Orlando Orlando: Drama and dance-rhythms

1st November 2019:
To celebrate Orlando Orlando‘s being nominated for Russia’s highest theatrical award, the Golden Mask, in 6 categories – best production Georgij Isaakyan, best design Hartmut Schörghofer, best musical direction Andrew Lawrence-King, best lighting design Alexey Nikolaev , best female soloist Maria Mashulia, best male soloist Kiril Novakhatko – this article has been updated with additional commentary on Handel’s techniques of Drama & Dance-rhythms.

This article was first posted in connection with the premiere of Handel’s Orlando at the Helikon Theatre in Moscow, 27th March 2019, entitled Orlando, Orlando: Handel’s Orlando (1733) in memory of the victims of the shooting at the Pulse nightclub in Orlando, Florida (2016). Music by George Frideric Handel, Libretto adapted from Carlo Sigismondo Capece L’Orlando (1711) after Ludovico Ariosto Orlando Furioso (1516/1532). Concept & Adaptation by Georgij Isaakyan (Director), Edition by Andrew Lawrence-King (Musical Director), Techno episodes by Gabriel Prokofiev, Design by Hartmut Schörghofer.

Synopsis of Georgy Isaakyan’s version (read online and/or download pdf)

Orlando Orlando libretto (includes English translation: read online and/or download pdf)

This production is not an ‘authentic’ reconstruction of baroque opera, but a new work of music-theatrical creativity in which 18th-century music tells a 21st-century story, bringing together Gabriel Prokofiev’s specially composed electronic music and the most modern understanding of how George Frideric’s score would have sounded at the King’s Theatre, London in 1733.

For Orlando, Handel assembled an unusually large orchestra with a powerful bass-section, and the dance-rhythm of the fashionable Gavotte is heard several times, representing Orlando’s fury.

In his madness, Orlando identifies Angelica as the mythological godess Persephone: “Beautiful eyes, no, do not weep, no”

In his madness, Orlando mistakes Dorinda for the goddess Venus, or an enemy warrior: “Already, I wrestle him; already I embrace him  with the force of my arm”

In the extraordinary mad-scene created for the famous Italian castrato Senesino, bass instruments play alone as the protagonist descends into a hell of jealous rage.

“I am my own spirit, cut off from myself. I am a ghost, and like a ghost I want to make the journey down there to the kingdom of sorrow!”

And the full orchestra lurches into 5/8 metre as Orlando imagines himself rowing Charon’s boat into the underworld.

“There is boat across the river Styx! In spite of Charon, already I’m rowing over the waves”

Handel freely borrowed from other composers’ (and his own) work, and the previous season he re-wrote two earlier dramas, expanding the chamber-opera Acis & Galatea and transforming a one-act staged masque into the first English oratorio, Esther, performed as a three-act concert with the addition of solo harp, trumpets, drums and a chorus. For Orlando, Handel adapted Carlo Sigismondo Capece’s (1711) story of mad jealousy, itself a re-working of episodes from Ariosto’s 16th-century classic, Orlando furioso. Bernard Picart’s (1710) engraving of the giant Atlas, republished in 1733 as Le Temple des Muses, was re-interpreted as the stage set for the opening scene with the magician Zoroastro.

Perhaps this 1731 print inspired the first scene of Handel’s ‘Orlando’

Handel’s audience were thrilled by several spectacular stage transformations, utilising the full resources of period stage machinery and dramatically presented as the result of Zoroastro’s magic, assisted by his demons. In our production, Schörghofer’s design employs modern stage technology to offer the audience surprise and spectacle, whilst clarifying the subtly interwoven stories as characters from medieval romances (Chanson de Roland, 11th cent) are re-drawn by Boiardo (Orlando innamorato, 1495) Capece, Handel and Isaakyan.

“Orlando Orlando” at Helikon Theatre

A German musician producing Italian opera in England, Handel writes a conventional French-style overture, but surprises the audience with up-to-date dance-music, a fast Italian giga.

This Italian giga has characteristically continuous movement in the melody line, with a driving bass.

Listen to how Gabriel Prokofiev transforms Handel’s giga, the height of fashion in 1733, into 21st-century electronic dance-music.

 

The rhythmic drive of the giga is disrupted with broken phrases to depict Dorinda’s misplaced faith in ‘sweet little lies’.

In spite of trills and rests, this Aria still shows the characteristics of an Italian giga: “Oh dear little words, sweet glances; even if you are lies, how I will believe you!”

The step-and-jump rhythms of a French gigue are heard in Medoro’s second Act aria;

The restrained movement of a French gigue characterises Medoro’s hesitation: “I would like to be able to love you, but…”

the slow swing of an Italian folk-dance, the  siciliano characterises Dorinda’s wistful longing;

More gentle than a giga, the tender siciliano characterises Dorinda’s nostalgia for a love that never was: “If I return to the meadow, I am made to see my Medoro in every flower”

Orlando’s lament in hell is sung to a French passacaille.

In French operas the descending bass of the minor-mode passacaille suggests tragic passions and creates opportunities for expressive dissonances and chromatic variations: “For from tears even in the kingdom of Hell, pity can be aroused in everyone”. The audience come to realise that this text is ironic: in his madness, Orlando shows no pity for Angelica, and changes his Gavotte-refrain to “Yes, eyes, weep, yes, yes!”

The composer’s bold strokes of dramaturgical re-designing and contrasting musical styles were further transformed by unwritten baroque performance practices. Continuo-players spontaneously realised the written bass-line with rich harmonies and strong rhythms; singers added their own variations to the repeated section of a da capo aria; sometimes time would stop whilst singers  or instrumentalists improvised a final cadenza. Handel did not conduct, but directed by playing the harpsichord, alongside the theorbo (bass lute). The expression of the vocal line was not indicated with markings of piano and forte, but follows from the accentuation and emotions of the words.

