permalink"><span class="month upper">May</span><span class="sep">·</span><span class="day lower">05</span></a></p> </footer> </article> <article id="post-3495" class="post-3495 post type-post status-publish format-standard hentry category-historical-action category-history-of-emotions category-introductions category-italian-baroque-harp category-moving-the-passions category-music-dance-swordsmanship category-rhetoric category-rhythm category-single-action-harp tag-18th-century tag-art tag-baroque tag-baroque-music tag-baroque-opera tag-early-harp tag-early-music tag-early-opera tag-emotions tag-expression tag-hip tag-history-of-emotions tag-ornamentation tag-ornaments tag-phrasing tag-rhythm tag-tactus"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2021/02/23/introduction-to-french-baroque-dance-muffat-on-vrai-mouvement/" rel="bookmark">Introduction to French Baroque Dance: Muffat on ‘Vrai Mouvement’</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2021/02/23/introduction-to-french-baroque-dance-muffat-on-vrai-mouvement/#comments">3</a></p> </header> <div class="entry-content"> <p><em>This article was written for a course on </em><strong>HIP for Harps</strong><em> taught for the Guildhall School of Music & Drama. It offers a very brief introduction based on Muffat (1698) and focussed on the typical movements of baroque suites.</em><br /><br />Period discourse about music around the year 1700 was much concerned with contrasts in National Style, specifically Italian and French. Italian style (imitated also outside Italy, of course) favoured drama and virtuoso display in such genres as Opera, Toccata, Sonata & Concerto. French style (also imitated abroad) preferred descriptive character pieces to abstract sonatas and celebrated above all the noble art of Dance.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png"><img data-attachment-id="1982" data-permalink="https://andrewlawrenceking.com/2018/03/16/organised-chaos-rebel-with-a-source/choregraphie-title-page/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png" data-orig-size="344,447" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="choregraphie title page" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png?w=231" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png?w=344" loading="lazy" class="alignnone size-full wp-image-1982" src="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png" alt="" width="344" height="447" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png 344w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png?w=115&h=150 115w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-title-page.png?w=231&h=300 231w" sizes="(max-width: 344px) 100vw, 344px" /></a> <br /><br />French theatrical music (especially Ballets), chamber music (in particular, Suites) and social activities were unified by the elegance and energy of dance, and depended for variety on the contrasting characters of distinctive dance-types. As modern-day performers of these repertoires, our understanding of the music is enormously increased if we know something of the dancing that inspired it.<br /><br />I strongly recommend every student of Historically Informed Performance to go to class and learn some dances from the appropriate period of music. It isn’t necessary to become a great dancer: right from the beginning you will start to notice from the inside what it feels like to dance the music you love. No amount of teaching or demonstration can replace this personal, embodied experience.<br /><br />At the very least, watch as much baroque dancing as you can, so that you have a clear visual inspiration to guide your playing. Play for dance rehearsals, in order to learn what their art requires of your delivery. The ideal in this period was that the music should appear to be produced by the action of the dancers’ feet striking the floor. Strong moments in the dance move upwards, preparatory energy is gathered by sinking in order to expand and rise again. And watching good baroque dancers, we can imagine that our sustained notes are similarly suspended in the air as if weightless, like a elegantly poised dancer, balanced and seeming to float almost off the ground.</p> <p><a href="https://youtu.be/x365M8KYBrw">Watch here 1: Introduction</a></p> <p><a href="https://youtu.be/Aux__QpGPu4">Watch here 2: Suite</a></p> <p><a href="https://youtu.be/F6GgsmvU0YE">Watch here 3: Minuet etc</a></p> <p>For a more substantial audio/visual introduction, I warmly recommed Paige Whitley-Baugess’ <a href="http://www.baroquedance.com/dvd.html">Introduction to Baroque D ance videos, available here.</a> </p> <p>French period sources suggest that many subtleties of <em>le bon gout </em>– Good Taste – can only be acquired by studying with a fine teacher, born into the culture of Louis XIV’s France. As foreigners from the 21st century, we can all be thankful for Georg Muffat’s (1698) systematic analysis of French style, describing <em>le bon gout </em>in terms of a coherent set of principles, just as grammar-books describe the use of language. Indeed, this concept of a collection of rules is precisely how Art itself was defined, in this period. <a href="https://andrewlawrenceking.com/2018/07/19/technique-terminology-the-cremona-papers-john-mckean/">Read more about period philosophy of art here.</a></p> <p><br />Muffat’s <em>First Observations on the French style of playing dance-tunes according to the method of Monsieur Lully </em>are presented in four languages (Latin, German, Italian, French) as the introduction to his second <a href="https://imslp.org/wiki/Florilegium_Secundum_(Muffat%2C_Georg)"><em>Florilegium </em>collection, available free online here</a>. The four versions are not identical, and it is worth studying fine points of detail across all four texts. David Wilson’s <a href="https://www.amazon.com/Georg-Muffat-Performance-Practice-Instrumentalmusik/dp/0253213975">English translation is here</a>. My summary below follows the French text.</p> <p><a href="https://andrewlawrenceking.com/2020/06/02/vraie-mouvement-introduction-to-french-baroque-dance-music/">For an alternative path through Muffat & French Baroque Dance, see my 2020 article here.</a></p> <p> </p> <h2>“Here you can discover the principal secrets in a few words”</h2> <p> </p> <h3>“Two functions admirably well linked together:</h3> <ul> <li>“To charm the ear</li> <li>“Simultaneously, to mark so well the movements of the dance, that one recognises immediately which type each tune represents, and one feels irresistibly inspired to dance.”</li> </ul> <p>This is Muffat’s reworking of the classic Three Aims of Rhetoric: to delight, to explain and to move the passions. The musician’s purpose is literally to move listeners’ feet, and thereby to affect their emotions.</p> <p>The word <em>mouvement </em>has a wide semantic field that includes the physical movements of dancing, contrasting formal sections (e.g. the movements of a suite), the speed of the music, the emotional Affekt of the music and the dancing, and the rhythmic structure of a particular dance-type. All these elements are interdependent.</p> <h3>“Five requirements:</h3> <ol> <li>“To play in tune”</li> <li>“Bowing”</li> <li>“To keep constantly/constant the True Movement of each piece”</li> <li>“To observe certain usages of repeats, notations, style and dancing”</li> <li>“Ornamentation”</li> </ol> <p>Muffat’s insistence on <em>le vrai Mouvement </em> – True Movement – goes further than simply keeping the beat and maintaining constant tempo. This <em>mouvement</em> is also what a jazz musician would call the ‘groove’ of the dance, a characteristic rhythmic pattern, not necessarily strictly mathematical (often the first beat of the bar needs to be long), but established from the beginning and maintained until the end, and strongly linked to the particular physical movements and emotional Affekts associated with each dance-type. <br /><br />For example, the <em>Chaconne </em>is usually a celebratory, festive, theatrical ‘party’ dance often marking the happy ending of a music-drama, or associated with the comedy clown, Harlequin. It is usually constructed in double-units of four-bar phrases featuring a descending bass-line, with hemiola at significant cadences, and a groove running across the bar-lines: 2 3 1, 2 3 1. The first beat is long, giving space either for a breath between mini-phrases, or for an expressive dissonance on the first beat resolved on the second.</p> <p>The <em>Minuet </em>is a formal social dance, often marking the presentation of a couple to the assembled company. It is usually constructed with a great deal of symmetry: four-bar and eight-bar phrases; eight-bar or sixteen-bar repeated sections etc. The basic unit is two bars, which corresponds to one minuet-step. The groove mixes, often alternately, rhythmic patterns of crotchet-minim [short-long] and minim-crotchet [long short].</p> <p>Both these dances are usually notated in 3/4, and could plausibly be played within a similar range of tempi according to circumstances. In this, they might appear very alike. But once you’ve played a few of each type, and (ideally) learnt to dance them too, you will be able to distinguish them from the very first few notes, just as Muffat writes. This is the significance of <em>vrai mouvement</em>, much more than just ‘constant speed’.</p> <h3>“Play in tune”</h3> <p>Muffat singles out the diatonic semitone <em>mi-fa</em> as the usual source of problems for inexperienced players. At an elementary level, violinists have to learn to position their fingers to create a narrower spacing for the semitone than for the tones. Failure here is a serious assault on the listener’s ears.</p> <p>At a higher level of sophistication, Muffat’s hint to raise the <em>mi </em>may be linked to the ongoing transition from the pure thirds of Quarter-comma Meantone towards the slightly wider thirds of Sixth-comma Meantone, as the accepted practice for ‘being in tune’. Most 18th-century ‘circulating temperaments’ (for keyboard instruments) were derived from Sixth-comma Meantone, so it is highly plausible that slightly wider thirds became generally accepted.</p> <p>Muffat also mentions that ornaments should not be false. Sometimes ornaments require chromatic alteration to fit within the local harmonies, and whichever notes one chooses to play, they must be in tune, of course. Playing an ornament in the wrong place also offends the ear. Squeaks and noises are also to be avoided.</p> <p>In contrast to the lengthy debates amongst today’s Early Musicians on the subject of Temperament, Muffat writes that there is only one accepted way of being in tune. He deals with the whole subject in 14 lines.</p> <h3>Bowing</h3> <p>Muffat devotes about 100 lines – more than two pages, plus two pages of musical examples to this crucial topic. Bowing for string instruments corresponds to tonguing syllables for wind-players and fingering for keyboards, harp, lutes and guitars. Strict rules of style create characteristic patterns of articulation: Good and Bad notes, legato or separation between one note and the next, contrasting qualities of onset-attack for individual notes. </p> <p>Muffat states that unanimity of bowing is essential. This translates for harpists and others into a requirement for intense scrutiny of note-by-note articulation patterns.</p> <p>In this French style, the first beat is always given a down-bow, even if the previous note was also down-bow. This creates silences of articulation before some down-beats. But Muffat marvels how, “in spite of so many down-bows and retakes” (lifting the bow up again, to facilitate two successive down-bows with the very short French Baroque bow), “one never hears anything disagreeable or coarse, but rather a wonderful combination of speed and the length of the bow-strokes; of admirable equality of measure and diversity of phrasings; of tender sweetness and vivacity of playing”</p> <p>What I have translated here as ‘phrasings’ is yet another appearance of the word <em>mouvemens</em>, here suggesting the movement of the bow, as well as of the notes and of the dancers’ feet, and of the emotions that all these work together to produce.</p> <p>This rule of “first-beat = down-bow” takes precedence. After this, Good and Bad notes get down- and up-bows respectively, as far as possible. In triple metre, three crotchets to the bar (for example), the last note could be taken down-bow (in slow tempo) or up-bow (in fast tempo). Two successive up-bows can be divided – <em>craquer </em>– to articulate the final note clearly. In very fast tempo, a group of notes can be played ‘upside-down’ if necessary. In a passage of dotted notes alternating with short notes, one should not slur short-long, but might slur long-short.</p> <p>If you have any skill at all on the violin, it’s worth playing through Muffat’s examples to see how they feel and sound. If not, you can create a similar effect by singing Frank Sinatra style with <em>dooby-doo</em>. Use ‘doo’ for a Good note, down-bow. Use ‘bee’ for a Bad note, up-bow. Advancing in sophistication, you can imitate <em>craquer </em>with the syllables ‘beeper’, making more or less of a seperation between ‘beep’ and ‘per’ as you judge appropriate.<br /><br />Muffat avoids down-bow on the second beat, so the combination crotchet and two quavers at the beginning of a bar forces you to <em>craquer </em>the two quavers. Thus the famous <em>Minuet </em>from the Anna Magdalena Bach <em>Notenbuch </em>would not go “Doo dooby dooby / doo dooby” but (more elegantly) “Doo beeper dooby / doo beeper”, when played in the French style. </p> <p> </p> <h3><a href="https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png"><img data-attachment-id="3525" data-permalink="https://andrewlawrenceking.com/2021/02/23/introduction-to-french-baroque-dance-muffat-on-vrai-mouvement/anna-magdalena-bach-minuet-muffat-bowing/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png" data-orig-size="234,168" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Anna Magdalena Bach Minuet Muffat bowing" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png?w=234" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png?w=234" loading="lazy" class="alignnone size-full wp-image-3525" src="https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png" alt="" width="234" height="168" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png 234w, https://andrewlawrenceking.com/wp-content/uploads/2021/02/anna-magdalena-bach-minuet-muffat-bowing.png?w=150&h=108 150w" sizes="(max-width: 234px) 100vw, 234px" /></a></h3> <p> </p> <p>Muffat gives a few examples of how Italian violinists played Minuets, often starting with an upbow on the first note. The <em>Anna Magdalena </em>Minuet comes out very nicely with alternate bows, starting up-bow, but sounding very different in that Italian style: “Bee dooby dooby / doo-bee-doo”</p> <h3>Groove</h3> <p>The <em>mesure </em>(a bar, yes, but also the time-span measured by the regular down-up movement of the Tactus hand-beat) can have different <em>mouvements. </em>A jazz-musician might express this by saying “a steady count can have all kinds of different grooves”. <br /><br />Muffat gives “three requirements:</p> <ol> <li>“Understand well the <em>vrai mouvement </em> – the groove – of each piece</li> <li>“Once you’ve understood it, be able to keep it for as long as you play the same piece, always with the same regularity, without changing, slowing or rushing it.</li> <li>“Give certain notes some swing, to make it sound more cool.”</li> </ol> <p>“To understand better the groove of each piece… knowing how to dance is a great help. Most of the best violinists in France are very good dancers, so it’s not surprising that they are so well able to find and maintain the groove of the beat.”<br /><br /></p> <p>“Having understood and started the beat, not everyone is able to keep it precisely constant for the entire duration of the piece.”</p> <p>Muffat does not accept playing the whole piece slower or faster one time than another [his next paragraph suggests that this refers to playing a dance several times through consecutively, rather than to separate performances on different occasions] He also disapproves of alterations to the groove bar by bar or note by note. </p> <ol> <li>“Reject the abuse of playing whatever kind of piece the first time very gently, then gradually faster and faster, and the last time very fast and rushing”</li> <li>“Don’t wait at the cadence more or less than the note-values indicate”</li> <li>“Don’t rush the ending”</li> <li>“Don’t panic when you see short note-values”</li> <li>“Don’t shorten the last note of the bar”</li> </ol> <p>Playing for dancers is an excellent way to learn how to ‘phrase-off’ and ‘breathe’ at cadences, without disturbing the <em>vrai mouvement</em>. Muffat’s 5th rule is equivalent to ‘Don’t crowd the downbeat’. </p> <p>Muffat defines precisely – “diminutions of the first order” – which note-values should be ‘swung’, with examples for various metres. A succession of short notes written as equal are performed long-short, approximately as if the first, third, fifth note etc were dotted, and the following notes shortened accordingly. We should keep in mind that a Baroque Dot is itself a variable quality, according to context we might over-dot or under-dot. The appropriate amount of swing varies with the dance-type: more vigorous for a fast dance with popular origins, more subtle for a slow, courtly dance. <br /><br />I consider that Muffat’s insistence on conserving the <em>vrai mouvement</em> implies maintaining the <span style="text-decoration:underline;">same</span> swing for the duration of a particular piece, as jazz-musicians tend to do nowadays. Many of my illustrious colleages disagree with me on this, but it must be said that most of them choose not to maintain <em>vrai mouvement</em> at all. Muffat makes it abundantly clear that <em>vrai mouvement </em>must be maintained: but there is room for legitimate debate as to whether the ‘swing’ of <em>notes inégales </em>comes under this rule or not.<br /><br />The complete rhythmic identity of a given dance – its characteristic <em>vrai mouvement </em>– is thus constructed on several levels. The slow count of Tactus, the <em>mesure</em>, is steady (as in all Baroque music, with the exception of <em>préludes non mesurées </em>and plainchant). The principal division of the bar (into two or three) also carries the groove. So a Gavotte typically has two minim beats per bar, and the principal division structures the groove as short-short-long (crotchet crotchet minim). If you tap your feet and clap to this groove, you’ll probably find yourself wanting to sing <em>We will, we will rock you</em>! The quavers are swung – <em>waving your banner all over the place. </em>The emotional power comes from the dance-energy, which is stoked by maintaining the count, groove and swing steady from beginning to end. <a href="https://www.youtube.com/watch?v=-tJYN-eG1zk"><em>Temps di Gavotte Anglais (1977) </em>here.</a><br /><br />Because they experienced Lully’s airs as dance-music, violinists of Muffat’s time were more likely to rush towards the end. Modern-day early musicians regard Lully as art-music, and are more in danger of applying inappropriate 19th-century rallentando. Muffat is crystal-clear: keep the <em>vrai mouvement </em>from beginning to end. And just as I do here, Muffat repeats this point many times (otherwise, he rarely repeats any of his remarks).</p> <p> </p> <h3>Good Delivery</h3> <ol> <li>“Finish tuning before the audience arrrive.”</li> <li>“Dont make noise” nor practise your party pieces before the show starts</li> <li>“French pitch is a tone, or for opera a minor third, lower than German pitch”</li> <li> “Balance up the band”, “don’t have everyone play first violin!”</li> <li>There are usually two viola parts: “viola 1 is better on a small viola than on a violin”. Viola 2 is played by a large viola. Muffat approves adding a double-bass, but the French were not yet using double-basses in dance-music in 1698.</li> <li>“Observe the repeats” (notice the French habit of a short repeat – <em>petite reprise </em>– at the end of the last section)</li> <li>“It is very useful for keeping the precision of the <em>mesure</em> to give each [downbeat] with a small movement of the foot, as the Lullists do.”</li> </ol> <p> </p> <p>It is interesting to notice how difficult modern-day players find it, to tap their feet on the down-beat (and only on the down-beat). I recommend it to students, and frequently request it from my ensembles, just as Muffat does. </p> <h3>Ornaments</h3> <p>Instrumental ornaments for dance-music are mostly derived from vocal ornamentation. There are many more than one would imagine, and Muffat gives only a brief introduction. Nevertheless, this is the largest chapter of his essay, occupying three pages of text and another three pages of music examples.<br /><br /><em>Pincement </em>– lower mordent, starts and ends on the written note, usually descending by a semitone, usually short, usually without additional repercussions.</p> <p><em>Tremblement </em> – short trill from above, starts from the upper auxiliary, can be simple, or turned, may end early or continue into the next written note</p> <p>Both these are played on the beat.</p> <p>Muffat describes many more ornaments and how to execute them. He then addresses the question of where each ornament-type can be applied. His ten detailed rules depend on whether the note is Good or Bad, ascending or descending, moving by step or leaping, with exceptions for a <em>mi </em>and special conditions for the first note of a piece, of a significant section, of an ascent or descent. At cadences certain notes require a <em>tremblement</em>, others refuse it.<br /><br />He gives some examples of diminutions (improvised variations), and warns that two <em>tremblements </em>are generally not used in succession, though he lists specific exceptions to this rule.<br /><br />Muffat asserts that the whole secret of French ornamentation is codified in his 10 rules. These ornaments bring the “sweetness, vigour and beauty” of the Lullian method. <br /><br />“The melody suffers if ornaments are omitted, inappropriate, excessive or badly executed. Omission leaves the melody and harmony naked and undecorated; inappropriate playing is rough and barbaric; excessive ornamentation sounds confused and ridiculous; poor execution sounds heavy and constrained.” </p> <p>“The slightest failure in ornamentation betrays the would-be Lullist as inexperienced in this style.”</p> <p>Muffat’s approximately ten ornament types (it depends how you count the sub-types) and ten rules are an amazingly concise encapsulation of the <em>bon gout</em> of the subtle and elegant French Baroque style. And if you apply his rules to Lully’s (sparsely marked) orchestral scores, the result is strongly consistent with (very detailed) ornament-markings in D’Anglebert’s harpsichord transcriptions of those same scores. <br /><br /><a href="https://andrewlawrenceking.com/2020/05/27/introduction-to-mid-18th-century-ornamentation/">See also Quantz on ornamentation, here.