This Recitative is not just rapid patter, look at all the rhetorical detail: A long note and glorious high notes for “As custodian of your glory…”. Strong dissonance for “I stimulate you to follow it”. Another long note for “Urge.. ” and the highest notes and thrilling contrasts of short notes for “…your heart to great works!”. A long sigh “Ah!” with an intake of breath afterwards, dissonance and Orlando’s voice dropping “love takes it all away from me”. Zoroastro’s voice rises with long notes and an unexpected sharp in the melody-line for “It will be given back to you by valour!”. Orlando’s falling phrase (which would be given the conventional drooping appoggiatura) “It languishes in my breast”. Zoroastro’s strong retort with high notes “Scorned…”, snappily broken phrases “is that what you want to be…” and a suitably horrible melodic tritone “by a vile little boy?”. The “little boy” is Cupid as the flute’s flapping wings show in the following bars.

Instrumentalists similarly have few written phrasing-marks, but imitate the crisp articulation of the Italian language with a great variety of bow-strokes.

What might appear to be just a series of equal quavers acquires subtle rhythmic patterning from the long/short, accented/un-accented syllables of the Italian text, imitated in this English-language metrical paraphrase: “Respond to it for me; your heart might tell you that.. I discard all your love”. Today’s performers might usefully channel a jazz-singer’s approach to text and rhythm, rather than classical training.

For the eerie calm of Orlando’s final aria we added baroque harp, which in Handel’s dramatic works suggests a vision of heavenly peace. Trumpets and drums represent royal authority and military power; horns and oboes a pastoral idyll; the flute an amorous nightingale or Cupid’s fluttering wings. Modern scholarship has revealed the subtle structure of Handel’s recitatives, which imitate the pitch contours and speech rhythms of a great actor in the baroque theatre.

Studying the text as dramatic speech in the grandiose style of baroque spoken theatre reveals how accurately Handel notates [what Il Corago first described c1630 as] ‘the declamation of a fine actor’, in the generation between Thomas Betterton and David Garrick. As shown in my English-language metrical paraphrase: Zoroastro barks out his anger with the urgency of poetic anapests followed by the characteristic contrast of short and long notes “To what risks you’re exposed now, you reckless lovers, by blinded love!”. Angelica’s reply is a languid drawl “We only have to get free from Orlando.” Zoroastro barks again with the upward intonation of an abrupt question “And if he comes here?” – singers can appropriately add an upward appoggiatura. Medoro tries to assert himself, but Handel’s downward inflections betray the character’s weakness “My heart is also valiant!” and Angelica interrupts with powerful rhythm and a strong upward leap “P’haps for my sake, he would not be so cruel” – the conventional appoggiatura makes a harsh dissonance here. Zoroastro mimics her phrase with the slow tempo of bitter sarcasm “And he’ll be nice… to his unfaithful lover?”. With a wonderfully dramatic contrast, he switches back to fast anapests “Hurry up and get running, fly away from his anger…”. The notated rhythms of Handel’s music work perfectly as dramatic speech.

See my previous article on tempo and rhythm for Handel, here.

We added a chorus, whose members (in the manner of Handel’s oratorios or Bach’s Passions) comment on and drive forward the events of which, in the end, they are the victims. Their music is borrowed from Handel’s drama of cultural identity and religious conflict, Israel in Egypt (1739): Handel himself re-worked one of these choruses for Messiah (1741).

In Isaakyan’s reworking of the story, the magician Zoroastro appears in different guises, always as an authority figure: a star news-presenter, a domineering father, a bible-preacher, a populist politician. The choruses I selected show the public’s various reactions: unchallenging acceptance “Great was the company of the preachers”; anxious forboding “The people shall hear and be afraid… they shall be as still as a stone”; belated understanding “There came a thick darkness”; and a fascination with destructive power “He gave them hailstones for rain, fire mingled with the hail”.

“Orlando Orlando” Premiere Left to right: Hartmut Schörghofer, Gabriel Prokofiev, Georgy Isaakyan, Andrew Lawrence-King, Dmitry Bertman

Orlando, Orlando: Nominated  for the Golden Mask in 6 categories (2019)

 

The Art of Time: Tomas de Santa Maria on performing renaissance Fantasia

Tomas de Santa Maria’s Arte de tañer Fantasia (1565) free to download here is a teaching book for keyboard instruments and vihuela. Like Milán’s (1536) book for vihuela El maestro read more here, this publication is intended not only to teach the rudiments of notation and instrumental technique, but also to give detailed information for high-quality performance and to empower students to improvise their own Fantasias, in the strict polyphonic style of the late renaissance. Thus, the second part download part 2 here offers a complete introduction to 16th-century counterpoint.

In this post, I offer a brief overview of the contents of the two volumes of the Art of playing Fantasia, and analyse in detail Tomas’ comments on his highest priorities, Time and Rhythm, as well as his remarks on Ornamentation and on Performance Practice in general.

 

 

The Art of Fantasia

 

Tomas presents improvised Fantasia-playing as a renaissance Art, a term which had quite a different flavour almost half a millennium ago. Whilst the 20th century has taught us to regard art as the triumph of a lone genius over rules and restrictions applying only to ordinary folk, in the 16th and 17th centuries Art was defined as a system of coherent principles that transformed raw nature into artful creativity, full of life and grace. More about the period meaning of Art and period terminology here.

As Renaissance Art, Tomas’ fantasia is improvised within the rigorous structures of Franco-flemish polyphony, inherited and developed by such composers as Antonio de Cabezon (who checked and approved Tomas’ work), and his arte is indeed a book of rules: 78 chapters of detailed prescriptions, plus several bonus sections on key Performance Practice topics.

The remainder of this article consists mostly of extensive quotes from Tomas’ book, so for clarity my brief comments below are in blue.

Prologo: principles & fundamentals

El fin de este libro es arte de tañer fantasia – “the aim of this book is rules for improvising, divided into two parts. The first deals with all the pre-requisites that are necessary to begin improvising… the second part deals with everything necessary for this purpose, which is to improvise counterpoint, all put into a system (puesto en arte) and into universal rules (reglas universales)…

“In this first part we proceed by way of easier and clearer matters, beginning with the names of the notes (signos), but our principal intention is only to teach young professionals in this discipline (arte) what they need to put into practice, step by step from the most obvious and lightest matters, towards greater matters, and not [beginning] with the most demanding and difficult matters, which would tend to confuse and intrigue experts in such questions rather than enlightening and educating those new beginners, who like children should be nourished with light sustenance, easily digested, and later with more solid food!”

“In all the sciences and disciplines such order is essential… we see the same in Nature, which proceeds from imperfection to perfection… This has been the reason and motivation for our setting out to begin the first part with the notes, not as they have previously been analysed, but from first principles and fundamentals.”

Science, Art & Use

Tomas’ Prologue also includes a discussion of the need for arte – a coherent set of principles, contrasting this with uso – use, i.e. the habitual way of ‘just doing it’. Such use is not necessarily bad – a good habit can be a useful skill – but it must be guided by arte – rules. Our modern-day understanding of ‘art’ as the engagement with mysterious beauties beyond everyday rules is Renaissance Science.

Tomas’s personal connection to the ineffable, divine aspect of Music is proclaimed in a lengthy exposition of the role of Music in the Bible and in Christian doctrine. Reluctantly, he leaves this topic, to focus on the subject of his book – arte as a set of principles.

‘But I wish to leave this [Science], about which much more could be said, so as not to depart from my main purpose. And I say that although I have served the institution of my Order by playing organ wherever my duties took me, I considered many times the great effort required until now, and the many years taken up by learning singing and playing. Moved by emotions of love and charity, I began to investigate and re-examine how all this might be expressed as arte – a set of principles, so that in a short time and with less effort one could acheive the goal, and not merely as uso – habit, ‘just doing it’.

‘Because habit is broad and risky, whereas principles are narrow and sure. And so we see from experience that no-one without principles is perfect in their skilled discipline (facultad); because those who go without principles are like those don’t know the way and go without a guide; and like those who go in the dark without light. Since principles are the guide and the light, then it’s quite fair to say that those who do creative work (obran) without observing principles are ignorant.

‘This is the declaration of the Philosopher, who was asked what knowledge is; and who replied that knowledge is understanding the matter from its causes and first principles (primeros principios), which is what arte consists of.’

And so Tomas spent 16 years of ‘incalculable and incredible work‘, consulting with high-level colleagues, in particular Antonio de Cabezon, in order to perfect his set of principles, and teach his arte as ‘universal rules‘.

Contents

Part 1 begins with the names of the notes in plainchant (canto llano) and staff-notation (canto de organo); the three Hexachords (propriedades); the contradiction between the hard and soft Hexachords (see below); changing Hexachord (mutacion); the two pre-requisites for singing from staff-notation.

Then follows an extra section with ‘advice for maintaining the Tactus (compas) well, analysed in detail below.

Chapter 6 continues with note-values; introduction to the keyboard; semitones; black and white keys; intervals etc. Chapter 13 deals with Performance Practice, setting out eight conditions for fine playing (see below), which are discussed point by point in the following chapters.

From Chaper 20, Tomas explains how to perform polyphonic works on vihuela or keyboard, including advice on ornamentation. Then he analyses the Church Tones, Renaissance Modes, use of remote tonalities and Cadences.

Part 2 is devoted to the rules of counterpoint in 51 chapters: dissonance and consonance; suitable progressions, ascending and descending, whether in slow notes or faster; voice-leading; formal design. Chapter 52 has advice for new players (see below). The final chapter shows how to tune keyboard instruments and vihuela (in meantone).

Hexachords

Whilst every musician understands that one shouldn’t mix up B-flat and B-natural, Tomas’ comments on the contradiction of the hard and soft Hexachords – la contradicion que ay entre las dos propriedades de bequadrado y bemol (Part 1, Chapter 3) are interesting in the context of musical expression and History of Emotions.

‘Of the three Hexachords, the two that are B-natural and B-flat are notorious for being mutually repugnant and contrary – muy notorio ser repugnantes y contrarias entre si – and to such a degree that in no way can they suit or conform one to another nor vice versa, unless there is a particular necessity to make some perfect fifth or perfect fourth, or to excuse some dissonance of fa against mi… Finally, if we are singing or playing in B-natural, we must necessarily avoid singing or playing with B-flat [and vice versa].

‘The reason and cause of this contradiction and repugnance is because song with B-flat is a soft, sweet and smooth song (blando, dulce y soave), and on the contrary, song with B-natural is hard, strong and bitter (duro, rezio y aspero), and so – like soft and hard  – they are manifestly opposites and contraries.’

The natural Hexachord [C D E F G A, containing neither B-flat nor B-natural] is halfway between the hard and soft Hexachords, conforming with either of them’. Tomas links this ‘convenience and conformity’ to the structure of eight-note modes, which combine notes from two six-note Hexachords. ‘The natural Hexachord is halfway, a tempering and concord … with which every mode (tono) can complete its perfect operation.’