</a></p> <h2>The Suite</h2> <p>Many Suites are not intended to be danced. It is acceptable to take a different speed (a complex piece of chamber music may need to be played slower than the corresponding movement would be danced), but whatever the chosen tempo might be, it is maintained throughout. In late 17th-century England, Mace details a practice of making pauses and then an <em>a tempo</em> conclusion to (fast) Sarabandes, but otherwise there is no period evidence to support the application of <em>tempo rubato </em>to Baroque dance-music.</p> <p>The <strong>Allemande</strong> that begins many Baroque suites was not danced. I speculate that the title refers to a German way of playing with arpeggios (the modern term is <em>style brisé</em>) dance-music of the type that the French used for <em>Entrées</em>. Characteristic figures include the short upbeat “Ta-dah!” found as a head-motive in many dance-types, alternations of dotted and short notes, and a three-note upbeat figure.<br /><br />The <strong>Courante </strong>was an old-fashioned, noble dance – ‘the dance of Kings’. It has the most complex rhythms of all, contrasting, combining and creating ambiguity between 3/2 and 6/4, with a “Ta-Dah” opening; groups of crotchet, dotted crotchet, quaver ambiguously accented on first or second note; and a decisive shift to 6/4 at significant cadences. <br /><br />The Italian <strong>Corrente </strong>is different, with continuous running notes in the melody, and without the complex cross-rhythms of the French type.</p> <p>The <strong>Sarabande </strong>was a fast dance that slowed down over the decades. Choreographies are characterised by held balances and sudden spins or leaps into a new pose. Often the music has a similar sharp contrast in note-values and amount of activity. The groove has a strong and/or sustained second beat of three.</p> <p><strong>Gigues </strong>vary in speed and groove – see Quantz and others for details. French Gigues often begin with imitation between treble and bass, and have a strong sense of the upbeat. The Italian <strong>Giga </strong>tends to flow more continuously, and without marking the upbeats. <br /><br />The <strong>Loure</strong> is a slow-motion Gigue.</p> <p>The <strong>Passpied </strong>is a high-speed Minuet.</p> <p><strong>Bourée </strong>and <strong>Rigaudon</strong> might have had their origins in popular, rural traditions, but had become a highly sophisticated, courtly protrayal of Pastoral. Looking at the musical notation, it is impossible for us to distinguish between the two types, but in the period they were sharply differentiated: we don’t know how. Two quavers on the upbeat, groove (often in the bass) with three crotchets and a rest, final bars with crotchet, two quavers, crotchet (or four quavers & crotchet) over that groove; all of this with strong duple (minim) count and vigorous swing on the quavers.<br /><br />Period writers disagreed as to whether <strong>Passacaille</strong> and <strong>Chaconne</strong> could be distinguished, and if so how. You are in good company if you consider Chaconnes to be major mode, Passacailles minor, but perhaps the most famous Chaconne of all is from Bach’s D minor Partita. <br /><br />The <strong>Musette</strong> is a courtly imitation of a pastoral bagpipe tune, usually in 6/8. The <strong>Tambourin </strong>imitates a tambourine. <br /><br />The <strong>Sicilienne </strong>is a slow 6/8 with groups of dotted quaver, semiquaver, quaver. The <strong>Canarie </strong>is a fast 6/8 with the same rhythmic grouping.<br /><br /><br /></p> <h2>Conclusion</h2> <p>If you are studying a dance-movement, I strongly recommend that before starting to “interpret” the particular piece at hand, you first become familiar with the general characteristics of that dance-type. So before going too deeply into Bach’s famous violin Chaconne, first play lots of (simpler) Chaconnes (and Passacailles), watch Chaconnes being danced, learn to dance one yourself, and generally make yourself at home with the identity of the Chaconne as a dance-type. <br /><br />Work through Muffat’s 10 ornament rules and apply them to your particular piece. <br /><br />You will now have a much clearer idea of how Bach’s composition resembles all Chaconnes, and where its particular individuality lies. Above all remember Muffat’s two essential functions: the listeners have to recognise the dance from the very first notes, and they have to feel inspired to dance themselves. Even in such complex and profound music as Bach’s, this spirit of the dance must live, energised by the constant flow of <em>vrai mouvement</em>.</p> <p>It’s some 20 years since I recorded dance-music from Feuillet’s (1700) <em>Chorégraphie</em>. <a href="http://www.harmoniamundi.com/#!/albums/1163">CD here.</a> My research for that recording started me on the paths that I have followed since, of Rhythm & Rhetoric; Tactus, Text, Gesture and Ornamentation. And in the intervening years I’ve had the opportunity to play this repertoire with fine orchestras (both modern and early), and see it danced by experts. Nowadays, I would play some of the movements a little faster, and most of them with more dance energy, a little less chamber-music reticence, and with – I hope – a stronger and truer sense of <em>mouvement. </em></p> <p>Writing this article also gave me the opportunity to re-read Muffat, and glean a little more detail of his bowing rules, resulting in ‘Doo beeper dooby’ above and a rewrite of the discussion of the same Minuet in <a href="https://andrewlawrenceking.com/2020/06/02/vraie-mouvement-introduction-to-french-baroque-dance-music/">my 2020 article, here</a>. It’s always worth re-reading a source that you think you know already. What you have discovered since the previous reading will have changed your viewpoint, and you may well notice something that you previously overlooked. </p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg"><img data-attachment-id="1981" data-permalink="https://andrewlawrenceking.com/2018/03/16/organised-chaos-rebel-with-a-source/choregraphie-cd/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg" data-orig-size="225,225" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Choregraphie CD" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg?w=225" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg?w=225" loading="lazy" class="alignnone size-full wp-image-1981" src="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg" alt="" width="225" height="225" srcset="https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg 225w, https://andrewlawrenceking.com/wp-content/uploads/2018/03/choregraphie-cd.jpg?w=150&h=150 150w" sizes="(max-width: 225px) 100vw, 225px" /></a></p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3495" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2021/02/23/introduction-to-french-baroque-dance-muffat-on-vrai-mouvement/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3495" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2021/02/23/introduction-to-french-baroque-dance-muffat-on-vrai-mouvement/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Introduction%20to%20French%20Baroque%20Dance%3A%20Muffat%20on%20%27Vrai%20Mouvement%27&body=https%3A%2F%2Fandrewlawrenceking.com%2F2021%2F02%2F23%2Fintroduction-to-french-baroque-dance-muffat-on-vrai-mouvement%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/italian-baroque-harp/" rel="category tag">Italian baroque harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" 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lower">23</span></a></p> </footer> </article> <article id="post-3480" class="post-3480 post type-post status-publish format-standard hentry category-continuo category-early-harps category-historical-action category-history-of-emotions category-introductions category-italian-baroque-harp category-moving-the-passions category-music-and-philosophy category-rhetoric category-rhythm category-text tag-baroque tag-baroque-gesture tag-baroque-music tag-continuo tag-early-harp tag-early-music tag-emotions tag-hip tag-muovere-gli-affetti tag-rhythm tag-rubato tag-seicento tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/" rel="bookmark">Isabella Leonarda 400th anniversary</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/#comments">2</a></p> </header> <div class="entry-content"> <h1><strong>Isabella Leonarda: </strong></h1> <h1><strong>the Soul of Music in Women’s Hands</strong></h1> <p><strong><br /><br /></strong><em>This article celebrates the 400<sup>th</sup> anniversary of Isabella Leonarda (1620-1704) – Ursuline nun, singer & composer – in connection with the </em>Earthly Angels <em>performance and recording project. <br /><a href="https://vaasabaroque.com/play/">Listen to her music here</a>.</em></p> <p>An extended version of this article will be published on this blog soon.</p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg"><img data-attachment-id="3483" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/isabella-leonarda/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg" data-orig-size="220,221" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Isabella Leonarda" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg?w=220" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg?w=220" loading="lazy" class="alignnone size-full wp-image-3483" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg" alt="" width="220" height="221" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg 220w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/isabella-leonarda.jpg?w=150&h=150 150w" sizes="(max-width: 220px) 100vw, 220px" /></a></p> <p> </p> <h2><strong>The Soul of Music</strong></h2> <p> </p> <p>In 1601, song-composer Caccini proclaimed the Baroque priorities of his ‘New Music’ as ‘Speech and Rhythm’. <br /><br /></p> <h2><strong>Tempo</strong></h2> <p><br />The first character to sing in the first opera (1600) was <em>Tempo</em> – the personification of Time – commanding: “Act with the hand, act with the heart!” For us today, <em>tempo </em>is the <u>speed</u> of music, but for Isabella Leonarda (1620-1704) it was Time itself, defined by Aristotle as a ‘number of movement’ perceived by the Soul. <br /><br />The up-and-down hand-beat of Tactus connected musical notation to real-world Time. Period iconography shows singers beating Tactus, even in solo songs.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png"><img data-attachment-id="1521" data-permalink="https://andrewlawrenceking.com/2015/12/12/modus-agendi-or-how-to-act-preliminary-exercises-for-baroque-gesture/tactus-beaters/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png" data-orig-size="960,720" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tactus beaters" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=440" loading="lazy" class="alignnone size-full wp-image-1521" src="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png" alt="" width="440" height="330" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=440&h=330 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=880&h=660 880w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=150&h=113 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=300&h=225 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/tactus-beaters.png?w=768&h=576 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Zacconi (1592) characterises Tactus as ‘regular, solid, stable, firm… clear, sure, fearless, and without any perturbation’. Mersenne (1636) calibrates Tactus as 1 second per minim, shown by a 1m pendulum. At the end of the century, Carissimi (1696) defines <em>tempo</em> as subjective ‘quality’, the way time <u>feels</u>.</p> <p> </p> <p>17<sup>th</sup>-century ‘time-signatures’ are relics of much older Mensural notation. Long notes are divided by 2 or 3 to create short notes. Signs of Proportion recalibrate note-values in triple time. Within these fixed multiples, Leonarda employs modifying words to specify fine gradations of <em>tempo</em>.</p> <p> </p> <p>Amidst ‘passionate vocal effects and contrasting movements’ Frescobaldi (1615) shows how to ‘guide Time’, using Tactus. Transitions between movements are made by keeping steady Tactus (no <em>tempo </em>change, or strict Proportion), or by </p> <p>suspending the Tactus-hand in the air momentarily, then starting the new movement with modified Tactus, steady time that now feels <em>adagio </em>(literally ‘easy’) or <em>allegro </em>(happy).</p> <p> </p> <p>For Leonarda’s contemporaries, ‘Time is the Soul of Music.’ <a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">Read more here.</a> Zacconi explains that Time breathes life into dry notation: a minim is a dead symbol, until we animate it with the Divine Hand, symbolised by Tactus. Carissimi’s <em>tempo </em>is perceived as an Aristotelian ‘affection of the Soul’, an emotion. Leonarda’s precise notation contradicts 20<sup>th</sup>-century assumptions that performers choose their own <em>tempo, </em>or that expressiveness requires rubato.</p> <p> </p> <h2><strong>Rhetoric<br /><br /></strong></h2> <p>In Baroque speech and music, Rhetoric aims to ‘move the passions’. <a href="https://andrewlawrenceking.com/2020/04/20/inventio/">Read more about musical rhetoric here.</a> Sensual love-lyrics arouse fervour that Leonarda’s music re-directs towards the Divine. Delightful hand-gestures explain the text and communicate passionate contrasts. Rhetorical Delivery combines Pronunciation of words and music with Action of gestures and facial expressions, to channel <em>Enargeia</em>, the emotional power of detailed description. <a href="https://andrewlawrenceking.com/wp-content/uploads/2018/12/enargeia-vip.pdf">Read more about Enargeia here</a></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg"><img data-attachment-id="3486" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/pieta/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg" data-orig-size="2199,2192" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Pieta" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3486" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg" alt="" width="440" height="439" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=440&h=439 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=880&h=878 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=150&h=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=300&h=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/pieta.jpg?w=768&h=766 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Poetic imagery brings a scene to life, as if the audience could see it with their own eyes. ‘Here’, ‘Now’, ‘Behold!’: Gesture directs the audience’s attention to significant details of the imagined vision. In baroque Madrigalism (word-painting), the music sounds like what the words mean. Fragments of melody create ‘passionate vocal effects’ corresponding to gestures of the hand.</p> <p> </p> <p>Period Medical Science categorises emotion into Four Humours: warm Sanguine (love, hope), dry Choleric (anger, desire), dark Melancholy and cold, wet Phlegmatic.</p> <p> </p> <p>In Leonarda’s <em>Volo Jesum </em>(1670), ‘you fly’ (<em>volate</em>) up a triple-proportion fast-note scale to ‘love God’ on a long high note. After a <em>tempo </em>change to happy <em>allegro, </em>a contrasting <sup>6</sup><sub>4</sub> movement cites the love-sick Melancholy harmonies and descending bass-line of an operatic lament: ‘the heart is burning’ amidst Choleric <em>ignis et flamma</em> (fire and flame) with high notes and flickering vocal effects. A ‘happy mountain’ of Sanguine ‘joys’ rises boldly, Phlegmatic ‘rivers’ flow smoothly down, <em>Paradisi </em>has the highest note of all. Descending notes move Choleric passion to Sanguine Humour – <em>et in flammis es dulcis spes </em>– whilst Leonarda’s hand shows the Holy Spirit coming down to earth as Christ: ‘in flames, You are sweet hope’.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg"><img data-attachment-id="1537" data-permalink="https://andrewlawrenceking.com/2015/12/12/modus-agendi-or-how-to-act-preliminary-exercises-for-baroque-gesture/caravaggio-calling-of-st-matthew/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg" data-orig-size="620,387" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Caravaggio Calling of St Matthew" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1537" src="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg" alt="" width="440" height="275" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=440&h=275 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=150&h=94 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg?w=300&h=187 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/12/caravaggio-calling-of-st-matthew.jpg 620w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Poetic detail, moving passions, vocal effects, contrasts of <em>tempo</em>, expressive gestures: Leonarda does ‘act with the hand, act with the heart’. The composer’s hand notates subtle <em>tempo </em>changes, in which the serene movement of the Divine Hand is reflected in the diverse pulse-rates of a lover’s human heart. Violinists’ and continuo-players’ hands give life to instrumental music, a microcosm of heavenly perfection, yet swayed by the human passions of the Four Humours. All this is guided by Tactus and expressed by gestures.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg"><img data-attachment-id="3487" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/convent-grille/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg" data-orig-size="186,271" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Convent grille" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg?w=186" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg?w=186" loading="lazy" class="alignnone size-full wp-image-3487" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg" alt="" width="186" height="271" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg 186w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/convent-grille.jpg?w=103&h=150 103w" sizes="(max-width: 186px) 100vw, 186px" /></a></p> <p> </p> <h2>Invisible music</h2> <p> </p> <p>Nevertheless, all Leonarda’s handiwork – composition, Tactus, instrumental-playing and rhetorical gestures – remained unseen. Hidden from the congregation by the grille that closed nuns off from the world, the woman who simultaneously embodied an ardent lover and a religious mystic communicated <em>energia</em> (the baroque spirit of performance), by the <u>aural</u> Enargeia of detailed text and precise <em>tempo</em>. Unlike an opera or court singer, she ‘moved the passions’ and warmed her listeners’ hearts to love by evoking ‘affections of the soul’ in sensual visions that were entirely imagined, not seen.</p> <p> </p> <p>Invisible to her 17<sup>th</sup>-century listeners, almost unnoticed by musicologists until recently, women’s hands are the heart and soul of Leonarda’s music.<br /><br /><br /><em><a href="https://vaasabaroque.com/play/">Listen here</a></em></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg"><img data-attachment-id="3490" data-permalink="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/17th-century-nun/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg" data-orig-size="200,256" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="17th century nun" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg?w=200" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg?w=200" loading="lazy" class="alignnone size-full wp-image-3490" src="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg" alt="" width="200" height="256" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg 200w, https://andrewlawrenceking.com/wp-content/uploads/2020/09/17th-century-nun.jpg?w=117&h=150 117w" sizes="(max-width: 200px) 100vw, 200px" /></a></p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3480" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3480" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/09/06/isabella-leonarda-400th-anniversary/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Isabella%20Leonarda%20400th%20anniversary&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F09%2F06%2Fisabella-leonarda-400th-anniversary%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-early-music tag-early-opera tag-emotions tag-expression tag-hip tag-historical-action tag-history-of-emotions tag-mozart tag-muovere-gli-affetti tag-phrasing tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/" rel="bookmark">Tubae mirae sonus: Mozart & Latin, Gesture & Enargeia</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/#comments">3</a></p> </header> <div class="entry-content"> <h2>The wondrous trumpet – not!</h2> <p>It’s the most famous solo of all time for this instrument, representing the Last Trumpet on the Day of Judgement, and Mozart’s autograph score gives the short title by which we all know it: <em>Tuba mirum</em>, the wondrous trumpet. <br /><br /></p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png"><img data-attachment-id="3457" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/tuba-mirum-short-title/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png" data-orig-size="165,94" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tuba mirum short title" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png?w=165" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png?w=165" loading="lazy" class="alignnone size-full wp-image-3457" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png" alt="" width="165" height="94" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png 165w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum-short-title.png?w=150&h=85 150w" sizes="(max-width: 165px) 100vw, 165px" /><br /></a><br />Unfortunately, that’s quite wrong.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg"><img data-attachment-id="3459" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/angel-trumpet/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg" data-orig-size="888,492" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Angel trumpet" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3459" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg" alt="" width="440" height="244" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=440&h=244 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=880&h=488 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=150&h=83 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=300&h=166 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/angel-trumpet.jpg?w=768&h=426 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The well-known fact that Mozart wrote this sombre fanfare for trombone, not for trumpet, is not the only problem. <em>Tuba mirum </em>simply does not mean “wondrous trumpet”.<br /><br />In Latin, <em>tuba </em>(nominative case) is a feminine noun meaning trumpet. But <em>mirum</em> is the masculine-accusative form of the adjective ‘wondrous’. Gramatically, the two words do not agree. It is not the trumpet that is wondrous.</p> <p>When we compare another famous solo, representing the very same Biblical scene, we have to ask two questions. Why did Mozart choose a trombone, and why does his fanfare go downwards?</p> <h2><br />Handel’s trumpet<br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png"><img data-attachment-id="3461" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/the-trumpet-shall-sound-ms/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png" data-orig-size="462,355" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The trumpet shall sound MS" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=440" loading="lazy" class="alignnone size-full wp-image-3461" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png" alt="" width="440" height="338" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=440&h=338 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=150&h=115 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png?w=300&h=231 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/the-trumpet-shall-sound-ms.png 462w" sizes="(max-width: 440px) 100vw, 440px" /></a></h2> <p><br />Handel’s well-known setting of <em>The Trumpet shall sound </em>in <em>Messiah </em>features an actual trumpet playing upward-directed fanfares, with a thrilling ascent to high A in the second phrase. That’s more like it, isn’t it?<br /><br />The expressivity of 18th-century music is rooted in the ancient Greek concept of <em>Enargeia</em>, the emotional power of detailed description. <a href="https://12b78246-040b-49e8-cd54-7299d0ed188d.filesusr.com/ugd/a41fa4_55670fb7a85541ea8ecd1b883cab59f0.pdf">Read more about <em>Enargeia.</em></a> Enargeia employs Rhetorical language to describe a scene so vividly, that the audience feel they can almost see it with their own eyes. The visions in their imagination send the <em>energia</em> – the energetic spirit of emotional communication – from the mind to the body, producing the physical and emotional responses, the physiological and psychological manifestations of <em>Affekt</em>.</p> <p>Composers aligned their music as closely as possible to the detailed imagery of the text, creating aural Enargeia, like the sound effects in a stage or cinematic drama. These Effects were intended to induce emotional response, to instill Affekt amongst listeners. So rhetorical Enargeia creates embodied Energia, sound Effects create emotional Affekt.<br /><br />The power of Enargeia is in the detail. So when we hear the words ‘The Trumpet shall sound’, the emotional communication is reinforced when we indeed hear the sound of a trumpet. And when the dead are ‘raised’, the vocal and instrumental sounds are also raised in pitch. The powerful connection created by this Word-Painting (also known as Madrigalism) is further reinforced by the gestures with which a singer (in the theatre, or in concert) or a preacher (in church) would accompany the text.</p> <p>At ‘The Trumpet shall sound’ the right hand would be extended from its resting position at the waist, probably to shoulder height. Since ‘Dead’ were still in their graves, the gesture on this word would be downward, perhaps even with the left hand. And then both hands ‘shall be raised’ (the right hand leading), and (the text repeats) raised again, perhaps beyond the normal limit of shoulder-height, lifting eyes and hands towards heaven. The crucial word ‘incorruptible’ might be pointed out with the gesture for ‘pay attention’. </p> <p><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg"><img data-attachment-id="780" data-permalink="https://andrewlawrenceking.com/2014/08/10/how-did-it-feel-a-history-of-heaven-hearts-harps/attentionem-poscit-and-art/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg" data-orig-size="525,266" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Attentionem poscit and art" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-780" src="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg" alt="" width="440" height="223" srcset="https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=440&h=223 440w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=150&h=76 150w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg?w=300&h=152 300w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/attentionem-poscit-and-art.jpg 525w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p><br />Every detail of text, each baroque gesture of the hand, is paralleled in Handel’s music. Enargeia will have its effect. <br /><br />The biblical text itself is from Paul’s first Epistle to the Corinthians, powerfully declaring the Gospel which he preaches (verse 1). The sound of the trumpet (verse 52) is introduced by the recitative ‘Behold, I tell you a mystery’ (verse 51). ‘Behold’ – look! – is the defining signal that Enargeia is about to be employed. The audience is literally commanded to <span style="text-decoration:underline;">see</span> the ‘mystery’ that they are told by the words and music.<br /><br /><br /></p> <h2><br />Mozart’s trombone</h2> <p>Mozart’s <em>tuba </em>provides sound effects for a scene described in the Sequence <em>Dies irae</em>, part of the Requiem Mass. ‘The day of wrath, that day will dissolve the world in ashes’. The context is not the good news of Paul’s declaration of the Gospel, but a dark prophecy from Zephania 1, verse 15.</p> <p style="text-align:left;padding-left:40px;">That day is a day of wrath, a day of trouble and distress, a day of wasteness and desolation, a day of darkness and gloominess, a day of clouds and thick darkness; a day of the trumpet and alarm…</p> <p style="text-align:left;">The third stanza of the Requiem Sequence describes how the trumpet’s sound is heard in the graves all around, to summon everyone to the Final Judgement. When we consider the image in detail, as if we could see it in front of our own eyes, it becomes evident [the Latin term for Enargeia is <em>Evidentia</em>] that this Last Trumpet sounds <span style="text-decoration:underline;">below</span>, in the graves, even in Hell itself.<br /><br />Whereas the Baroque Trumpet is associated with glorious majesty, heraldry and heaven, the Trombone (in English, Sackbut) was associated with solemnity and the underworld. Trombones accompany the lower voices in Monteverdi’s settings of liturgical psalms, and set the scene in Hell for Act III of <em>Orfeo </em>(1607). Trombones represent the Furies of Hell in Gluck’s <em>Orfeo ed Euridice</em> (1762) and the supernatural power of the statue of the Commandatore in the cemetery scene of Mozart’s <em>Don Giovanni </em>(1787).<br /><br />The blast of this solemn instrument is appropriately directed downwards in Mozart’s <em>Requiem </em>(1791, incomplete), to resound <em>per sepulchra regionum </em>– throughout the regions’ graves. So whilst we hear the word <em>Tuba</em>, we simultaneously hear that ‘dread Trumpet’ sustaining a low note – as if down amongst the graves. <br /><br />Whilst the Gesture for these words might commence medium-high for <em>tuba</em>, it will inevitably descend (and probably leftwards) towards <em>sepulchra regionum</em>. So Mozart’s choice of Trombone and a downward-directed fanfare are perfectly in keeping with the principles of Enargeia.<br /><br />Two bars later, listeners find themselves down in the graves with the singer on low Bb, whilst the dread sound is diffuse, scattered from way above, solemn even mournful with expressive Ab and even Gb. The picture is complete and detailed, and the emotional effect for the vision-imagining listener is very different from that of Handel’s trumpet. <br /><br />Handel’s listeners are triumphant, given the promise of eternal life: “… and we shall be changed. We <span style="text-decoration:underline;">shall</span> … be <span style="text-decoration:underline;">changed</span>!”. Mozart’s congregation are called to be judged for their sins, whilst they reflect on death. <br /><br />Every detail of the texts, each baroque gesture of the hand, two contrasting imagined visions are paralleled in Handel’s and Mozart’s musics. Enargeia will have its effects. </p> <h2 style="text-align:left;"><br />Detail <br /><br /></h2> <p>Enargeia is all about detail, and there still remains one niggling difficulty with Mozart’s setting. <em>Tuba mirum </em>does <span style="text-decoration:underline;">not</span> mean ‘wondrous Trumpet’, or even ‘dread Trumpet’. The adjective <em>mirum</em> is gramatically attached to the noun <em>sonum</em>, the object of the verb (present participle) <em>spargens. </em><strong>The trumpet, scattering its dread sound throughout the regions’ graves, calls everyone before the Throne [of Judgement].<br /><br /></strong>It is not the trumpet itself, but its <span style="text-decoration:underline;">sound</span>, that is wondrous. In terms of Enargeia, the effect of sound is to create Affekt. The instrument itself is a real-world 18th-century trombone, but the Enargeia of its sound creates the emotional effect of the Day of Judgement.<br /><br />Why does this nit-picking of Latin grammar matter? In a word, punctuation. In music, that means phrasing.<br /><br />The English word-order makes it clear that a comma needs to be understood, between ‘The trumpet’ and ‘scattering its dread sound’. Latin allows <em>spargens sonum mirum </em>to be re-ordered as <em>mirum spargens sonum </em>(for the sake of the rhymed verse), but that comma still needs to be understood after <em>tuba</em>.<br /><br />But ever since 1791, the well-known short title has encouraged us to think of the text as <em>Tuba mirum</em>. Whoops! The sense of the text suggests rather the musical phrasing <em>Tuba // mirum spargens so………num </em>with the word for ‘sound’ extended for great Enargeatic effect. If that phrasing sounds strange to your ears, that’s entirely the point of this article.</p> <h2>Phrasing</h2> <p><br />A frequently-encountered 18th-century principle of phrasing [see Quantz for example] is that notes which move by step tend to be legato, jumps suggest staccato or a break in the phrase. At first glance, the sound of Mozart’s wondrous trumpet [in Latin, that would be <em>Tubae mirae sonus</em>] seems to be all jumps, there is no step-wise movement at all. But if we consider that the trombone is representing a trumpet, then (in the 18th century) adjacent notes in the harmonic series could count as ‘steps’, not jumps.</p> <p>In this sense, <em>Tuba </em>is linked as two adjacent notes, and there is a marked jump upwards (wondrously: the gesture to open the hands palms upwards and raise the eyes to heaven in awe, <em>admiratio</em>) for <em>mirum</em>, from where the harmonics continue smoothly downwards. <br /><br />(OK, the harmonic series more-or-less continues: depending on which octave you imagine has the fundamental Bb, the descending phrase either includes a low D which is not strictly in the series, or wondrously avoids middle C. But poetic imagery does allow some poetic license!)</p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png"><img data-attachment-id="3465" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/admiror-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png" data-orig-size="463,417" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Admiror" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=440" loading="lazy" class="alignnone size-full wp-image-3465" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png" alt="" width="440" height="396" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=440&h=396 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=150&h=135 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png?w=300&h=270 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/admiror.png 463w" sizes="(max-width: 440px) 100vw, 440px" /></a><br /><br />Every detail of text, each historical gesture of the hand, is paralleled in Mozart’s music. Enargeia will have its effect. <br /><br /><br /></p> <h2>Tactus and Tempo<br /><br /><br /></h2> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png"><img data-attachment-id="3466" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/tuba-c-slash/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png" data-orig-size="116,63" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tuba C-slash" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png?w=116" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png?w=116" loading="lazy" class="alignnone size-full wp-image-3466" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-c-slash.png" alt="" width="116" height="63" /></a></p> <p> </p> <p>In the 18th-century, <em>tempo </em>defines not just speed, but the emotional quality of the movement, conveyed not by modern conducting, but by Tactus-beating. The dramatic timing of the Enargeatic visions depends on musical rhythm. As many period writers expressed it: <a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">Tactus is the Soul of Music</a>.<br /><br />Although Mozart clearly wrote C-slash, Andante, many printed editions show the time-signature C. See this article by Douglas Yeo on the wondrously-named blog <a href="https://thelasttrombone.com/2016/10/14/rethinking-mozarts-tuba-mirum/"><em>The Last Trombone</em></a> for more. </p> <p><br /><br /><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png"><img data-attachment-id="3467" data-permalink="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/tuba-mirum/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png" data-orig-size="750,556" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tuba mirum" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=440" loading="lazy" class="alignnone size-full wp-image-3467" src="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png" alt="" width="440" height="326" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=440&h=326 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=150&h=111 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png?w=300&h=222 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/07/tuba-mirum.png 750w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3432" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3432" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Tubae%20mirae%20sonus%3A%20Mozart%20%26%20Latin%2C%20Gesture%20%26%20Enargeia&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F07%2F09%2Ftubae-mirae-sonus-mozart%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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><span>Twitter</span></a></li><li class="share-end"></li></ul></div></div></div></div></div><div class='sharedaddy sd-block sd-like jetpack-likes-widget-wrapper jetpack-likes-widget-unloaded' id='like-post-wrapper-56032818-3432-674310928d723' data-src='//widgets.wp.com/likes/index.html?ver=20241124#blog_id=56032818&post_id=3432&origin=andrewlawrenceking.wordpress.com&obj_id=56032818-3432-674310928d723&domain=andrewlawrenceking.com' data-name='like-post-frame-56032818-3432-674310928d723' data-title='Like or Reblog'><div class='likes-widget-placeholder post-likes-widget-placeholder' style='height: 55px;'><span class='button'><span>Like</span></span> <span class='loading'>Loading...</span></div><span class='sd-text-color'></span><a class='sd-link-color'></a></div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/18th-century/" rel="tag">18th century</a>, <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-gesture/" rel="tag">Baroque Gesture</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" rel="tag">Early Music</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/expression/" rel="tag">Expression</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/historical-action/" rel="tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/mozart/" rel="tag">Mozart</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/phrasing/" rel="tag">Phrasing</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/07/09/tubae-mirae-sonus-mozart/" title="Permalink to Tubae mirae sonus: Mozart & Latin, Gesture & Enargeia" rel="bookmark" class="permalink"><span class="month upper">Jul</span><span class="sep">·</span><span class="day lower">09</span></a></p> </footer> </article> <article id="post-3289" class="post-3289 post type-post status-publish format-standard hentry category-early-harps category-historical-action category-history-of-emotions category-improvisation category-introductions category-moving-the-passions category-music-dance-swordsmanship category-rhythm category-text tag-early-harp tag-early-music tag-early-opera tag-hip tag-history-of-emotions tag-ludus-danielis tag-medieval tag-rhythm"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/" rel="bookmark">Congaudentes (Happy Together)</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <p>This post reports on an open, free online multi-track recording project, presented by OPERA OMNIA Moscow, coming out of an online workshop on Medieval Improvisation organised in collaboration with the Guildhall School of Music & Drama, London. Thank you to everyone who took part: this article is one way of showing appreciation.</p> <p>Participants from all over the world (see below) sent in their improvised tracks, which were mixed into the sound of a medieval Conductus. The workshop and recording-project are linked to the International Baroque Opera Studio’s training production of LUDUS DANIELIS, planned for the end of August 2020. As always, that production will be Historically Informed not only in the musical approach, but also in the staging. You can follow <a href="https://www.facebook.com/pg/OperaOmniaMoscow">OPERA OMNIA on Facebook</a>.</p> <p>Here is a video of the <a href="https://www.youtube.com/watch?v=qv2epj5mnMM">Workshop</a>.</p> <p>Here is an illustrated video discussion of <a href="https://www.youtube.com/watch?v=TccC7KTP_Io&t=30s">Performance Practice questions</a> for <em>Ludus Danielis</em>, with <strong>clips from the 2011 production</strong> in Copenhagen.</p> <p>Here is a video summary of <a href="https://www.youtube.com/watch?v=f5K4-huT7Ao&t=14s">Medieval Improvisation Techniques for <em>Conductus</em>.</a></p> <p>And here is the <a href="https://www.youtube.com/watch?v=J_pqefSfRRk">final audio/video multi-track mix</a> of the <em>Gaudentes</em> project.</p> <p>Additional links to various sectional mixes are below.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3329" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg"><img aria-describedby="caption-attachment-3329" data-attachment-id="3329" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/untitled-201-tif/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg" data-orig-size="2749,4288" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"untitled 201.tif","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"untitled 201.tif","orientation":"1"}" data-image-title="untitled 201.tif" data-image-description="" data-image-caption="<p>untitled 201.tif</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=192" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=440" loading="lazy" class="size-full wp-image-3329" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg" alt="" width="440" height="686" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=440&h=686 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=880&h=1372 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=96&h=150 96w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=192&h=300 192w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=768&h=1198 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/ms-page-1.jpg?w=656&h=1024 656w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3329" class="wp-caption-text">untitled 201.tif</p></div></p> <h2></h2> <h2>Ludus Danielis</h2> <p>The Play of Daniel, <em>Ludus Danielis</em>, was created in the late 12th century at Beavais Cathedral in northern France, and notated in the early 1200s in the <a href="http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Egerton_MS_2615">Egerton MS 2615,</a> now in the British Library. William Smoldon, who edited it for the Plainsong and Medieval Musical Society in 1960, described it as a ‘medieval opera’: academically, it would be categorised as Liturgical Drama. The work was made famous in the USA in Noah Greenberg’s operatic production, premiered in Washington’s National Cathedral in 1958, which gave many spectators their first experience of Early Music. [In another context, I’m honoured to be a recipient of the Noah Greenberg prize for musicological/performance collaboration.]</p> <p>Whilst the Play certainly is medieval, and does have all the ingredients we would expect to find in opera – script, music, action, plot, drama, characters, costumes, illusion, pathos, humour, entertainment – it can only be understood in the context of its liturgical setting. As the monks chanted the long night-office of Mattins, suddenly a chorister interrupts the service and sparks off a participatory drama in which clerics and children act out to lively popular melodies the Bible stories of Belshazzar’s Feast, the Writing on the Wall and Daniel in the Lions’ Den.</p> <p>Daniel is of course saved from the Lions, who devour the Evil Counsellors instead. The prophet foretells the coming of Christ, and an Angel announces the glad tidings of Christmas. The Angel’s music was the finale to earlier dramas too, and it neatly leads into a joyful Te Deum, picking up the thread of the liturgy again.</p> <p>So ‘this medieval opera’ takes it narrative from the Bible, has clerics and choristers as actors, and the cathedral itself as stage and scenery. Most likely, the Bishop’s seat became the Throne for King Belshazzar.</p> <p>Certainly, it was <em>tripudium </em>– a party. The rubric (liturgical instructions written in red ink) requires a monk to dress as the Queen, the apparent ‘murder’ of King Belshazzar, a running race between two monks in the role of invading soldiers, and the prophet Habakkuk to be dragged by the hair of his head to bring refreshment to Daniel in the Lions’ Den, as well as the Lions (presumably played by young choristers) eating up the Evil Counsellors (senior clerics). When messengers (probably the teenage Sub-Deacons who managed the whole production) were sent to find Daniel (perhaps the Choirmaster), we can readily imagine an extended game of Hide & Seek in the darkness of the Cathedral. In the long nights of early January, there was plenty of time…</p> <p>Nevertheless, all this fun was for a sacred purpose, celebrating yet another feastday in the exhausting cycle of Christmas holy days. For this special day, there was lively enaction of colourful Bible episodes, helping to teach youngsters to know their Saints, understand their Latin, and comprehend the complex doctrine of Old Testament prophecy and New Testament gospel, which the Play presents from the divine perspective of a ‘now’ that unites Past and Future in the eternal Present.</p> <p>Modern-day History of Emotions studies help us understand the psychological function of this (carefully ordered) foolery. The ceaseless round of the Daily Office, singing psalms, reciting scripture and chanting prayers even through the night, intensifies with Advent’s rich music and liturgy, long dark nights of solemn chant with little to eat during the traditional fast. Then comes Christmas, with a blaze of candle-light and even longer services, singing joyfully all day and all night, and continuing with celebrations of saints’ days all week.</p> <p>The accumulated social tensions of sleep deprivation, intermittent nutrition, and overwork, all within a strictly disciplined and hierarchical single-sex institution could be released, under control, in a party that was not chaos, but <em>ordo</em>: a form of liturgy, literally keeping order, maintaining the social and mental health of a religious Order.