Pre-requisites

Part 1, Chapter 5 De dos documentos para en brevemente cantar canto de organo – two pre-requisites for quickly [learning] to sing from staff-notation

‘It is certain and evident that staff-notation – canto de organo – is highly important and necessary for the player, both to understand what they are playing as well as to set a work [i.e. arrange polyphony for solo instrument] and gain advantage from [studying] it. Just as a scholar to complete his diploma has to read many learned writers every day… so the player should… set works in staff-notation by selected composers every day, enriching his knowledge of new and fine things… Por falta de fundamentos se gastava mucho tiempo…

If you lack fundamental skills, you’ve been wasting a lot of time!

Tomas’ emphasis on staff-notation and deep understanding of counterpoint takes his book into territory beyond that explored by Milán in El maestro (1536). Milán uses tablature notation, which tells the vihuela-player which string to pluck with the right hand and which fret to stop with the left hand, note by note, and with careful control of rhythm. But this notation does not show the movement of the individual polyphonic voices, and Milán allows more freedom than Tomas de Santa Maria in adapting the strict rules of counterpoint to the exigencies of a particular instrument. Although Milán requires basic knowledge of staff-notation, his students learn to improvise polyphony mostly by ear and by ‘muscle memory’, by learning the stops and plucks that create the progressions and cadences of each mode. Tomas teaches staff-notation in detail and wants his students to learn counterpoint as an academic, as well as practical, exercise. But both writers encourage students to play good music, in order to learn by example, reproducing and imitating learnt musical fragments in their own improvised fantasias.

Tomas gives ‘two very brief and comprehensive rules (reglas), with which in a very short time one can easily learn and understand in depth: the first deals with  compas and the second with written note-values.’

As for Milán (read more here), so also for Tomas, the term compas combines the philosophical concept of Tactus (the slow, steady pulse governing renaissance and baroque rhythm) with the practical, physical representation of that pulse as a down-up movement of the hand (or foot) and with the notation of the duration of a down-up pulse unit by the note-value of a semibreve and by a bar of staff-notation enclosed by bar-lines. Tomas distinguishes clearly between Tactus (the complete down-up movement, corresponding to a semibreve) and semi-Tactus – medio compas (downbeat only, or upbeat only, corresponding to the duration of a minim).

Tactus

Quanto al compas, que es como fundamento del canto de Organo, por quanto siempre estriva en el, sea mucho de notar que la llave y govierno de toda la musica, assi del cantar como del tañer, es el compas y medio compas, de los quales el que bien supiere usar, terna bien fundamento para bien cantar y tañer, por que el compas es ciera guia en toda la musica mensurable que por su certidumbre le dezimos ser el freno de la musica, porque nos detiene para no cantar ni tañer desatinada y desconcertadamente, sino conforme a razon, por peso y medida, y por preceptos y reglas de musica. Y assi con justo titolo el compas es llamado el govierno con que se concierta y rige toda la musica, assi del cantar como del tañer, dandole toda gracia y ser. 

‘Regarding Tactus, which is like the foundation of staff-notation, since it is always based on Tactus, it should be carefully noted that the key and government of all music, whether sung or played, is the Tactus and semi-Tactus. If you know well how to use them, you’ll have a good foundation for singing and playing well, for Tactus is a sure guide in all measured music [i.e. not plainchant], which for its certitude we can say is the musical brake which restrains us from singing or playing recklessly and in disorder, but instead rationally, by weight and measure, and by precepts and rules of music. And so it is the appropriate title to call Tactus the government with which all music (both sung and played) is brought together and ruled, giving it all its grace and its very existence.’

Tomas now links the practical purpose of Tactus as the basis of musical ensemble to its formal definition in relation to Aristotelean Time: ‘a number of movement in respect of before and after’ Physics (4th cent. BC). We should keep in mind that Isaac Newton’s theory of Absolute Time was not published until more than a century later.

‘Compas es medida, en la cantoria tomado a intento que las bozes concurren en consonancia a un mesmo tiempo. Tactus is Measure, used in choir so that the voices come together in consonance at the same time.’

‘Compas es la cantidad a tardanca de tiempo que ay del golpe que hiere en baxo a otro siguente baxo. Tactus is the amount of duration of time from one down-beat to the following down-beat.’

In the next paragraph, he links the physical hand-movement and practical purpose of Tactus-beating to the notation of musical time with bars and note-values.

‘El compas con que se mide toda la musica practica assi del cantar como del tañer fue sacado del compas con que se mide y inivela la cantidad a cuya semejança el compas de la musica practica mide el tiempo que se gasta en las figuras del canto de Organo… The Tactus that measures all practical music-making both vocal and instrumental is taken from the Tactus that measures and determines the quantity represented by a bar of musical notation which measures the time taken up by the note-values of staff-music.’

Tomas makes it abundantly clear that all measured music (i.e. all music except chant) is governed by Tactus, and the music has to conform to the Tactus, not vice versa.

‘El compas, en el qual estriva toda la musica practica… Tactus, on which all music-making is founded. ‘Toda la musica, assi del cantar como del tañer, esta subjectada y atajada al compas, y no la compas ala musica. All music, both vocal and instrumental, is governed by and founded on Tactus, and not the other way around.

About this, students who want to excel in this art should be well admonished.

‘The Tactus is divided into two equal parts, that is into two semi-Tactus… by the upbeat, so that the Tactus is always on the downbeat and the semi-Tactus on the upbeat’. Tomas emphasises that in binary metre every semi-Tactus is of equal duration.