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg"><img data-attachment-id="3323" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/lions/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg" data-orig-size="800,533" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="lions" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3323" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg" alt="" width="440" height="293" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg?w=440&h=293 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg?w=150&h=100 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg?w=300&h=200 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg?w=768&h=512 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions.jpg 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Producing the Play</h2> <p>I first produced <em>Ludus Danielis </em>in the 1970s, in Guernsey’s Town Church, the Cathedral of St Peter Port, performed by members of the church choir. This production thus had something of the medieval group dynamic of a set of teenage choristers within the small community of a religious institution, and featured the many processions in which the historical action bursts out of the confines of the choirstalls to occupy the whole building.</p> <p>The Harp Consort’s CD recording in 1998 was inspired by Margot Fassler’s research into popular traditions of the Feast of Fools, in <em>Plainsong in the Age of Polyphony</em> (1992), which showed connections between medieval party-games and Biblical episodes enacted in the Play. The Kalamazoo publication (1996) of <em>Critical Essays </em>on the Play included a monochrome facsimile of the MS and a neutral transcription (which however followed all previous editions in assigning the wrong octaves to the Queen’s speech and to Daniel’s lament, see below.)</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg"><img data-attachment-id="3324" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/ludus-danielis/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg" data-orig-size="240,240" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ludus Danielis" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg?w=240" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg?w=240" loading="lazy" class="alignnone size-full wp-image-3324" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg" alt="" width="240" height="240" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg 240w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/ludus-danielis.jpg?w=150&h=150 150w" sizes="(max-width: 240px) 100vw, 240px" /></a></p> <p> </p> <p>Our recording project also established the outline of a historical informed pronunciation of c1200 northern French Latin, guided by Harold Copeman. With a superb ensemble of instrumental and vocal soloists, we extended to the whole group the techniques of medieval improvisation I had developed playing harp and psaltery in Paul Hillier’s Trobador and Trouvère recordings.</p> <p>This concept of ensemble improvisation was taken even further in The Harp Consort’s Edison Award-winning <a href="http://www.harmoniamundi.com/#!/albums/620">CD (2003) of written and improvised polyphony</a> from the closely related repertoire of Gautier de Coincy’s <em><a href="https://www.medievalmusicbesalu.com/medieval-music-library-online/">Les Miracles de Notre Dame</a>.</em></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg"><img data-attachment-id="3326" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/miracles-cd/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg" data-orig-size="1024,1024" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Miracles CD" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3326" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg" alt="" width="440" height="440" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=440&h=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=880&h=880 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=150&h=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=300&h=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/miracles-cd.jpg?w=768&h=768 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In 2007, The Harp Consort’s musical approach and my processions-production combined with director Akemi Horie’s <a href="http://www.ahorie.net/On_Daniel.htm">exquisite Japanese minimalist design</a> for performances in Kings College Chapel, Cambridge and Southwark Cathedral, London.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg"><img data-attachment-id="3331" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/lions-southwark/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg" data-orig-size="497,366" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Lions Southwark" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3331" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg" alt="" width="440" height="324" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg?w=440&h=324 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg?w=150&h=110 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg?w=300&h=221 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lions-southwark.jpg 497w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Many of the same cast performed in a fully HIP production in York Minster for the 2008 York Early Music Festival, broadcast live by BBC Radio Three. A BBC sound engineer followed our processions around the church with an array of microphones mounted cross-wise on a long pole, like some kind of high-tech crucifer. In place of the usual pre-concert talk, we taught audience members the basics of medieval improvisation in the splendid acoustic of the Chapter House.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg"><img data-attachment-id="3332" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/julian-as-daniel/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg" data-orig-size="277,203" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Julian as Daniel" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg?w=277" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg?w=277" loading="lazy" class="alignnone size-full wp-image-3332" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg" alt="" width="277" height="203" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg 277w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/julian-as-daniel.jpg?w=150&h=110 150w" sizes="(max-width: 277px) 100vw, 277px" /></a></p> <p> </p> <p>By 2011, we had added a lot of detail to the historical action, and developed a new dramatic ‘frame’ for a production in collaboration with Ars Nova, Denmark. To the essential elements of processions and partying were added medieval gesture, including St Benedict’s seven postures of prayer, and better stylised, more sharply defined movement styles for monks, courtiers and soldiers. See Schmitt <em><a href="http://www.gallimard.fr/Catalogue/GALLIMARD/Bibliotheque-des-Histoires/La-Raison-des-gestes-dans-l-Occident-medieval">La Raison des gestes</a> </em>(1991). Medieval art provided inspiring images of powerful gestures, for example when Darius commands that Daniel be brought out of the Lions’ Den, and the Evil Counsellors thrown in!</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3302" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg"><img aria-describedby="caption-attachment-3302" data-attachment-id="3302" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/good-guys-bad-guys/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg" data-orig-size="464,482" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Good guys &amp; bad guys" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg?w=289" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg?w=440" loading="lazy" class="wp-image-3302 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg" alt="" width="440" height="457" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg?w=440&h=457 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg?w=144&h=150 144w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg?w=289&h=300 289w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/good-guys-bad-guys.jpg 464w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3302" class="wp-caption-text">A possible gesture for “Danielem educite, et emulos immitite!”</p></div></p> <p> </p> <p>As the audience entered, the endless chanting of the year-long liturgy was already in progress, and at the end of the play, kings and queen, soldiers and courtiers faded back into their daily lives, under the strict control of monastic discipline. As one of the cast commented: “Game over.”</p> <p>In a resonant acoustic, we found that just three multi-instrumentalists from The Harp Consort (plus a sinfonye-playing Daniel) could provide all the support and variety of colour needed for the entire choir. I made a new edition, and thought anew about questions of pitch and pitch relations. This project also marked the first performance in modern times of Daniel’s famous Lament, in the written octave: all previous editions had transposed it down an octave.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg"><img data-attachment-id="3294" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u-3-2-229-jpg-crdownload/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg" data-orig-size="645,1012" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Hunterian Psalter England c1170 Sp Coll MS Hunter U.3.2 (229).jpg.crdownload" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg?w=191" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg?w=440" loading="lazy" class="wp-image-3294 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg" alt="" width="440" height="690" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg?w=440&h=690 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg?w=96&h=150 96w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg?w=191&h=300 191w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hunterian-psalter-england-c1170-sp-coll-ms-hunter-u.3.2-229.jpg.crdownload.jpg 645w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>In this medieval Psalter, God hands down from heaven musical intervals, perhaps even specific pitches, to bell ringers, to King David and to more lowly instruments. Ladders represent hexachord scales.</p> <p>In 2014, the production came to the Galway Early Music Festival, with St Nicholas’ Church as the venue and the church choir as the core cast. So once again there was that sense of medieval community and, for the first time, the show involved a large number of youngsters, who brought wonderful energy to the performance. I will never forget one of the junior choristers leaping to grab the scholar’s hat off the head of one of Belshazzar’s none-too-clever Wise Men, played by the Choirmaster, nor the sight of some two dozen young Lions waiting to devour the hapless Evil Counsellors.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg"><img data-attachment-id="3334" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/lud-dan-dchoristers-web/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg" data-orig-size="600,583" data-comments-opened="1" data-image-meta="{"aperture":"3.3","credit":"","camera":"D-LUX 5","caption":"","created_timestamp":"1431633262","copyright":"","focal_length":"19.2","iso":"1600","shutter_speed":"0.125","title":"","orientation":"1"}" data-image-title="Lud-Dan-DChoristers-web" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3334" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg" alt="" width="440" height="428" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg?w=440&h=428 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg?w=150&h=146 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg?w=300&h=292 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lud-dan-dchoristers-web.jpg 600w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Enargeia – the emotional power of detailed description</h2> <p> </p> <p>In that same year of 2014, Max Harris’ book on <em>Sacred Folly </em>re-assessed source materials for Feast of Fools practices, downplaying the extent of louche behaviour and emphasising the religious message behind all the dramatised action. Harris re-interpreted Fassler’s work on medieval games and religious <em>ordo</em> as a response to secular New Year celebrations in the city, rather than as a reaction against depraved behaviour in church.</p> <p>Harris singles out The Harp Consort’s recording of <em>Ludus Danielis </em>for special praise, and also recommends another version in which the singers are accompanied only by ‘discreet percussion’. Whilst I’m grateful for his kind words about our work, it must be pointed out that there is no logic in allowing drums rather than harps! The rubric specifically calls for harpers, but not for drums.</p> <p>Drums <span style="text-decoration:underline;">are</span> mentioned in the sung text that describes King Darius’ entrance <em>Ecce Rex Darius. ‘</em>Look, here comes King Darius with his nobles; and his court resounds with happiness and partying…. Let all celebrate as the drums resound: the harpists strike the strings, and musical instruments resound to herald him!’ The usual assumption in historical drama is that stage action represents, within the limits of practicality, what is spoken/sung in the script/libretto.</p> <p>Indeed, this is the period principle of <a href="https://12b78246-040b-49e8-cd54-7299d0ed188d.filesusr.com/ugd/a41fa4_55670fb7a85541ea8ecd1b883cab59f0.pdf"><em>Enargeia</em></a>, by which detailed verbal description (often signalled with <em>Ecce!, Ecco! Siehe! Behold! </em>etc) creates mental images for the audience, the emotionally affective <em>Visions</em> described by Quintilian. To the spectators’ ‘imaginary puissance’ is added the visual detail enacted by the performers and the aural effects of appropriate tone-colours of speech, music and stage noise. All this unites (according to Rhetorical Decorum) and combines to ‘move the passions’ with <em>Energia</em>, the spirit of emotional communication that links mental and physical responses to emotion. Visions and sound-effects produce emotional Affekt; performed details of <em>enargeia </em>produce emotional <em>energia</em>. Following this principle, in <em>Ludus Danielis </em>we would expect to see and hear drums, harps and other musical instruments in Darius’ procession; clapping and dancing at Belshazzar’s Feast.</p> <p>With an unconvincing argument relying on 20th-century Anglicanism, Harris considered rejecting the principle of <em>Enargeia</em>. But this would rule out the drum, whilst the rubric confirms the presence of harps. And any medieval hierarchy of liturgical and clerical instruments would begin with bells and King David’s harp, and descend to via fiddles and sinfonyes to lowly wind instruments and drums. See Christopher Page <em>Voices and Instruments of the Middle Ages</em> (1987) [sadly, this is out of print, and I could find no online access or purchase options: try academic libraries].</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3304" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg"><img aria-describedby="caption-attachment-3304" data-attachment-id="3304" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/harp-bagpipe/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg" data-orig-size="481,278" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Harp &amp; bagpipe" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg?w=440" loading="lazy" class="wp-image-3304 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg" alt="" width="440" height="254" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg?w=440&h=254 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg?w=150&h=87 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg?w=300&h=173 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/harp-bagpipe.jpg 481w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3304" class="wp-caption-text">Medieval hierarchy of instruments: King David, crowned in gold, sits with his harp on a golden throne; a lowly piper sits on the ground.</p></div></p> <p> </p> <p>In short, for <em>Ludus Danielis</em> harps are obligatory, and drum-only makes no sense at all.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg"><img data-attachment-id="3297" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/king-david-973/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg" data-orig-size="512,657" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="King David 973" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg?w=234" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3297" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg" alt="" width="440" height="565" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg?w=440&h=565 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg?w=117&h=150 117w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg?w=234&h=300 234w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/king-david-973.jpg 512w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <h2></h2> <h2>Controversy</h2> <p>Two crucial questions about <em>Ludus Danielis</em> remain controversial. Did instruments take part at all? And, to put it simply, how much fun did the monks allow themselves?</p> <p>At a Medieval Events conference in Budapest in 2015, the standard of music-scholarship was woefully low, and I was disappointed that the chairman of the <em>Daniel </em>session gave – as if with authority – simplistic answers, “no” and “not much”, to these deep questions. Perhaps he was still following the musicological mood of the 1990s, or had too hastily skimmed Harris’ conclusions, but it must be said that he offered neither academic arguments nor historical evidence.</p> <p>And there <span style="text-decoration:underline;">is</span> evidence. The rubric of the Egerton MS clearly requires harpists. <em>Statim apparebis Darius Rex cum Principibus suis venientque ante eum cythariste </em><em>et Principes sui psallentes hec. ‘</em>Suddenly King Darius appears with his nobles, and the harpists and nobles come before him ‘psalming’ like this.’ <em>Psallentes</em> (which I translate literally as ‘psalming’) suggests singing and playing instruments associated with King David the Psalmist: harps and psalteries. The real-life Norman tradition of medieval harpists striking the first blow at battles (read Wace on Taillesfer at the Battle of Hastings) supports the identification of <em>cythara </em>specifically with Harp.</p> <p>The Egerton rubric also gives ‘stage directions’ for many other actions that would be unthinkable within the normal order of the liturgy. So we may well ask: in an enactment that includes pretending to kill King Belshazzar, a monk dressing up as the Queen, and Counsellors being utterly devoured by Lions, would it be utterly out of the question for King Darius’ harpers – we know they are there – actually to play? The notion that the harps are silent stage props seems out of keeping with the straightforward and energetic (one might say, enargetic) story-telling required by the rubric throughout.</p> <p>Furthermore, it can be argued that <em>psallentes</em> is an instruction for singing to instrumental accompaniment. For King Belshazzar’s procession, the rubric is different: <em>Dum venerit Rex Balthasar, Principes sui cantabant ante eum haec prosam. </em>‘When King Belshazzar comes, his nobles sing before him this prose’. Prose and singing for one King, psalms and harpistry for another?</p> <p>Later in 2015, scholars opposed to what has been dubbed the ‘English a cappella heresy’ sent me references to use of instruments in medieval churches, many of them associated with liturgical enactments for particular feasts. Unfortunately I can’t cite these references here, because my notes from these years were lost when my laptop was stolen in 2018. So I’ve started that search again. In the meantime, Daniel Leech Wilkinson <em><a href="http://services.cambridge.org/us/academic/subjects/music/twentieth-century-and-contemporary-music/modern-invention-medieval-music-scholarship-ideology-performance?format=HB">The modern invention of medieval music</a> </em>(2002) explains how and why the topic of instrumental participation occasioned such passionate scholarly and artistic disagreements.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg"><img data-attachment-id="3307" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/killing-the-king/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg" data-orig-size="800,521" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="killing-the-king" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3307" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg" alt="" width="440" height="287" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg?w=440&h=287 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg?w=150&h=98 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg?w=300&h=195 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg?w=768&h=500 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/killing-the-king.jpg 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Widening our gaze beyond the narrow question of musical instruments, it is very difficult to define in detail what behaviours, normally proscribed, would have been permitted, even required, for this unique outburst of medieval religious energy. We may never know what actually happened. But the investigative lens of History of Emotions Studies focuses on a different question: how did it <span style="text-decoration:underline;">feel </span>for those medieval monks to participate in this Play? Fassler’s and Harris’ work shows that there was a social and artistic tension between dramatic shock and religious awe, between <em>tripudium</em> and <em>ordo.</em> There is no doubt that, whatever it was that happened back then, it must have stretched the limits of monastic <em>habitus</em>.</p> <p>Certainly therefore, a bland or discreetly tasteful performance is inauthentic. As Harris writes: “a little controlled disorder can sometimes enhance rather than diminish devotional effect…. the Play of Daniel was inspired, at least in part, by the same creative impulse [as in other less complex plays] to employ ludic means for devotional ends”. Circa 1200, the novices’ religious duty was to enact immorality and violence, as part of the sacred ritual and of their religious instruction. In medieval dramas, as in any school nativity play today, someone might have to play an evil character, notably Herod. In such a role, you are required to behave badly. So were the actors playing Belshazzar’s courtiers and Darius’ Evil Counsellors.</p> <p>To appreciate <em>Ludus Danielis</em>, modern-day performers and audiences need to perceive the sanctity of the regular liturgy, the ludic energy of the Play, and the tension between these two elements. It is not enough for them to read a learned article about the Daily Office or Feast of Fools celebrations: they should <span style="text-decoration:underline;">feel</span> the impact of this collision of values. A HIP production has to search for ways to convey an experience of what was appropriate in the medieval cathedral, and (more challengingly) what might have been appropriately inappropriate!</p> <p>For the upcoming production with <strong>OPERA OMNIA</strong>, I hope to explore further another paradox of this ‘medieval opera’. There was no ‘audience’ at Mattins in medieval Beauvais. For a liturgical drama enacted in the middle of the night in early January, there might not even have been any lay congregation. Most probably, <em>Ludus Danielis </em>was a participatory ‘happening’, in which the entire monastic community took part, singing the well-known melodies, joining the processions, taking on the ‘chorus’ roles of courtiers and soldiers, even if they did not play a principal character. In previous productions, I invited audience members to imagine themselves as time-tourists, visiting medieval Beauvais and witnessing the extraordinary events there, one certain night of the year. But perhaps the audience can themselves become medieval monks, and feel the shock of transforming themselves into courtiers and soldiers, and the indescribable emotions of returning to the ceaseless daily round of prayer when the Play is over.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg"><img data-attachment-id="3310" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/dog-show-hero/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg" data-orig-size="480,589" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dog show hero" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg?w=244" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3310" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg" alt="" width="440" height="540" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg?w=440&h=540 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg?w=122&h=150 122w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg?w=244&h=300 244w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/dog-show-hero.jpg 480w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>This <a href="https://www.youtube.com/watch?v=TccC7KTP_Io&t=30s">video</a> illustrates and expands on some of the performance practice questions discussed in this article.</p> <h2></h2> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg"><img data-attachment-id="3318" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/very-miserable-monks/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg" data-orig-size="800,533" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="very-miserable-monks" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3318" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg" alt="" width="440" height="293" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg?w=440&h=293 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg?w=150&h=100 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg?w=300&h=200 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg?w=768&h=512 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/very-miserable-monks.jpg 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Conductus</h2> <p>Many medieval liturgical dramas feature a procession. The episodes dramatised in <em>Ludus Danielis</em> are punctuated by no less than eight formal processions accompanied by music: for King Belshazzar, the Sacred Vessels, the Queen, Daniel, the Queen’s exit, Daniel’s exit, Darius’ invasion, and Daniel’s re-entrance. In addition the Wise Men have to make an entrance, and the rubric suggests considerable comings and goings of messengers, Habbakuk’s flying visit to the Lions’ Den, and the Evil Counsellor’s repeated spying missions, going to and fro between Darius’ throne and Daniel’s house, wherever these might have been located within the cathedral.</p> <p>When clergy had to move solemnly around the chancel, for example to the position for reading the Gospel, they would process as a group. Latin <em>conductus </em>is the past participle of <em>conducere</em>, from <em>con</em> = with, and <em>ducere </em>= to lead. <em>Conductus</em> was a way to sing with clear rhythm that would unify everyone’s steps. <em>Conductus</em> poetry was written with short lines and strong, regular metrics, suiting this kind of rhythmic singing.</p> <p>Once the rhythm was stable, it became easier to improvise additional voices over the written melody, and the words remained clear, since the independent voices moved in the same rhythm. So <em>conductus </em>became a particular type of polyphony, usually in two or three parts.</p> <p>At major feasts, singers would return to their home town, bringing with them the latest polyphonic ideas from Notre Dame de Paris and the Paris University. And the region around Beauvais was famous for Trouvère lyrics and for Gautier de Coincy’s transformations of popular songs into religious <em>conductus </em>in <em><a href="http://www.harmoniamundi.com/#!/albums/620">Les Miracles de Notre Dame</a>. </em>In this atmosphere of experiment and creativity, it is highly plausible that singers introduced unwritten polyphony into the <em>conductus </em>processionals of <em>Ludus Danielis.</em></p> <p>As historical models for such improvised polyphony, surviving written sources are almost certainly intended for performance one-to-a-part. We can only speculate whether the singers of <em>Ludus Danielis </em>reserved certain passages for duos or trios (the classic sound of Parisian early polyphony), if one or two soloists provided improvised discants over the massed voices on the written tenor, or if there was a rich heterophony of simultaneous improvisation, unified by the note-against-note syllabic style and strong rhythm of <em>conductus. </em> The raison d’etre of the event, dramatising Bible history and religious doctrine, keeping sufficient order whilst enacting appropriate inpropriety, suggests that limits might have been stretched in this area of performance, as in others.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png"><img data-attachment-id="3337" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/congaudentes-ms/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png" data-orig-size="911,693" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Congaudentes MS" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=440" loading="lazy" class="alignnone size-full wp-image-3337" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png" alt="" width="440" height="335" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=440&h=335 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=880&h=670 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=150&h=114 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=300&h=228 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-ms.png?w=768&h=584 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In our May 2020 workshop, we rehearsed the essential period techniques: parallel organum in octaves and fifths and a constant drone. <a href="https://www.jstor.org/stable/841538?seq=1">Jerome of Moravia’s fiddle treatise</a> suggests that one can create a harmony for occasional notes, otherwise remaining on the written tune. [Note that this is quite different from an alternating drone, in the fashion of Irish ‘double-tonic’ tunes] We rehearsed typical movement at cadences, with a dissonant third or sixth resolving to a consonant fifth, unison or octave.</p> <p>Jerome of Moravia also suggests a more demanding option, providing a harmony for every note of the written tune, i.e. a entire new polyphonic voice. We practised ways to do this using ‘fifthing’ – moving from unison towards a drone fifth, or parallel fifths, and back to unison; and by contrary motion, ‘mirroring’ the contours of the written melody.</p> <p>We discussed the use and abuse of thirds, and attitudes to dissonance/resolution generally. Historical examples show that a lot of passing dissonance seems to have been accepted, sometimes even at the ends of intermediate phrases.</p> <p>Here is a <a href="https://www.youtube.com/watch?v=f5K4-huT7Ao&t=14s">video summary of medieval improvisation techniques for <em>Conductus</em>.</a></p> <p> </p> <h2>Free, open, online multi-track recording project</h2> <p>For the recording project, I provided as a backing track a neutral harp-solo version of the second <em>Conductus Danielis</em>, which has the appropriate incipit <em>Congaudentes </em>– rejoicing together. Each participant listened to this track on headphones, whilst recording their own performance around it. Some played in duo, some sent in multiple tracks, one singer recorded 7 independent tracks. The project was free and open, and everyone who submitted a track had their work included. The list of participants is below, and I thank them all again!</p> <p>Here is the same <em>Congaudentes </em>chorus, from <a href="https://www.youtube.com/watch?v=ECXMTw3yVqo">The Harp Consort’s 1998 recording</a>.</p> <p>Here is the <a href="https://www.youtube.com/watch?v=JgTCvFUQoYU">backing track</a> for the May 2020 multi-track project, in case you would like to practise with it.</p> <p>Participants came from many countries. Some are internationally known, one made her first ever recording for this project. This authentically reproduces the situation in c1200 Beavais, where experienced singers of polyphony and senior clerics sang alongside the young choiristers who presented the show.</p> <p>The standard of all the tracks was remarkably high; all the more so, if one bears in mind that individual performers did not hear each other until the whole thing was mixed and uploaded. In the following report, I attempt to offer some academic analysis and helpful comments, without exposing anyone to personal criticism or undue individual exposure in what was from beginning to end an ensemble project.</p> <p>Recording yourself and listening critically, and repeating this process intensively, as one does in a professional CD recording, creates a very steep learning curve. I greatly appreciate the work of record producers who have guided me through this process, and I would recommend it to any student or professional who is keen to improve, at whatever level.</p> <p>For this project, in the course of many, many hours of audio and video editing, I listened to every individual track several times, and also heard how different combinations of soloists fitted together. All of the improvisations were plausible and fitted well with the stylistics we had studied, and there was a delightful variety of individual approaches, all with a lively energy appropriate to the context within the Play. The following comments are therefore from the perspective of a listening editor.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png"><img data-attachment-id="3317" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/congaudentes-wip/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png" data-orig-size="1920,1080" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Congaudentes WIP" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=440" loading="lazy" class="alignnone size-full wp-image-3317" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=880&h=496 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-wip.png?w=768&h=432 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>There were in the end 56 audio tracks (Audacity) and 38 video tracks (Nero video) to be mixed. For anyone else who might be contemplating a similarly large-scale multi-track project, I would recommend the technique that I fell upon only at the end, when I needed a technical fix. Trying to manage more than 30 video tracks simultaneously, my video editing software and/or my laptop had slowed to a crawl, and I could no longer review the results of my edits reliably. So I mixed 7 video tracks into one block, which I rendered as a single track. I should have done this from the outset for both audio and video mixes: group the tracks into blocks by sections (high voices, low voices, bowed, plucked and percussion instruments) and mix each block first. Then mix just 5 blocks into the final print.</p> <p>I asked participants to record (audio/video) a clap synchronised with a click on the backing track, but in the end this was not really needed. The quickest way to synchronise audio tracks was by playing them simultaneously, and lining them up by trial and error. And the quickest way to synchronise video to audio was also by ear, using the audio track associated with each video simultaneously with the full audio mix. Once the tracks are synched, you can lock them and silence the individual audio tracks to leave only the proper audio-mix.</p> <p>Since everything was synched to the original backing track, the major limitation of Audacity for ‘classical’ audio editing, that you cannot easily drop-in patches from alternative takes of slightly different duration, was not a factor. Most of the problems I had to fix were temporary disturbances of rhythmic precision, and Audacity’s sophisticated “change tempo without changing pitch” function allowed me to make the necessary adjustments. As I often find in live music-making, rhythmic precision is a very high priority, and good rhythm leads to confidence and to improvements in other performance variables. This is especially relevant to <em>Conductus</em>, of course.</p> <p>For anyone who hasn’t tried it before, it’s surprisingly difficult to keep precisely together with a backing track heard through headphones. So I make no criticism of those who needed a helping hand during audio editing: all of us who ever made a CD are eternally grateful to the skills of professional producers. With the advantage of ‘hindsight’ and repeated listening, I noticed that some performers maintained ensemble by ‘checking in’ with the backing track every so often, for example at phrase-breaks, but sometimes drifted apart for a while in the middle of a phrase. This suggests that the operating strategy was attention-switching between listening and playing, rather than continous monitoring while playing.</p> <p>I did not find this problem with vocal tracks, which might indicate that the sound of the harp’s backing track was easier for singers to hear, contrasting more with their own sounds, than for instrumentalists.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg"><img data-attachment-id="3339" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/daniel-in-the-lions-den-galway/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg" data-orig-size="600,600" data-comments-opened="1" data-image-meta="{"aperture":"3.3","credit":"","camera":"D-LUX 5","caption":"","created_timestamp":"1431635877","copyright":"","focal_length":"19.2","iso":"1600","shutter_speed":"0.076923076923077","title":"","orientation":"1"}" data-image-title="Daniel in the Lions Den Galway" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3339" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg" alt="" width="440" height="440" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg?w=440&h=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg?w=150&h=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg?w=300&h=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/daniel-in-the-lions-den-galway.jpg 600w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>I also used Audacity’s ‘change pitch without changing tempo’ and reverb functions to transform Tanja Skok’s small frame drum into a mighty medieval battle drum.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png"><img data-attachment-id="3341" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/medieval-harp-and-nakers/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png" data-orig-size="725,327" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Medieval Harp and nakers" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png?w=440" loading="lazy" class="alignnone size-full wp-image-3341" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png" alt="" width="440" height="198" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png?w=440&h=198 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png?w=150&h=68 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png?w=300&h=135 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/medieval-harp-and-nakers.png 725w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>There were two pairs of performers who sent duo tracks. I’m very happy that they could enjoy the chance to make music in company, during this time of social distancing, and this was an important element of our project, reflecting also the medieval performers’ celebrations of community spirit as they met, some of them perhaps only once a year, in Beauvais. But – obviously – if there is any moment when a duo track is not precisely together, there is no way to re-align the two individuals in post-production! This is a problem regularly faced by editors trying to clean up live performances, where the sound of one instrument spills onto another player’s microphone. As far as possible, editors want to have each instrument/voice isolated on its own track, even though project directors prefer to have happy participants!</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg"><img data-attachment-id="3343" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/cantigas-vielles/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg" data-orig-size="417,464" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="cantigas vielles" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg?w=270" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg?w=417" loading="lazy" class="alignnone size-full wp-image-3343" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg" alt="" width="417" height="464" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg 417w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg?w=135&h=150 135w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/cantigas-vielles.jpg?w=270&h=300 270w" sizes="(max-width: 417px) 100vw, 417px" /></a></p> <p> </p> <p>There were few problems of tuning that showed through seriously, once everything was aligned and everyone was playing, though I discreetly faded out a couple of murky moments. Where tuning was off, a common feature seemed to be notes stopped further up the fingerboard of bowed and plucked instruments with necks (with or without frets). Open strings, index and middle stopping fingers were noticeably more reliable than ring fingers and pinkies. There are many factors here: finger position, fret position, string quality, as well as the bowing/plucking action.</p> <p>In spite of the challenge of – sometimes quite adventurous – improvisation, most of the invented material was delivered accurately. The most difficult moment is between phrases, where, in addition to all the usual demands of solo performance and ensemble music-making, one has to decide what to do next and get fingers/voice to some newly invented note, precisely on time. This is an area I would focus on, in face-to-face rehearsal of live ensemble improvisation.</p> <p>This connects to another element that can only be practised in real-time ensemble work: overall texture. Ideally, each performer should be assessing the culmulative result of all the improvising, and adjusting their own contribution accordingly. Is there enough basic melody? Too much drone? Enough high, mid-range and low? Is it too bland, or over-complicated? Such monitoring and adjusting requires enough rehearsal time for a group to learn to work together, to communicate and negotiate not by discussing, but by singing/playing and listening.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3344" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg"><img aria-describedby="caption-attachment-3344" data-attachment-id="3344" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/ms-638-paris-1244-11254/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg" data-orig-size="805,500" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"Ms 638 Paris 1244-11254","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"Ms 638 Paris 1244-11254","orientation":"0"}" data-image-title="Ms 638 Paris 1244-11254" data-image-description="" data-image-caption="<p>Ms 638 Paris 1244-11254</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg?w=440" loading="lazy" class="size-full wp-image-3344" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg" alt="" width="440" height="273" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg?w=440&h=273 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg?w=150&h=93 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg?w=300&h=186 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg?w=768&h=477 768w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/danceimages13thcentury.jpg 805w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3344" class="wp-caption-text">Ms 638 Paris 1244-11254</p></div></p> <p> </p> <p>The plethora of multi-track projects that have been created during the current health crisis make an interesting contribution to the study of rhythm in Historically Informed Performance. Suddenly, principles of steady Tactus and reliable rhythm have become practical, even essential. Even though we cannot work together in real time – perhaps, because of this – listening has become more important than watching a conductor. Paradoxically, we are also more aware of the emotional power of making music as a group, since we cannot actually meet.</p> <p>At the original happenings of the medieval Play (for a liturgical action without audience, I shy away from the word ‘performance’), there would have been no modern conductor, also no renaissance/baroque tactus. The <em>misura </em>technique of early polyphony, where a singer on the slow moving tenor-part, standing at the back, taps on the shoulder of a fast-moving cantus-part singer in front of him, is also impractical during processions and dramatic action.</p> <p>But in <em>Conductus</em> all the singers pronounce the words simultaneously, even if some improvise polyphony. [And by the way, as a practical point, instrumentalists have to find a way to play on the move, for all these processions around a cathedral-sized building.] Meanwhile, the beat is given by everyone’s <span style="text-decoration:underline;">feet</span>, shuffling, walking, dancing or marching (according to character roles) in procession.</p> <p>The other meaning of <span style="text-decoration:underline;">con</span>duct (pronounced with the accent on the first syllable), as a noun signifying the way one behaves, is also present in the medieval French word <em>conduis</em>. In the context of processions, this recalls psalm verses about ‘walking with God… not in the way of the ungodly’. In the <em>Miracles</em>, Gautier de Coincy endlessly explores connections between similar-sounding words with different meanings, and multiple meanings of the same word, so that continual repetitions of a certain sound become a hypnotic mantra, leading the mind into a semantic maze of meditative suggestion. In <em>Ludus Danielis</em>, the way to behave, the way to walk, the way to ‘do <em>conductus</em>‘ in every sense, varies from one procession to another, as the monks embody Belshazzar’s courtiers, the Queen’s handmaidens, Daniel’s co-religionists, or an invading army.</p> <p>For a HIP staged production, there is much work to be done in exploring the connections between character, movement, text and music for each procession; as well as in presenting the dramatic action of each scene, once the actors have reached ‘centre stage’.