‘There are two different types of compas in music-making – in one the Tactus is divided (as above) into two equal parts. In the other type into three equal parts: this is the compas of Proportion, also known as Triple metre, in which of the three parts that it has, two are spent on the down-stroke and the other one on the up-stroke. This is done singing two Semibreves on the downstroke  and one on the upstroke [slow, Sesquialtera proportion] or two Minims on the downstroke and one on the upstroke [fast, Tripla proportion].

Four requirements for maintaining Tactus perfectly

  • Beat time with the hand, down-up, with each stroke of equal duration

‘Even though the upstroke should not have a ‘bump’ [topar] as the down-stroke does, nevertheless the down-beat must hit as if it struck something.’ He mentions two faults to avoid: ‘often we see imprecise Tactus-beating without any ‘bump’ neither on the down nor the up, or hitting with the hand as if it struck something on down and up’. This subtle difference between down- and up-strokes is the concept of arsis and thesis.   ‘Every bar has these two beats.’

  • The hand stays down for the entire duration of the semi-Tactus

‘It is not lifted until the note on the upstroke. Similarly on the upstroke the hand stays up for the entire duration of the semi-Tactus, until the downstroke.

‘For this it is necessary to raise and lower the hand with equal regularity – una misma ygualdad.

  • The up- or down-beat and the note on which it falls are struck together simultaneously – juntamente a un mesmo tiempo 

‘The beat is not before or after the note, the note is not before or after the beat, but absolutely together at once. For this, it’s necessary that each beat, both down and up, should be struck with a certain force or impetus, and in addition both should be struck equally, that is one doesn’t strike the downbeat harder than the up, nor the up harder than the down.

  • Every bar goes as measured and determined by the measure of the first bar

‘The measure of tempo maintained in the first bar is maintained in every bar that follows, by reason, that one doesn’t take more time for one bar than for another.

‘We give this advice to new players,  that they basically count by semi-Tactus [minims] … and this way they cannot fail to play in Tactus with all the rigour that is required. because by experience we see that those who don’t play in Tactus err in the semi-Tactus.’

Note that Tomas is encouraging beginners to count relatively quickly, in minims [about MM 60], whereas more experienced players might count the whole Tactus [semibreve ~ MM30]. Modern-day musicians are so used to a fast count, that even Tomas’ easy option of 60 bpm is challengingly slow for many nowadays

.

 

 

‘If you want to maintain Tactus and semi-Tactus well, practise a lot maintaining it for yourself [i.e. within your own body] with the hand and with the foot… for players, maintain Tactus & semi-Tactus with your foot, since whilst playing you can’t do it with your hand.’

 

Mensuration signs & note-values

Part 1, Chapter 6 De las figuras

We are discussing the figuras – written notes – according to their note-value sung in compasete [indicated by C, modern ‘common time’], which is  now commonly used by everyone…. even though  [C-slash, modern ‘alla breve’] is also called compasete by many, which if taken strictly we would have to sing by whole compas [down-up Tactus, and also bar-length], which is breve or two semibreves.  Nevertheless we use it [in the same way] as C, a half-circle without the slash, with the result that using one or the other [mensuration sign, ‘time signature’] we now sing in compasete. What is strictly called compasete  in this period, which is C without slash… the Semibreve is one compas [down-up Tactus, and also bar-length]’

So by Tomas’ time, the strict definition of compasete (Milán calls it by another dimunuitive, compasillo) as C is informally extended by many to include C-slash; and the realisation of C-slash strictly according to theory, i.e. counting by breve and semibreve (which would suggest double tempo, though Tomas does not clarify this explicitly), seems to have been abandoned in practice.

Bar-length

Although period use of the term compas often includes the meaning ‘a bar of notated music’, Tomas’ basic explanation of note-lengths clearly shows that bar-lengths can be varied in practice. In his table, the numbers viii, iv, ii and 1 count the number of Tactus beats.

 

 

This defining exemplo shows:

  • Bar-lengths are expanded as necessary to accommodate large note-values

 

  • The primary meaning of compas is Tactus (as a duration of time corresponding to the movement of the Tactus-hand)

 

  • Note-values are defined in relation to Tactus

In theory, the relationship depends on mensuration sign, but the theoretical distinction between C and C-slash no longer applies in practice.

 

  • A single mensuration sign (i.e. C) allows varying bar-lengths

This contrasts with the modern use of C as a time signature requiring a consistent bar-length of one semibreve.

 

  • There is no assumption of maintaining duration as bar = bar.

This has implications for triple-metre proportions, which today’s performers sometimes describe as ‘bar=bar’. That might be an accurate description in some circumstances, but ‘bar = bar’ is not a period principle that can be used to determine proportions.

Tomas’ (1565) principles of rhythmic notation are entirely consistent with Milan’s theory and practice in El maestro, three decades earlier.

The fundamental quantity is Tactus. Relative durations are specified by note-lengths. The notated bar-length framed by bar-lines  is essentially a visual convenience, no more.

Two Principal Requirements for singing from staff notation

Dos cosas se reguieren principalmente para saber cantar canto de Organo.

  1. Give each note its written time-value
  2. Know which note is on the up- or down-beat, and which is not

For minims it’s easy… with each beat down or up, you sing a minim… if one minim comes with the downbeat, the next is with the upbeat and vice versa.

Tomas now gives examples for various note-values of how notation is linked to Tactus beats.

8 conditions for playing with total perfection and beauty

Book 1, Chapter 13 ‘So that all music might have that grace and essence (ser – literally, ‘being’) which it deserves, it’s necessary to play with all the delicacy that is required, which is repaid in much gold and creates yet more essence and grace. Without this, all that is played, however good it might be, will not have grace nor brilliance. Here is the clear difference between the same work played by a perfect and refined player, or played by another, imperfect and coarse; because played by the expert it will appear to be delicate and high art, and played inexpertly it seems low-class and coarse, as if it were two different pieces.

‘The conditions which thus beautify the music can be reduced to eight:

  1. Play in Tactus (compas)
  2. Place your hands well.
  3. Strike the keys well.
  4. Play cleanly and distinctly.
  5. Let the hands run well up and down the keyboard.
  6. Use appropriate fingering
  7. Play with good groove (ayre)
  8. Make good ornaments and trills (redobles y quiebros)’

‘Playing in Tactus … is the first condition’

For more on Tactus, Tomas refers his readers back to his previous remarks (analysed above).

Chapters 14-18 are specific to keyboard, in particular clavichord, technique. Chapter 14: Fingers are numbered from thumb 1 to little finger 5. Hands are curved like cat’s paws, fingers close together, thumb underneath and close to the 5th finger. All this is close to period harp-technique too. Elbows are dropped, relaxed and close to the body.

Chapter 15: strike the keys with the flesh of the finger; with impetus; equally strongly with both hands; don’t strike from too high above the key; press down into the key, but not so much as to raise the pitch; don’t raise the fingers too much away from the keys.

Chapter 16: for clarity, release one key before playing the next. Lift the finger a little after playing, but don’t take them too far away from the keys.

Chapter 17: for facility throughout the whole range, keep the hand compact, turn the hand slightly in the direction of movement (especially for fast notes), keep the active fingers close to the keys.

Chapter 18 defines Principal Fingers as those that strike the first note of trills. Thumbs are not used for black notes, except for octaves in one hand, or when there is no possible alternative. One should not use the same finger twice in succession for crotchets or (especially) quavers. Consecutive semibreves, on the contrary, are played with one finger repeating. Melodic crotchets are taken pair-wise, alternating two fingers. This is the familiar Renaissance concept of Good and Bad notes, corresponding to the accented and unaccented syllables of a song-text: more on Good & Bad here. Quavers and semiquavers are fingered four-by-four. 

Tomas analyses fingering in considerable detail, confirming the importance of fingering in creating short-term phrasing and articulation. His fingerings for two-note chords require changing fingering on consecutive thirds, which has implications for facilitating particular ornaments (page 45). 

Groove and Swing

 

Chapter 19 introduces the concept of ayre – particular ways to apply rhythmic freedom to fast notes, within the regular pulse of the Tactus. Ayre sometimes refers to melodic tunefulness, but more often to subtle rhythmic patterning. Depending on context, I translate it as ‘groove’ (dance patterns and/or medium- term patterning) or ‘swing’ (changeable, short term patterns), in the jazz sense of subtle rhythmic adjustments that give a particular character or elegant shape without disturbing the fundamental beat.  

‘The way to play with good ayre… requires playing the Crotchets in one way [groove] and the Quavers in three [alternative options for three different ways to swing].’ Thus these adjustments are within the fundamental steady pulse of Tactus (semibreve, down-up) and semi-Tactus (minim, down or up).

‘The manner – manera – you must have for playing Crotchets is to wait – detenerse –  on the first and hurry – correr –  the second; and neither more nor less wait on the third and hurry the fourth; and in this way for all the Crotchets. As if the first Crotchet were dotted, and the second a Quaver… and take note that the Crotchet that hurries should not be very hurried, but a little moderate – un poco moderada.

 

 

‘Of the three manners of [playing] Quavers, two are done almost the same way, which is waiting on one quaver and hurrying the other one… In one manner you begin by waiting on the first Quaver, hurrying the second; and neither more nor less waiting on the third and hurrying the fourth; and in this way all of them… As if the first were dotted and the second a Semiquaver. This manner is suitable for works that are contrapuntal throughout – todas de contrapunto – and for passages of decorative fast notes both long and short – passos largos y cortos de glosas.

 

 

The second manner is done by hurrying the first Quaver and waiting on the second; and neither more nor less hurrying the third and waiting on the fourth; and in this way all of them… As if the first were a Semiquaver and the second a dotted Quaver. In this manner, the dotted Quavers are never on the beat, but in-between. This manner is suitable for short decorations – glosas cortas – which are done like this in [composed, contrapuntal] works as well as in [improvised] fantasia.  And note that this manner is very much more galana (elegant, showy) than the other one, above.’

 

 

The noun gala and its related adjective galana occupy an area of meaning that extends from ‘decorative’ or ‘elegant’ to ‘luxury’ or ‘ostentation’. Milán discusses tañer de gala, which seems to be well towards the ‘showy’ end of this semantic spectrum, as suggested by my translation ‘bravura playing’. More on Milán here.

‘The third manner is done by hurrying three Quavers and waiting on the fourth; and be warned that the waiting has to be all the time that is necessary so that the fifth Quaver comes to be struck in time on the semi-Tactus; and in this way all of them. With the result that they go four by four… as if the three Quavers were Semiquavers and the fourth a dotted Quaver. This third manner is the most galana of all, and is suitable for long and short decorations – glosas largas y cortas.

‘Take note that the waiting on the Quavers should not be much, but just enough to show and be understood a little, because waiting a lot causes great gracelessness and ugliness – desgracia y fealdad – in the music. And similarly for the same reason, the three Quavers that hurry should not hurry too much, but with moderation, conforming to the waiting on the fourth Quaver.

 

The soundscape of Renaissance rhythm

Tomas’ instructions for Renaissance ayre create a rhythmic soundscape that differs sharply from 20th-century assumptions about art-music and improvisatory fantasias. He demands that the player count in minims, which should be completely steady. From other evidence, it is plausible that this count would be somewhere around minim = 60. Within that slow steady beat, crotchets are good/bad (i.e. subtly long/short), quavers are subtly shaped in one of three specific ways, the choice depending on the genre of music and the length of the decorative passagework. Whichever groove or swing is applied, it is maintained consistently throughout the passage in question.