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png"><img data-attachment-id="3347" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/utrecht-psalter/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png" data-orig-size="4905,2257" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Utrecht psalter" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=440" loading="lazy" class="alignnone size-full wp-image-3347" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png" alt="" width="440" height="202" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=440&h=202 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=878&h=404 878w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=150&h=69 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=300&h=138 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/utrecht-psalter.png?w=768&h=353 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Links</h2> <p> </p> <p><a href="https://youtu.be/J_pqefSfRRk">Full ensemble final mix with video</a></p> <p><a href="https://youtu.be/X87i10AWRLE">High voices</a></p> <p><a href="https://youtu.be/BoULb-N1I48">Low voices</a></p> <p><a href="https://youtu.be/QgVYT1HsSrU">Plucked strings</a></p> <p><a href="https://youtu.be/d1beIEHfZmM">Bowed strings</a></p> <p><a href="https://youtu.be/hYb-RY0jZPY">Tutors</a></p> <p><a href="https://youtu.be/v5f_TIW1brE">Giulia Amoretti x 7 with video</a></p> <p> </p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png"><img data-attachment-id="3321" data-permalink="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/congaudentes-open-project/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Congaudentes open project" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png?w=440" loading="lazy" class="alignnone size-full wp-image-3321" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/congaudentes-open-project.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>List of Participants</h2> <p>OPERA OMNIA TUTORS</p> <p>Anastasia Bondareva [Russia]</p> <p>Xavier Diaz-Latorre [Catalunya]</p> <p>Ekaterina Liberova [Russia]</p> <p>Tanya Skok [Slovenia]</p> <p>Wolodymyr Smishkewych [Republic of Ireland]</p> <p>Evgeny Skurat [Russia]</p> <p>Andrew Lawrence-King – Director [Guernsey]</p> <p> </p> <p>[*track = audio only, no video]</p> <p> </p> <p>WOMEN’S VOICES</p> <p>Giulia Amoretti – voice x 6, *voice [Russia]</p> <p>Anastasia Bondareva – voice [Russia]</p> <p>Lyubov Denisova – voice, *voice [Russia]</p> <p>Olga Domagatskaya – *voice [Russia]</p> <p>Alexandra Grebenyukova – voice, *voice [Russia]</p> <p>Ekaterina Liberova – *voice [Russia]</p> <p>Daniela Rico – *voice [Mexico]</p> <p> </p> <p>MEN’S VOICES</p> <p>Aleksandr Grebenyukov – voice [Russia]</p> <p>Andrew Lawrence-King – *voice x 2 [Guernsey]</p> <p>Timur Musaev – *voice [Russia]</p> <p>Evgeny Skurat – voice [Russia]</p> <p>Wolodymyr Smishkewych – “Daniel”, voice x 3 [Republic of Ireland]</p> <p> </p> <p>BOWED STRINGS</p> <p>Barbara Ceron – Harp x 3 [Mexico]</p> <p>Alexandra Maglevanaya – Bass Viol x 2 [Russia]</p> <p>Daria Maglevanaya – Medieval Fiddle x 3 [Russia]</p> <p>Patricia Ann Neely – Medieval Fiddle [USA]</p> <p>Wolodymyr Smishkewych – Sinfonye [Republic of Ireland]</p> <p>Olga Zhukova – *Treble Viol [Russia]</p> <p> </p> <p>PLUCKED STRINGS</p> <p>Hannah Brockow – Irish harp, *Irish harp x 5 [Canada]</p> <p>Barbara Ceron – Harp x 3 [Mexico]</p> <p>Xavier Diaz-Latorre – Medieval lute [Catalunya]</p> <p>Julia Grab – Rebec [Russia]</p> <p>Atsuko Kunishige – *Medieval harp [Japan]</p> <p>Andrew Lawrence-King – Harp, *Harp [Guernsey]</p> <p>Ekaterina Pripuskova – Mandolin x 2 [Russia]</p> <p>Evgeny Skurat – Medieval harp x 2 [Russia]</p> <p>Boris Steinberg – Ud [Russia]</p> <p> </p> <p>PERCUSSION</p> <p>Xavier Diaz-Latorre – Tambourine [Catalunya]</p> <p>Tarkviniy Gramsci – Darabuka [Russia]</p> <p>Tanya Skok – Frame drum [Slovenia]</p> <p> </p> <p>The OPERA OMNIA training production of <em>Ludus Danielis</em> for the <strong>International Baroque Opera Studio</strong> is planned for August-September 2020. At the time of writing, we still hope to be able to go ahead.</p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3289" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3289" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/05/congaudentes-happy-together/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Congaudentes%20%28Happy%20Together%29&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F06%2F05%2Fcongaudentes-happy-together%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/improvisation/" rel="category tag">Improvisation</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a> </p> <p class="tag-links taxonomy-links"> Tagged <a 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id="post-3267" class="post-3267 post type-post status-publish format-standard hentry category-continuo category-early-harps category-historical-action category-history-of-emotions category-irish-harp category-moving-the-passions category-music-dance-swordsmanship category-rhetoric category-text tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-continuo tag-early-harp tag-early-opera tag-harp tag-muovere-gli-affetti tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/" rel="bookmark">To beguile, or not to beguile: Purcell’s ‘Music for a while’</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/#comments">8</a></p> </header> <div class="entry-content"> <p><em>Music for a while </em>is one of Purcell’s best-known and most loved songs, published posthumously in <a href="https://imslp.org/wiki/Orpheus_Britannicus_(Purcell%2C_Henry)">Orpheus Britannicus</a>, Book 2 (1702). <a href="https://youtu.be/ZRqeKbdaz80">Listen here</a>.</p> <p>The tortured chromaticism of the ground bass and dark references to Alecto, the Fury from Hell with snakes for hair and a whip in her hand. indicate that there is more here than just a pretty melody. So it comes as no surprise to discover that the song was written for a revival in 1692 of Dryden & Lee’s 1679 Tragedy <em>Oedipus</em>, loosely based on Sophocles.</p> <p>But what was the function of this music in the play? What is happening on stage ‘for a while’? And what happens <span style="text-decoration:underline;">next</span>, when Music can no longer ‘beguile’? Whose ‘cares’ and ‘pains were eas’d’? The clue is that Alecto should indeed ‘free the dead from their eternal bands’.</p> <p>At the time of writing, the best secondary sources freely available online were a couple of GCSE commentaries, which fail to address these questions and mislead on the placement of the song within the play, as well as by hinting that Alecto might even be a character in the drama. She is not, but the mythological reference to her is utterly appropriate for the dramatic situation.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg"><img data-attachment-id="3274" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/purgatory/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg" data-orig-size="608,342" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Purgatory" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3274" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg" alt="" width="440" height="248" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=440&h=248 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=150&h=84 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg?w=300&h=169 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/purgatory.jpg 608w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>A dark Grove</h2> <p>Fortunately, a primary source is only a click away. The library of the University of Michigan has made the <a href="https://quod.lib.umich.edu/e/eebo/A36657.0001.001?view=toc">full play-script of <em>Oedipus</em></a>, including the song-text (divided amongst several singers), available free online.</p> <p>Purcell’s <em>Music </em>was composed for Act III, set in <em>a</em><em> dark Grove.</em></p> <p> </p> <p><em><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg"><img data-attachment-id="3277" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/grotto-salvator-rosa/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg" data-orig-size="900,1199" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Grotto Salvator Rosa" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=225" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3277" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg" alt="" width="440" height="586" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=440&h=586 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=880&h=1172 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=113&h=150 113w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=225&h=300 225w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/grotto-salvator-rosa.jpg?w=768&h=1023 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></em></p> <p> </p> <p>Following an argument and sword-duel between Creon and Adrastus, Haemon sets the scene:</p> <p style="padding-left:40px;">Nor Tree, nor Plant</p> <p style="padding-left:40px;">Grows here, but what is fed with Magick Juice,</p> <p style="padding-left:40px;">All full of humane Souls; that cleave their barks</p> <p style="padding-left:40px;">To dance at Midnight by the Moons pale beams:</p> <p style="padding-left:40px;">At least two hundred years these reverened Shades</p> <p style="padding-left:40px;">Have known no blood, but of black Sheep and Oxen,</p> <p style="padding-left:40px;">Shed by the Priests own hand to <em>Proserpine.</em></p> <p><em> </em></p> <p>The blind prophet Tiresias enters with a group of aged Priests, all clothed in black habits. In rites “<em>full of horrour</em>” Tiresias invokes the ghost of Lajus (Oedipus’ father) to declare who it was who murdered him. A trench is dug near Lajus’ grave and a black, barren heifer is sacrificed. Blood and milk are boiled together.</p> <p style="padding-left:40px;">And now a sudden darkness covers all,</p> <p style="padding-left:40px;">True genuine Night: Night added to the Groves;</p> <p style="padding-left:40px;">The Fogs are blown full in the face of Heav’n.”</p> <p>Tiresias calls for “<em>such sounds as Hell ne’re heard / Since </em>Orpheus <em>brib’d the Shades</em>” and the Priests’ first song evokes tormenting demons:</p> <p> </p> <p style="padding-left:40px;">Taskers of the dead,</p> <p style="padding-left:40px;">You that boiling Cauldrons blow,</p> <p style="padding-left:40px;">You that scum the molten Lead.</p> <p style="padding-left:40px;">You that pinch with Red-hot Tongs;</p> <p style="padding-left:40px;">You that drive the trembling hosts</p> <p style="padding-left:40px;">Of poor, poor Ghosts,</p> <p style="padding-left:40px;">With your Sharpen’d Prongs;</p> <p><em>Music for a While</em> itself is addressed to the rising ghosts, who are then ordered to “<em>Come away… obey, while we play</em>”. Sure enough, in a flash of lightning, ‘<em>Ghosts are seen passing betwixt the trees</em>‘.</p> <p>The Priests and Tiresias call on Lajus to “<em>hear and obey</em>”, and ‘<em>The Ghost of Lajus rises arm’d in his Chariot, as he was slain. And behind his Chariot sit the three who were murdered with him.</em>’ Lajus refers to his “<em>pains</em>” in hell (recalling the line from the song, ‘<em>wondering how your pains were eas’d</em>”), and accuses Oedipus of parricide.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg"><img data-attachment-id="3270" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/lajus/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg" data-orig-size="637,628" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Lajus" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=440" loading="lazy" class="alignnone size-full wp-image-3270" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg" alt="" width="440" height="434" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=440&h=434 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=150&h=148 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg?w=300&h=296 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/lajus.jpeg 637w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The Ghost descends, as Oedipus enters asking “<em>tell me why My hair stands bristling up, why my flesh trembles.</em>”</p> <p> </p> <h2>To beguile, or not to beguile</h2> <p> </p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg"><img data-attachment-id="3280" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/hamlet-garrick/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg" data-orig-size="512,550" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Hamlet Garrick" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=279" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3280" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg" alt="" width="440" height="473" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=440&h=473 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=140&h=150 140w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg?w=279&h=300 279w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/hamlet-garrick.jpg 512w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>In this play and in this scene, there are many parallels to Shakespeare’s <em>Hamlet </em>(c1600). Dryden’s introduction make it clear that public taste insisted upon a Ghost and a Murder, and <em>Oedipus</em> was a great success.</p> <p>In <a href="https://www.press.umich.edu/7827/players_passion"><em>The Player’s Passion </em></a>(1985) published by the same University of Michigan whose library makes Dryden’s play available online, Joseph Roach describes Shakespeare’s ‘most celebrated scene played by the greatest actor of his time, perhaps of all time’:</p> <p style="padding-left:40px;">The name of Perkins, hair-dresser and wig-maker, enters into the history of the eighteenth-century stage on the strength of a technical contribution to David Garrick’s Hamlet… When other spectators marvelled that Hamlet’s hair actually seemed to stand on end as the ghost appeared, they testified to a fact. The ingenious Perkins had engineered a mechanical wig to simulate the precise physiognomy of mortal dread. On the line “Look, my lord, it comes”, the hairs of this remarkable appliance rose up obligingly at the actor’s command.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg"><img data-attachment-id="3281" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/garrick-hair/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg" data-orig-size="314,461" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Garrick hair" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=204" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=314" loading="lazy" class="alignnone size-full wp-image-3281" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg" alt="" width="314" height="461" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg 314w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=102&h=150 102w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/garrick-hair.jpg?w=204&h=300 204w" sizes="(max-width: 314px) 100vw, 314px" /></a></p> <p> </p> <p>In Purcell’s semi-operas and incidental music for plays, incantation scenes are often the excuse for songs, and ‘priests’ with few or no spoken lines are brought on stage to do the singing. The first scene of <em>King Arthur </em>is a good example: “<em>Woden, first to thee a milk-white steed in battle won, we have sacrificed</em>“. And like the Ghost of Lajus, the Cold Genius similarly comes “<em>from below</em>“, is made to “<em>rise, unwillingly and slow’ </em>in chromatic harmonies, and then allowed to “<em>freeze again to death</em>“.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png"><img data-attachment-id="1888" data-permalink="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/the-four-humours/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" data-orig-size="480,360" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The Four Humours" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440" loading="lazy" class="alignnone size-full wp-image-1888" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" alt="" width="440" height="330" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440&h=330 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=150&h=113 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300&h=225 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png 480w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>The power of music to ‘beguile’ cares and ‘soothe the savage breast’ is part of the historical Science of the Four Humours. Music is Sanguine: the live-giving flow of warm blood, open-handed and generously offering love, courage and hope. Music frees us from the cold, dry grip of Melancholy cares and pains.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg"><img data-attachment-id="2532" data-permalink="https://andrewlawrenceking.com/2019/09/24/the-ministers-conditions-in-monteverdis-orfeo/violinist-with-wine-glass/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg" data-orig-size="600,735" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="violinist with wine glass" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=245" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-2532" src="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg" alt="" width="440" height="539" srcset="https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=440&h=539 440w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=122&h=150 122w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg?w=245&h=300 245w, https://andrewlawrenceking.com/wp-content/uploads/2019/09/violinist-with-wine-glass.jpg 600w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>At least, for a while…</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg"><img data-attachment-id="3272" data-permalink="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/oedipus-dryden-and-lee/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg" data-orig-size="220,302" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Oedipus Dryden and Lee" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg?w=219" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg?w=220" loading="lazy" class="alignnone size-full wp-image-3272" src="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg" alt="" width="220" height="302" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg 220w, https://andrewlawrenceking.com/wp-content/uploads/2020/06/oedipus-dryden-and-lee.jpg?w=109&h=150 109w" sizes="(max-width: 220px) 100vw, 220px" /></a></p> <p><a href="https://youtu.be/ZRqeKbdaz80">Listen here.</a></p> <p> </p> <p> </p> <p> </p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3267" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3267" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20To%20beguile%2C%20or%20not%20to%20beguile%3A%20Purcell%27s%20%27Music%20for%20a%20while%27&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F06%2F03%2Fmusic-for-a-while%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/category/early-harps/" rel="category tag">Early Harps</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/irish-harp/" rel="category tag">Irish harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-dance-swordsmanship/" rel="category tag">Music, Dance & Swordsmanship</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-gesture/" rel="tag">Baroque Gesture</a>, <a href="https://andrewlawrenceking.com/tag/baroque-music/" rel="tag">Baroque Music</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/continuo/" rel="tag">Continuo</a>, <a href="https://andrewlawrenceking.com/tag/early-harp/" rel="tag">Early Harp</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/harp/" rel="tag">Harp</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/06/03/music-for-a-while/" title="Permalink to To beguile, or not to beguile: Purcell’s ‘Music for a while’" rel="bookmark" class="permalink"><span class="month upper">Jun</span><span class="sep">·</span><span class="day lower">03</span></a></p> </footer> </article> <article id="post-3120" class="post-3120 post type-post status-publish format-standard hentry category-historical-action category-history-of-emotions category-improvisation category-music-and-philosophy category-rhetoric category-rhythm category-text tag-art tag-baroque tag-baroque-opera tag-early-music tag-early-opera tag-emotions tag-expression tag-hip tag-historical-action tag-history-of-emotions tag-muovere-gli-affetti tag-musica-recitativo tag-phrasing tag-rhythm tag-rubato tag-science tag-seicento tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/05/31/elocutio/" rel="bookmark">Of Pavans & Potatoes: Elocutio [Prattica di Retorica in Musica 3]</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/05/31/elocutio/#comments">1</a></p> </header> <div class="entry-content"> <p>In a development I had not anticipated, this is now the third post inspired by an April Fools’ Day joke, for which I faked up the title page of an imaginary Baroque treatise on <em><strong>The Practice of Rhetoric in Music.</strong> </em>It started me thinking…. Why can we not find such a book amongst historical sources? What would it say, if we could find it? Could I write it myself?</p> <p>I don’t know if my unicorn-hunt will one day lead to an actual book, but after thinking about <a href="https://andrewlawrenceking.com/2020/04/20/inventio/"><em>Inventio </em></a>and <a href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/"><em>Dispositio</em></a>, my mind turned inevitably towards the third of the Canons of Rhetoric, <em>Elocutio </em>(style). And as a gesture of <em>sprezzatura </em>(elegant casualness, being ‘cool’), I departed from the previous style of titles. You might well have expected a Pavan, and I couldn’t resist a favourite line of Shakespeare:</p> <blockquote><p>Let the sky rain potatoes, let it thunder to the tune of ‘Greensleeves’</p></blockquote> <p><em>(The Merry Wives of Windsor</em> V v). The ballad of <em>Greensleeves </em>is sung to the <em>Passy-measure Pavin</em> <em>(Twelfth Night </em>V i, but you knew that already). And I hope this citation is not too, hmm, let me say ‘salty’: circa 1600, potatoes were considered to be an aphrodisiac.</p> <p> </p> <p><div data-shortcode="caption" id="attachment_3124" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png"><img aria-describedby="caption-attachment-3124" data-attachment-id="3124" data-permalink="https://andrewlawrenceking.com/2020/05/31/elocutio/potatoes-of-virginia/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png" data-orig-size="1152,1536" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Potatoes of Virginia" data-image-description="<p>Potatoes in Gerards 1597 “Herbal”</p> " data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=225" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=440" loading="lazy" class="wp-image-3124 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png" alt="" width="440" height="587" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=440&h=587 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=880&h=1174 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=113&h=150 113w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=225&h=300 225w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potatoes-of-virginia.png?w=768&h=1024 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-3124" class="wp-caption-text">Potatoes in Gerard’s (1597) “Herbal”</p></div></p> <p> </p> <h2></h2> <h2><em>Elocutio</em></h2> <p> </p> <p>This article is written for you to read, but I could have recorded it as a podcast or video-clip, and I could even have sung it to you. Music itself is a style of elocution. Once the choice is made, to Deliver our Material in musical style, historical principles apply. ‘Art’ in the 17th century is not ‘free self-expression’ but a collection of organising principles. And so the Art of Rhetoric is created according to the five Canons, and other organising principles.