There is no trace of 20th-century rubato, nor of its early-music derivative, phrasing that ‘goes towards’ a certain point. There is none of the hesitancy and pauses that often characterise modern-day performances of ‘improvisatory’ music: on the contrary, even if the player is genuinely improvising, Tomas and his advisers, the Cabezon brothers (as well as Luys Milán before them) expect Tactus, Groove and Swing to be maintained.

Nowadays, one might describe Tomas’ sound-world as steady pulse at approximately 60 bpm, with regular groove at the subordinate level around 120 bpm, and various options for swing at the most rapid level of rhyhmic activity, around 240 bpm. But in that pre-Newtonian age, Tomas has no concept of Absolute Time on which to base such a description; he has no clock precise enough to measure such short durations: rather, he has Tactus, which counts Aristotelean Time as ‘a number of movement in respect of before and after’ (Aristotle, Physics). The essential quality of that Tactus movement is that it is consistent – within the limits of human perception – so that Tomas’ minim is always about one second in duration (though he has no machine to measure it, and no conceptual framework for comparing it to anything more objective than his own feeling of consistency).

It is this essential consistency that allows Tomas to map specific performance practice instructions onto particular note-values (minims are steady, crotchets groove good/bad, quavers swing in one of three ways). Such linkage, which is seen also in Ortiz’s instructions for viola da gamba,  strongly implies that the absolute duration in time of any given note-value is approximately fixed within the whole repertoire:  e.g. minims are approximately one second. If the durations of note-values could vary arbitrarily (as they can in modern practice), this linkage would be meaningless.

Nevertheless, Milan indicates subtle changes in tempo from one piece to another, centred on a default tempo of ‘well measured Tactus’ that is ‘neither very fast nor very slow’. But these changes are not imposed arbitrarily by performers’ artistic choice: performers are required to follow the composer’s directions. So – in contrast to the 20th-century concept of ‘artistic freedom’ for performers, the period attitude is that there is a correct tempo, and that it is the performers’ job to find it.

Ornamentation 1: Graces

Chapter 20: How to make redobles and quiebros 

Summarising Tomas’ definitions & examples: Redoble is a reiterated upper-note trill, starting on the written note, and turned at the beginning.

 

Quiebro is an upper- or lower-note trill, starting on the written note, but without initial turn. Quiebros can be senzillos (simple, i.e. one flip) or reyterados (reiterated).

 

The difference between redoble and quiebro is that the redoble has the initial turn through its lower note.

 

 

‘Redobles are only made on complete bars, i.e. on Semibreves. And Quiebros are made on MInims and on Crotchets and, as a marvel, on Quavers. Reiterated quiebros are made on Minims, simple quiebros on Crotchets; except for one which is not reiterated, and always made on Minims on the [hexachord] pitches sol fa mi fa. This is called the Quiebro de Minima.

‘Reiterated quiebros are made on every Minim where the fingering permits. But simple ones are not made on every Crotchet, but alternately yes and no.

‘There is only one way to make Redoble … with whole-tone and semitone combined. Quiebros are made with tone or semitone, except for the Quiebro de Minima, which is always made … with the lower semitone and upper tone.  The other way would produce gracelessness and displeasure – desgracia y desabrimiento – to the ears, for which reason it must not be made where it would finish on mi…. But it can finish on any other note ut, re, fa, sol, la.

Redobles can have the semitone above or below, ‘but note that in no way is it permitted to make a Redoble with two whole-tones combined, because this is very graceless and displeasing to the ear.’

Redobles permitted and prohibited

 

Tomas gives specific fingerings for each ornament, for the keyboard, left and right hands.

‘These styles of redobles and quiebros … are very new and very elegant – galanos – causing such grace and tunefulness – melodia – in the music, which bears them in so many degrees – grados – and with such contentment to the ears, that it seems something quite different from playing without them, so much so that there is every reason to use them always, and not others which are old-fashioned and not graceful.

‘Simple quiebros … for ascending are made with tone or semitone below. Those for descending are made with tone or semitone above.’

Tomas describes a very fast ornament, in which the principal note is not actually repeated, but sustained whilst the auxiliary is played almost simultaneously and quickly released. There is no conventional notation for this technique (described also in some harp sources), so he does not provide an example. With this type of fast mordent, Tomas prefers the descending version (with upper auxiliary) to the little-used ascending version. 

Quiebros on Crotchets, both ascending and descending, are sometimes made on the beat, and sometimes on the off-beat, and this [on the off-beat] is the better and more elegant – galana – manner, because it gives more grace to what is played.

Tomas gives keyboard fingerings for each option, for each hand.

The upper-auxiliary Minim quiebro normally used for descending can be used ascending if the principal note is a mi.

‘Sometimes, and only descending, one can make quiebros on two consecutive Crotchets. which is done for grace and elegance. This occurs when after an ascent to a Semibreve there are two Crotchets descending. 

‘When there are ascending Crotchets which then descend, one must always make a quiebro on the highest note, which is done for descending [upper auxiliary]’ ‘Similarly, when there are descending Crotchets which then ascend, one must always make a quiebro on the lowest note, which is done for ascending [lower auxiliary].

‘Similarly, to give more grace to the music, one must always make quiebros on every Crotchet that follows immediately after a dotted Minim.’