</p> <p>The organising principles of Baroque Music are Rhetorical, because Music itself is a Rhetorical Art. Perhaps this is why we don’t have a book on Rhetoric in Music, because there wasn’t any music that was rhetoric-free! Any treatise on Music could justly be re-labelled as dealing with Rhetoric in Music. Any advice about musical Delivery will be advice about Rhetorical performance in music. The sources that we already know are labelled just “about Music” – but we can be utterly confident that everything they say will follow the principles of Rhetoric in Music.</p> <p> </p> <h3>Rhetoric in Music throughout <span style="text-decoration:underline;">all</span> the Canons</h3> <p> </p> <p>And since Music is itself Rhetorical, we don’t have to “add Rhetoric”, like some kind of sauce, to our music at the last moment. Rhetoric in Music is not limited to the final canon of Delivery. Rather, a musical work has been created Rhetorically at every stage. The ingredients, the artistic material has been chosen and/or created rhetorically (<em>inventio</em>); and structured rhetorically (<em>dispositio</em>); the musical style (<em>elocutio</em>) has been chosen to suit that material and structure, perhaps <em>prima prattica</em> polyphony for a religious text; or according to the <em>secunda prattica</em>, solo voice and continuo, the <em>stile rappresentativo</em>, for music-drama; or a violin-band in dance-rhythms for a <em>Ballo</em>.</p> <p>Different <strong>genres</strong> of music, even different dance-types, reflect different choices of <em>elocutio</em>, and those choices may influence decisions within the next two canons of Rhetoric.</p> <h3></h3> <h3>Rhetoric & the <em>memoria </em>of Music</h3> <p> </p> <p><em>Memoria</em>, the process of memorisation or at least deep study, is Rhetorical in music, as it is in any performing art. We memorise material, structure and style: and in Early Music, these are source-based historical elements. We should start from the best available source of the musical material (<em>inventio</em>) , and study the outlines and cross-connections of its structures (<em>dispositio</em>).</p> <p>And when, as modern-day performers, we memorise some historical <em>elocutio</em>, our understanding of that style will be based on our knowledge of period performance practice. [So we might later have to re-learn the material and update the style, as our knowledge increases with further study]. But we are <span style="text-decoration:underline;">not</span> instructed to memorise an individual interpretation – those personal choices are made later, in the final canon of Delivery.</p> <p>Of course, that is a counsel of perfection. For most of us, our study of a new piece is not chronologically ordered and divided into mutually exclusive compartments, according to the sequence of the Canons of Rhetoric. Rather our ideas emerge holistically, as we progress from sight-reading to the profound understanding that comes only after many performances. And sometimes we need to move rapidly from sight-reading to first performance with little time for deep reflection. But it would be an interesting exercise, perhaps for a student working towards an examined performance, to structure one’s study strictly according to the Five Canons.</p> <p>Nevertheless, it is good discipline within Historically Informed Performance to avoid making choices earlier than needed. That means working from period sources and applying historical principles as far as possible, and only making personal decisions when sources and principles can tell you no more. By this point, the choice should be between options, all of which are historically appropriate: if not, period information and historical principles will aid you in eliminating inappropriate options, before continuing!</p> <p>Committing an interpretation to memory too early has other risks, too. Spontaneity disappears if a “spontaneous’ treatment is hard-wired into the memorisation. It might be an interesting and appropriate idea to pause before a certain, particularly intense word, perhaps an exclamation, in order’to increase the dramatic effect [approved by <em>ll Corago</em>]. If you memorise the ‘straight’ version, and apply the pause in performance, both performer and audience can feel the effect of an unexpected delay. But if one <span style="text-decoration:underline;">memorises</span> the delay, it becomes ‘part of the piece’, and there is no longer any spontaneity in it. For the audience too, the effect will be lessened, if not destroyed, because the end result is that memorised material is being delivered ‘straight’, precisely as memorised.</p> <p>Probably the worst fault in memorisation is to have re-composed the piece, perhaps without careful consideration (perhaps without even noticing!), and to memorise this version, in the self-deluding hope that it would be more ‘spontaneous’, more ‘free’ or ‘better’ than the original.</p> <p>When some singer tells me that they have memorised Monteverdi’s <em>Lettera Amorosa</em> or the Testo’s role in <em>Combattimento</em>, my heart sinks. Because nearly always, they have not memorised Monteverdi’s score, but rather their own interpretation of it. And their skewed version is by now so hard-wired, that it is difficult, if not impossible, to fix even the most glaring errors during rehearsal. Saddest of all, this ‘personal interpretation’ is almost certain to resemble closely all the other ‘individual’ versions: long notes will be shortened, short notes will be lengthened, rests will be disregarded.</p> <p>The remedy is to consider <em>Elocutio</em> – style, <span style="text-decoration:underline;">before</span> Memorising. Afterwards is too late. Perhaps there really is something in the classic ordering of the Canons of Rhetoric!</p> <p> </p> <h3>Delivery & Decorum</h3> <p> </p> <p>Delivery, both the basic sound (<em>Pronuntatio</em>) and all the accompanying subtleties of <em>Actio</em> (contrasts of tone-colour, gesture, facial expression, body posture and movement, communication of changes in the Four Humours etc), is the pinnacle of the Art of Rhetoric. Here, we may well be inspired to recognise connections with other Arts, arts that are also rhetorical, especially when the principles of those arts confirm one another.</p> <p>This painstaking attention to conformity of detail is the Rhetorical doctrine of Decorum. In everyday speech, ‘decorum’ is the formal etiquette of social behaviour, doing the appropriate thing in each situation, respecting the solemnity of certain occasions, sharing hilarity at suitable moments; how to dress, how to behave, how to speak. In Rhetoric, Decorum expresses the concept that every small detail should be suited to, fitting with every other detail and with the overall design.</p> <p>Decorum is the craftsman’s discipline that the woodworking on the inside, never seen by anyone else, is as fine as the outside work. Decorum is the scientist’s discipline that the smallest discrepancy challenges a hypothesis and can even shift a paradigm. Decorum is the artist’s discipline that every tiny detail must be absolutely right. Decorum is the Historically Informed Performer’s discipline to review every aspect of performance in the light of newly emerging Performance Practice insights.</p> <blockquote><p>Decorum is <span style="text-decoration:underline;">the</span> discipline of Rhetoric.</p></blockquote> <p>Certainly it is appropriate to consider parallels between Music and other Rhetorical arts. In particular, we can hope to find links between period sources on Rhetorical speaking – the origin and central meaning of Rhetoric itself – and musical delivery. And we would expect to find devices from spoken Rhetoric already at work in the music we are studying, manners of Rhetorical speech already prescribed in treatises on musical delivery. It would be surprising, even alarming, if this were not the case!</p> <p> </p> <h2>Of Pavans</h2> <p>We might recognise the falling tear melody in the first four notes of Dowland’s <em>Lacrime</em>, and see it as an imitation of the gesture of crying (the finger drawing a tear from the eye and down the cheek) that we see in paintings, in literature, and in works on gesture.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg"><img data-attachment-id="3224" data-permalink="https://andrewlawrenceking.com/2020/05/31/elocutio/fleo-weeping-gimingnani/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg" data-orig-size="171,147" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Fleo (weeping) Gimingnani" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg?w=171" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg?w=171" loading="lazy" class="alignnone size-full wp-image-3224" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg" alt="" width="171" height="147" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg 171w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/fleo-weeping-gimingnani.jpg?w=150&h=129 150w" sizes="(max-width: 171px) 100vw, 171px" /></a></p> <p> </p> <p>This recognition supports our emotional connection to the music, and would encourage us to show in performance this gesture, or another period gesture of Sorrow, in which the hands are squeezed together as if to force tears from the eyes…</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png"><img data-attachment-id="3225" data-permalink="https://andrewlawrenceking.com/2020/05/31/elocutio/dolebit/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png" data-orig-size="465,417" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dolebit" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png?w=440" loading="lazy" class="alignnone size-full wp-image-3225" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png" alt="" width="440" height="395" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png?w=440&h=395 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png?w=150&h=135 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png?w=300&h=269 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/dolebit.png 465w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>… and even the appropriate body posture (inward focussed, head inclined, eyes downcast etc).</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif"><img data-attachment-id="3226" data-permalink="https://andrewlawrenceking.com/2020/05/31/elocutio/our-lady-of-sorrows-virgen-de-chandavila/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif" data-orig-size="561,694" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Our Lady of Sorrows Virgen de Chandavila" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif?w=243" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif?w=440" loading="lazy" class="alignnone size-full wp-image-3226" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif" alt="" width="440" height="544" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif?w=440&h=544 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif?w=121&h=150 121w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif?w=243&h=300 243w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/our-lady-of-sorrows-virgen-de-chandavila.gif 561w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>This Rhetoric of tears is clearly seen in the music of <em>Lacrime</em>, and we should recognise and support it in aspects of Delivery that go beyond music.</p> <p>But we do not need to redouble the musical gesture itself. Dowland’s music will not be ‘more expressive’ if we add ‘more descending’, and fall a seventh, rather than a fourth. Rather, this attempt would destroy another part of the musical rhetoric, its harmony, wrecking the composer’s <em>dispositio</em> (harmonic structure) and <em>elocutio</em> (harmonic language).</p> <p>That example might seem so obvious as to be unncessary. But let me present a parallel case.</p> <p>We might recognise the slow Pavan tempo of <em>Lacrime</em>, and the long first note as a ‘tear’, slowly welling up, and gathering speed as it rolls down the cheek in the next two downward directed and faster moving notes. We might see not only the written pitches, but also Dowland’s notated rhythm, as an imitation of the gesture of crying, and link it appopriately to slow hand and body movements, and the slow walk of someone in despair. This would encourage us to enact our gestures and bodily actions, even our eye-movements suitably slowly.</p> <p>Just as with the written pitches, this Rhetoric of Rhythm is already in the music itself, and we do not need to redouble it musically. Dowland’s music will not be ‘more expressive’ if we add ‘more slowness’ to the general tempo, or use romantic rubato to make this particular tear-gesture last more than a dotted minim. Rather, that attempt would destroy another part of the musical rhetoric, its rhythm, wrecking the composers <em>dispositio</em> (rhythmic structure, i.e. Tactus) and <em>elocutio</em> (rhythmic style, i.e. Pavan movement).</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png"><img data-attachment-id="1344" data-permalink="https://andrewlawrenceking.com/2015/10/12/monteverdi-caccini-jazz/dowland-above-all-things-original/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png" data-orig-size="567,423" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dowland Above all things original" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=440" loading="lazy" class="alignnone size-full wp-image-1344" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png" alt="" width="440" height="328" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=440&h=328 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=150&h=112 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png?w=300&h=224 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/dowland-above-all-things-original.png 567w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Of Potatoes</h2> <p> </p> <p>Some modern-day experts on Rhetoric correctly identify Rhetorical practices of speech and movement, especially elements of dramatic timing, which can also be heard in music. This is very illuminating and inspiring. But before we gleefully apply these practices to our Delivery, we should rather be concerned, even alarmed: why has the composer not included these Rhetorical elements in his own <em>elocutio</em>?</p> <p>On closer examination, we might find that they are already there, and should not be added again.</p> <blockquote><p>Did you already salt the potatoes, dear?</p></blockquote> <p>Or we might find that (for one reason or another) a particular element is not appropriate for this application, but was recommended in the context of another genre, national style, or period.</p> <blockquote><p>I’ve salted the potatoes, shall I add salt to the rhubarb too?</p></blockquote> <p>If something should be added by performers rather than notated by composers, we can expect to find specific advice in sources on musical performance practice.</p> <p> </p> <h3>Research into Potatoes</h3> <p>When I googled “Add salt to potatoes?”, I got an immediate, clear answer:</p> <p style="padding-left:40px;"><em>Salting the water in which you cook starches (pasta, rice, potato) is an effective way of enhancing the flavour of the finished product – boiling starches absorb salt well. </em></p> <p>Immediately below this, Google informed me that</p> <p><em>People also ask… Why add salt to potatoe water? How much salt do I add to water for potatoes? Should you salt potatoes before frying? What does soaking potatoes in salt water do?”</em></p> <p> </p> <p>As iconographical evidence, there were three images captioned Salt Potatoes.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png"><img data-attachment-id="3230" data-permalink="https://andrewlawrenceking.com/2020/05/31/elocutio/add-salt-to-potatoes-google/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png" data-orig-size="713,841" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Add salt to potatoes – Google" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png?w=254" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png?w=440" loading="lazy" class="alignnone size-full wp-image-3230" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png" alt="" width="440" height="519" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png?w=440&h=519 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png?w=127&h=150 127w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png?w=254&h=300 254w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/add-salt-to-potatoes-google.png 713w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>And the links below went “<em>Salt your potato-water</em>“, “<em>Why is it important to put salt…</em>” and so on to the bottom of the page.</p> <p>From this, I quickly deduce that potatoes are not grown ‘ready salted’, and that salt should indeed be added by the cook, later in the process. I did track down one outlier recommendation for the waiter to salt them just before serving, but this was for roast spuds anyway. <strong>The vast majority of sources recommended adding salt to the cold water before boiling.</strong></p> <p> </p> <h2><em>Confutatio</em></h2> <p> </p> <p>As Historically Informed Performers, we should take at least this much care, not to over-season our music with salty Rhetoric. We should check if this particular Rhetorical flavouring has already been composed-in. If not, we should check if our favourite flavouring is truly appropriate. And we should check that it is we (performers), who are expected to add it.</p> <p>We learn good taste in music from the ‘cookery books’ of historical treatises. And those treatises are already applying Rhetorical principles. So we should be highly sceptical, if we feel the need to add some piece of Rhetoric which is neither notated nor mentioned in musical treatises.</p> <p>And if that piece of Rhetorical Delivery would damage some other element of Rhetorical structure, of <em>dispositio</em>, we should not add it. We would not paint the exterior of a renaissance cathedral with some brightly-coloured paint that had the side-effect of dissolving stonework, especially not if our decorative inspiration comes from pre-raphelite wallpaper!</p> <p>Yes, this is a strongly-worded <em>confutatio</em>! But we have plenty of treatises on music. If your beloved ‘rhetorical’ practice is historical and appropriate to music, it will be manifest either in composition or performance practice. Certainly it will not be contradicted by period performance practice instructions.</p> <p> </p> <h2>Consensus</h2> <p> </p> <p>Of course, there are grey areas, and difficult questions where sources (even within one period and culture) genuinely differ. But my example of salt potatoes was deliberately basic, and my Google search can be imitated in scholarly investigation. We should first look at obvious, well-known sources, and see if we can find an overwhelming consensus.</p> <p>One of the problems of today’s Early Music is that specialist experts discuss abstruse corners of the field so passionately, examining exceptional cases and outlier opinions (in both primary and secondary sources), with the result that historically informed (but non-specialist) musicians and mainstream performers can easily lose sight of standard period practice and the overwhelming historical consensus.</p> <p>There is such a consensus amongst historical sources regarding rhythm. “<a href="https://andrewlawrenceking.com/2020/03/29/time-the-soul-of-music/">Tactus is the Soul of Music.</a>”</p> <p>In Rhetorical terms, Tactus is part of the Dispositio of music. In choosing mensural music as his Elocutio, a composer has nailed his Rhetorical colours to the mast of Tactus. It is certainly true that Rhetorical speech varies the syllabic pace according to the <em>Affekt</em>, and takes time for structual clarity (punctuation) and dramatic effect. Baroque composers notate this, using Tactus as the measure of Time.</p> <p>Seicento <a href="https://andrewlawrenceking.com/2019/06/29/its-recitative-but-not-as-we-know-it/">Recitative</a> notates the dramatic timing of 17th-century theatrical delivery. <a href="https://andrewlawrenceking.com/2015/09/27/logical-captain-the-implications-of-peris-preface/">Peri</a> and <a href="https://andrewlawrenceking.com/2019/04/29/il-corago-the-baroque-opera-director/"><em>Il Corago </em></a>tell us quite clearly that <em>musica recitativa </em>is modelled on the declamatory delivery of a fine actor in the spoken theatre. In England, a song-book owned by Samuel Pepys praises Henry Lawes’ precision in notating in music the timing effects of Rhetorical punctuation.</p> <p style="padding-left:40px;">No pointing Comma, Colon, halfe so well<br /> Renders the Breath of Sense; they cannot tell<br /> The just Proportion how each word should go,<br /> To rise and fall, run swiftly or march slow;<br /> Thou shew’st ’tis Musick only must do this …</p> <p>[From Edmund Waller’s dedicatory poem to Lawes of 1635, reprinted in Henry Lawes, <em>Ayres and Dialogues, for One, Two, and Three Voyces</em> (London: Printed by T. H. for<br /> John Playford, 1653)]</p> <p>For precision notation of rhetorical timing in Shakespeare’s <em>To be or not to be</em>, see ‘<em>Tis Master’s Voice: A Seventeenth-Century Shakespeare Recording? </em>in <em><a href="https://www.palgrave.com/gp/book/9781137464743">Shakespeare & Emotions (2015)</a>.</em></p> <p> </p> <h2><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg"><img data-attachment-id="1475" data-permalink="https://andrewlawrenceking.com/2015/11/30/start-here-how-to-study-baroque-gesture-historical-action/thomas_betterton_hamlet_c1661/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg" data-orig-size="1135,1554" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Thomas_Betterton_Hamlet_c1661" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=219" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1475" src="https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg" alt="" width="440" height="602" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=440&h=602 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=880&h=1204 880w, https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=110&h=150 110w, https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=219&h=300 219w, https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=768&h=1052 768w, https://andrewlawrenceking.com/wp-content/uploads/2015/11/thomas_betterton_hamlet_c1661.jpg?w=748&h=1024 748w" sizes="(max-width: 440px) 100vw, 440px" /></a></h2> <h2></h2> <h2>Peroratio</h2> <p> </p> <p>In the search for Rhetorical eloquence in our music-making, the appropriate <em>Elocutio</em> will have Decorum. It will be consistent with the material (<em>inventio</em>) and its musical organisation (<em>dispositio</em>). It will also be consistent with what we read of <em>Pronutatio</em> and <em>Actio</em> in musical sources. Where other arts inspire us with examples of Good Delivery, we should expect to find that their Rhetoric is already in our Music.</p> <p>We should consider whether Rhetorical elements have already been built-in by the composer, before we assume that we should bolt them on as performers. We should test our proposed translation of ‘foreign’ Rhetorical elements (from other arts) against what we already know in music’s ‘native tongue’.</p> <p><strong>The Practice of Rhetoric in Music is already written, in period treatises on the Practice of Music.</strong></p> <p>It is wonderful that we can use other Rhetorical arts to fill gaps in our musical knowledge, and to inspire passion in our musical practice. But the Rhetorical discipline of Decorum requires that we remain wary against introducing any contradiction.</p> <p>For this reason, I do not acccept the argument that ‘Rhetoric’ is a valid reason for abandoning all that we know about Tactus and Rhythm in baroque music. On the contrary, if Harmony is Music’s shapely Body, and Text is her Mind, then Tactus is the Soul of Musical Rhetoric.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg"><img data-attachment-id="3015" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/rhetoric/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg" data-orig-size="550,431" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Rhetoric" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3015" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg" alt="" width="440" height="345" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=440&h=345 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=150&h=118 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg?w=300&h=235 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/rhetoric.jpg 550w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>PS<br /> About those potatoes – the Folger Shakespeare Library re-created a <a href="https://recipes.hypotheses.org/8810">c1700 recipe</a> for Potato Pie. It does not use salt!</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg"><img data-attachment-id="3235" data-permalink="https://andrewlawrenceking.com/2020/05/31/elocutio/potato-pie-folger/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg" data-orig-size="1080,1080" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Potato Pie Folger" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-3235" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg" alt="" width="440" height="440" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=440&h=440 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=880&h=880 880w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=150&h=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=300&h=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/potato-pie-folger.jpg?w=768&h=768 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3120" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/05/31/elocutio/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3120" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/05/31/elocutio/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Of%20Pavans%20%26%20Potatoes%3A%20Elocutio%20%5BPrattica%20di%20Retorica%20in%20Musica%203%5D&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F05%2F31%2Felocutio%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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class="share-end"></li></ul></div></div></div></div></div><div class='sharedaddy sd-block sd-like jetpack-likes-widget-wrapper jetpack-likes-widget-unloaded' id='like-post-wrapper-56032818-3120-67431092a8d1c' data-src='//widgets.wp.com/likes/index.html?ver=20241124#blog_id=56032818&post_id=3120&origin=andrewlawrenceking.wordpress.com&obj_id=56032818-3120-67431092a8d1c&domain=andrewlawrenceking.com' data-name='like-post-frame-56032818-3120-67431092a8d1c' data-title='Like or Reblog'><div class='likes-widget-placeholder post-likes-widget-placeholder' style='height: 55px;'><span class='button'><span>Like</span></span> <span class='loading'>Loading...</span></div><span class='sd-text-color'></span><a class='sd-link-color'></a></div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/improvisation/" rel="category tag">Improvisation</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhetoric/" rel="category tag">Rhetoric</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/rhythm/" rel="category tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/text/" rel="category tag">Text</a> </p> <p class="tag-links taxonomy-links"> Tagged <a href="https://andrewlawrenceking.com/tag/art/" rel="tag">Art</a>, <a href="https://andrewlawrenceking.com/tag/baroque/" rel="tag">baroque</a>, <a href="https://andrewlawrenceking.com/tag/baroque-opera/" rel="tag">Baroque Opera</a>, <a href="https://andrewlawrenceking.com/tag/early-music/" rel="tag">Early Music</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/expression/" rel="tag">Expression</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/historical-action/" rel="tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/musica-recitativo/" rel="tag">musica recitativo</a>, <a href="https://andrewlawrenceking.com/tag/phrasing/" rel="tag">Phrasing</a>, <a href="https://andrewlawrenceking.com/tag/rhythm/" rel="tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/tag/rubato/" rel="tag">Rubato</a>, <a href="https://andrewlawrenceking.com/tag/science/" rel="tag">Science</a>, <a href="https://andrewlawrenceking.com/tag/seicento/" rel="tag">seicento</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2020/05/31/elocutio/" title="Permalink to Of Pavans & Potatoes: Elocutio [Prattica di Retorica in Musica 3]" rel="bookmark" class="permalink"><span class="month upper">May</span><span class="sep">·</span><span class="day lower">31</span></a></p> </footer> </article> <article id="post-3042" class="post-3042 post type-post status-publish format-standard hentry category-continuo category-historical-action category-history-of-emotions category-introductions category-moving-the-passions category-music-and-philosophy category-rhetoric category-text tag-art tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-continuo tag-early-music tag-emotions tag-expression tag-flow tag-hip tag-historical-action tag-history-of-emotions tag-muovere-gli-affetti tag-musica-recitativo tag-rhetoric tag-science tag-seicento tag-text"> <header class="entry-header"> <h1 class="entry-title"><a href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/" rel="bookmark">Prattica di Retorica in Musica – Dispositio</a></h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/#comments">5</a></p> </header> <div class="entry-content"> <p>This is the second post inspired by an April Fools’ Day joke, for which I faked up the title page of an imaginary Baroque treatise on <em><strong>The Practice of Rhetoric in Music</strong>, </em>starting several trains of thought: Why does such a book not exist? What might it have contained? What would we hope to learn from it? What is lacking in modern-day writing on Musical Rhetoric? And why shouldn’t I try writing it for myself?</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png"><img data-attachment-id="3008" data-permalink="https://andrewlawrenceking.com/2020/04/20/inventio/prattica-di-retorica-in-musica/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png" data-orig-size="572,845" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Prattica di Retorica in Musica" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=203" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=440" loading="lazy" class="alignnone size-full wp-image-3008" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png" alt="" width="440" height="650" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=440&h=650 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=102&h=150 102w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png?w=203&h=300 203w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/prattica-di-retorica-in-musica.png 572w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The first post in this series, <em><a href="https://andrewlawrenceking.com/2020/04/20/inventio/">Prattica di Retorica in Musica – Inventio</a></em>, introduces the project by means of the <strong>Five Canons of Rhetoric</strong> and imagines the first pages of our Unicorn-Book, which might include an Address to the Reader and a Dedicatory Poem.</p> <p>The next pages would probably consist of the Table of Contents, i.e. an ordered list of chapter-headings. For a book-printer, this table would only be assembled once the main body-text was complete. But for a rhetorical writer, these chapter-headings are advance planning of the structural organisation of the material: they present that second Canon of Rhetoric, the <em><strong>Dispositio</strong></em><strong> (Arrangement)</strong><em>.</em></p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png"><img data-attachment-id="3050" data-permalink="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/dispositio-1/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dispositio 1" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=440" loading="lazy" class="alignnone size-full wp-image-3050" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-1.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <h2>Arranging the <em>Dispositio</em></h2> <p> </p> <p>In an endlessly recursive process, the structuring of any writing on Rhetoric is itself a work of Rhetoric. My <strong>material</strong> for this project is the Practice of Rhetoric in Music, and the <strong>organisation</strong> of this material is inspired by the Modes of Rhetoric, in the <strong>style</strong> of a list of book-chapters, which I have considered – consciously and subconsciously – over the last month. Turning ideas over in your mind is linked to the processes of <strong>memory</strong>, which (as modern science tells us) is not merely the recall of fixed data, but a creative process of apprehending, reviewing, connecting and reassembling complex understandings. And now I <strong>deliver </strong>this structure to you…</p> <p>In this blog-post, the <em>Dispositio </em>is now my <strong>material</strong>, which I have <strong>organised</strong> into two sections (this discursive article, and – below – the presentation of the list itself), in two contrasting <strong>styles</strong> (modern-day semi-formal prose and 17th-century formal list), carefully <strong>considered</strong>, and <strong>delivered</strong> in this blog-post.</p> <p>The <strong>style</strong> – a list of chapters – has also become <strong>material </strong>to be discussed here, and functions as an <strong>organising</strong> device that <strong>delivers</strong> new <strong>thoughts</strong>.</p> <p>The processes of <strong>memory </strong>and thought likewise are now <strong>material </strong>to be written about, functioning to <strong>organise</strong> themselves by thinking about thoughts, to refine <strong>style</strong>, and (by <strong>remembering</strong> memories) to <strong>deliver </strong>results.</p> <p>Those results are the <strong>material</strong> that will be <strong>organised</strong>, <strong>stylised</strong>, <strong>considered</strong> and <strong>delivered</strong> as the output of the entire project.</p> <p>And – just in case you didn’t notice – that 5-paragraph description of the nested processes of writing rhetorically about Rhetoric was itself rhetorically made: its <strong>material</strong> was the rhetoric of Rhetoric, its <strong>organisation</strong> was iteratively rhetorical, the <strong>style</strong> was as rhetorically clear as I could make it, it seemed to spring from my mind as if I were <strong>remembering</strong> something I already knew, and I <strong>delivered</strong> it in a happily spontaneous flow.</p> <p>So now you have a rhetorical account of a rhetorically made description of the rhetorical process of writing about Rhetoric. And we could continue this all night, unless you counter with a <em>refutatio </em>or I reach a <em>peroratio</em>!</p> <p> </p> <h3><em>Digressio – </em>an allegorical digression</h3> <p> </p> <p>One of the period delights of Rhetoric was the enjoyment of rhetorical discourse for its own sake, like an athlete enjoying the working of their own muscles during training, or a spectator watching that athlete. If the spectator is also an athlete, there is an opportunity to learn, or to sharpen ones analytical insight. Which muscle moved there, and what effect did it have? We can compare the trained and untrained body, we can notice the physical results and competetive benefits of particular training exercises for specific applications. If we are fans or practitioners of Rhetoric, we can observe its work whenever we encounter words.</p> <p> </p> <h3><em>Thesis – back to the underlying concepts</em></h3> <p> </p> <p>I will probably re-organise this <em>Dispositio</em> as I go along. But it is currently linked to these thoughts:</p> <p>The ‘original book’ does not exist, perhaps because Rhetoric was so deeply internalised for musicians of this period that they applied it, without needing further instruction, to <span style="text-decoration:underline;">any</span> means of expression. In another sense, <span style="text-decoration:underline;">every</span> period treatise on music discusses the Practice of Rhetoric because music itself is a rhetorical art: to practise music is to practise rhetoric. My task is then not to invent new principles, but to identify (from amongst well-researched historical practices) instances where rhetoric is at work in music.</p> <p>As musicians, we hope for clear practical advice, for tools that can be applied in the rehearsal room and in performance. As performers, we hope for ideas that will be effective with our audiences.</p> <p>This is perhaps what is lacking in the modern literature on musical rhetoric. After reading some scholarly tome, we may think “how interesting, how beautiful!”, but we may not have a clear strategy of how to apply its ideas in our next rehearsal. At best, we might hope that it has given us some inspiration that will emerge in our musicking, by some mysterious process. I do believe in inspiration and mysterious processes, but in the rehearsal room (or as an individual’s pre-performance mantra), we usually need concise, precisely encapsulated suggestions, rather than yards of woffle and dollops of hope.</p> <p>What period sources there are, and also much modern writing on musical rhetoric, tend to concentrate on Figures and Tropes. And whilst knowing stuff is fun, and knowing what <em><a href="https://en.wikipedia.org/wiki/Figure_of_speech">anaphora</a> </em>is helps one notice when <em>a</em><em>naphora</em> is at work, that doesn’t necessarily let you know what to do with <em>anaphora, </em>no matter how many times you see or hear <em>anaphora </em>in an aphorism, no, no! And even if you know that the use of <a href="https://en.wikipedia.org/wiki/Figure_of_speech"><em>adnominations</em></a> and <em><a href="https://en.wikipedia.org/wiki/Figure_of_speech">homophones</a> </em>is not strictly <em>anaphora</em>, this doesn’t necessarily help your audience. So although it is not wrong to define Rhetoric in terms of Figures and Tropes (and indeed, this definition becomes increasingly relevant during our period), it is not the most direct path towards practical application in music.</p> <p>Since Rhetoric is directed outwards – to persuade the listener; to delight, teach and move the passions of the audience – and since we, as performers, want to put it into practice, the book we need must tell us how to apply Rhetoric to good effect. So my <em>dispositio </em>focuses on fundamentals of good Oratory in musicking, ideas that performers can apply in order to produce results that audiences will appreciate.</p> <p> </p> <h3><em>Hypothesis – focus on particular ideas</em></h3> <p> </p> <p><em>Words</em>: Readers would expect the introduction to discuss what Rhetoric is. But we also need to consider what Music is – and what Science, Art and Practice are too – because our modern assumptions differ from period understandings.</p> <p><em>Ethos</em>: Rhetoric is delivered by one person to others: we must consider who does what.</p> <p><em>Logos</em>: The most important section of the book should link the performance of music to Good Delivery in Oratory. The more our musicking deals with <span style="text-decoration:underline;">words</span>, the more eloquent its oratory will be.</p> <p><em>Pathos</em>: The most profound result we hope for is to move the passions of our listeners. This Part tells you how to do it.</p> <p><em>Kairos</em>: How does the moment of opportunity for Rhetoric present itself? Shifting the focus from historical practices to the ephemeral instant of performance, Plato’s eternal <em>now</em>, this Part attempts to reconcile period understandings of Rhetoric and Humours with 21st-century neuro-science. What is the structure of magic in music?</p> <p> </p> <h3>Peroratio</h3> <p> </p> <p>The vital heart of Rhetoric, which sends the life-giving Sanguinity of passion to the singer’s voice and the instrumentalist’s hands, is structure. How dry that might seem, how Melancholy! But this sturdy, earthborne structure supports a mighty tower, rising proudly as if with Choleric ambition to reach the highest heavens of eloquent beauty.</p> <p>The achievement of our art must be to conceal the scaffolding and reveal the architecture. But the process of building begins with a well-wrought foundation. <em>Dispositio </em>precedes <em>elocutio</em>.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png"><img data-attachment-id="3051" data-permalink="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/dispositio-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png" data-orig-size="450,650" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Dispositio 2" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=208" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=440" loading="lazy" class="alignnone size-full wp-image-3051" src="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png" alt="" width="440" height="636" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=440&h=636 440w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=104&h=150 104w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png?w=208&h=300 208w, https://andrewlawrenceking.com/wp-content/uploads/2020/04/dispositio-2.png 450w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <hr /> <p> </p> <h2>DISPOSITIO</h2> <p> </p> <h3>The Introductory Part: on <em>Words</em></h3> <p> </p> <p>What is Rhetoric?</p> <p style="padding-left:40px;"><em>What is Grammar?</em><br /> <em>What is Logic?</em><br /> <em>Eloquentia Perfecta</em></p> <p>What is Music?</p> <p>What is Practice?</p> <p style="padding-left:40px;"><em>What is Art?<br /> What is Science?</em></p> <p>What is the Practice of Rhetoric in Music?</p> <p style="padding-left:40px;"><em>What is the Art of Rhetoric in Music?</em><br /> <em>What is the Science of Rhetoric in Music?</em></p> <p> </p> <h3>The First Part: on <em>Ethos</em></h3> <p> </p> <p>The Practice in Music of the Five Canons of Rhetoric</p> <p>The Practice in Music of the Three Aims of Rhetoric</p> <p>The Practice in Music of the Topics of Rhetoric</p> <p>The Practice in Music of the Four Modes of Rhetoric</p> <p> </p> <h3>The Second Part: on <em>Logos</em></h3> <p> </p> <p>The Practice in Music of the Decorum of Rhetoric</p> <p style="padding-left:40px;"><em>Of Oratory</em><br /> <em>Of Syllables</em><br /> <em>Of Consonants</em><br /> <em>Of Vowels</em><br /> <em>Of Joining & Separating</em><br /> <em>Of Meaning</em><br /> <em>Of Intention</em><br /> <em>Of Genres</em><br /> <em>Of Place</em><br /> <em>Of Time</em></p> <p> </p> <h3>The Third Part: on <em>Pathos</em></h3> <p> </p> <p>The Practice in Music of the Four Humours of Rhetoric</p> <p>The Practice in Music of the Gestures of Rhetoric</p> <p>The Practice in Music of the Figures of Rhetoric</p> <h3>The Fourth Part: on <em>Kairos</em></h3> <p>Of the Mind</p> <p>Of New Language of Persuasion</p> <p> </p> <p> </p> <hr /> <p> </p> <p> </p> <p> </p> <p> </p> <div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3042" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3042" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2020/04/30/prattica-di-retorica-in-musica-dispositio/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Prattica%20di%20Retorica%20in%20Musica%20-%20Dispositio&body=https%3A%2F%2Fandrewlawrenceking.com%2F2020%2F04%2F30%2Fprattica-di-retorica-in-musica-dispositio%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/page/2/" ><span class="meta-nav">←</span> Older posts</a></div> </nav> </div> </section> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. He is a qualified hypnotist.</p> </div> </aside><aside id="search-3" class="widget widget_search"><h1 class="widget-title">Search this Blog for content</h1><form method="get" id="searchform" action="https://andrewlawrenceking.com/"> <label for="s" class="assistive-text">Search</label> <input type="text" class="field" name="s" id="s" placeholder="Search" /> <input type="submit" class="submit" name="submit" id="searchsubmit" value="Search" /> </form> </aside><aside id="media_gallery-3" class="widget widget_media_gallery"><h1 class="widget-title">Andrew Lawrence-King</h1><p class="jetpack-slideshow-noscript robots-nocontent">This slideshow requires JavaScript.</p><div id="gallery-3042-1-slideshow" class="jetpack-slideshow-window jetpack-slideshow jetpack-slideshow-black" data-trans="fade" data-autostart="1" data-gallery="[{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/introduction-to-single-action-harp.png?w=440","id":"118","title":"Introduction to Single Action\u0026nbsp;Harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-from-small-harp.jpg?w=440","id":"1673","title":"Alk directs from small\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/alk-irish-baroque.jpg?w=440","id":"93","title":"ALK Irish baroque","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-st-p-baroque-opera-studio.jpg?w=440","id":"1679","title":"ALK directs St P baroque opera\u0026nbsp;studio","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs.jpg?w=440","id":"1680","title":"ALK directs","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/copy-alk-huete-small2.png?w=269","id":"25","title":"copy-alk-huete-small2.png","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/05\/the-perfect-musical-director-mattheson-by-alk.png?w=440","id":"1657","title":"The Perfect Musical Director Mattheson by\u0026nbsp;ALK","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-harp-bordeaux-boat.jpg?w=440","id":"1686","title":"ALK, Irish Harp, Bordeaux\u0026nbsp;boat","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-at-eihf.jpg?w=440","id":"1672","title":"ALK at EIHF","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-2014.jpg?w=440","id":"1681","title":"ALK Irish 2014","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/the-flow-zone-mashup-2015.jpg?w=440","id":"1550","title":"The Flow Zone mashup\u0026nbsp;2015","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/fingernails.jpg?w=440","id":"908","title":"fingernails","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-single-action.jpg?w=440","id":"1671","title":"ALK \u0026amp; 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