‘So that the music should have more grace and thus give more contentment to the ears, it’s necessary that redobles and quiebros de minimas should be done by either hand, a redoble with one hand, another redoble with the other; and similarly a quiebro with one hand, another quiebro with the other; responding to each other.’ The fingerings for consecutive thirds (above) facilitate a similar effect between two voices in one hand.  ‘This is heard when both hands play Semibreves or Minims which can have redobles or quiebros, playing them one after another, which greatly adorns the music and gives it grace, especially when there is a chain of Semibreves or Minims.’

‘When the Mode – tono – avoids certain notes … the ornaments should also avoid them.’

Tomas gives technical advice for executing ornaments at the keyboard, repeating his earlier comments about keeping the fingers close to the keys. That advice might well be adapted for vihuela and harp, as keeping the fingers close to the strings.

Tomas characterises his ornamentation as ‘new’, and it is intended for the relatively short sustain of the clavichord. Fewer, or different ornaments might be appropriate to Milán’s period and/or to other instruments. Nevertheless, it seems likely that all renaissance music was ornamented considerably more than the raw notation suggests.

Tomas demands almost ceaseless ornamentation, more-or-less on every second note, as well as strict adherence to rules of ‘grammar’ for ornamentation. Such florid playing in regular Tactus, and with the groove and swing of ayre, creates a sound-world for the late 16th century that contrasts notably with 20th-century assumptions about art-music, the ‘purity’ of polyphony and what ‘improvisatory’ playing might mean.

 

Setting polyphonic works

Chapter 20. ‘Playing polyphonic works on the clavichord is the font and origin from which are born and proceed all the fruits and benefits, and all the art of playing for players.’

‘It should be noted that in whatever work of any kind, all the voices are interdependent and linked one to another, that no individual voice can move a single note without having specific respect and regard for all the other voices. And similarly voices are measured and counted, linking voices Tactus by Tactus, semi-Tactus by semi-Tactus.’

‘Two things have to be kept with all rigour, which rule and govern the arranger so that they never err: these are count and measure, which are interdependent… Measure is the same as compas (Tactus, also bar-length), by which all practical Music is ruled and governed.’

Tomas also explains vihuela tablature, and how to set polyphonic works for vihuela.

Tips for understanding polyphonic works

Chapter 21. ‘Brief advice for new players to master quickly any kind of work’

‘Three things are necessary to understanding any kind of work quickly, and thus to play it more perfectly.

1. Play in Tactus

‘maintaining it always with the same equality of time, i.e. not changing it from more to less nor from less to more. For this, it’s necessary to maintain Tactus with the foot and similarly to take great care with the semi-Tactus… in addition, it’s necessary to understand note-values and give each of them their full duration.’

2. Sing through each individual voice in turn

3. Understand all the Consonances and Dissonances in the work, whether in 2, 3 or 4 voices.

How to obtain benefit from studying polyphonic works

Chapter 22. ‘Five things have to be noted:

1. Understand profoundly the invention and artfulness in the contrapuntal progressions – passos – whether the response or repeat is at the fourth, fifth, octave or other interval… in two, three, four or more voices; with or without imitation. The Art of Fantasia consists of all this, which above all one has to get to know; because in everything it is only arte [i.e. a coherent system of rules]  that makes a Master. And from that it follows that all those who ignore the rules are imperfect.

2. Note the entrance of each voice, to know if it enters before the cadence, in the cadence, or after the cadence; with what invention or subject it enters; for the entry of each voice is the most delicate matter, of greatest subtlety and arte that there is in music. So this must receive great attention and care, in order to apply it in the works.’

3. Note all the styles of Cadences which are used in the works, undersanding them profoundly and memorising them, in order to make similar cadences when improvising [fantasia].

4. Note all the Consonances and Dissonances… and memorise them, in order to create varied progressions, for this is of great benefit in acheiving flow and abundance of spontaneity [fantasia].

5. When a progression is repeated, note the differences in the repeated version, whether in 2, 3 or 4 voices.

‘For new students to apply these benefits in improvisation – fantasia – it’s necessary that they practise constantly with the same progressions that they have learnt, so that with this practice – uso – they become accustomed to the [rules of] arte, and then they can easily play other progressions. Similarly, it is very advantageous to transpose a particular progression into all possible keys. For this, take note that wherever you want to transpose them, they must keep the same [Hexachord] solmization.

‘To gain the great fruits and benefit for improvising of all the above, it’s necessary to practise many times each day, with great perseverance, never mindlessly – desconsiando – but trusting for certain that work and constant practice – uso – conquers all and creates a maestro… A drop of water can carve out stone, not in one or two droplets, but falling constantly.’

Tomas recommends frequent, mindful practice, repeating the same material many times in order to perfect, memorise and internalise it. Although his comments are consistent with the modern-day understanding of learning elite skills, he expresses himself through the period meaning of such terms as uso (practical techniques) and arte (a coherent set of rules for effective creativity). What we mean nowadays by ‘art’, the ineffable mystery of the emotional power of music, is Renaissance Science. More about period terminology here and here.

Tomas’ emphasis on learning progressions and cadences echoes the approach of Milán’s El Maestro.

 

Ornamentation 2: Divisions

How to add divisions to polyphonic works. Chapter 23 Del glosar las obras

Renaissance ornamentation is categorised as Graces on a single note (the redobles and quiebros discussed above) and Divisions or Diminuitions – glosas –  where the interval between two long notes is ‘divided’ into many shorter notes. Tomas gives several examples for each interval, ascending and descending.

‘To add divisions – glosar – to polyphonic works one must be advised that glosas are only made on three note-values – Semibreves, Minims and Crotchets – even so, least often on Crotchets.

‘To glosar a work well, there are two things to note:

  1. All the voices should have equal amounts of glosas
  2. If the voices repeat something, the glosas are also repeated in all the voices

unless something prevents this, which is often the case.

If it is necessary to glosar Crotchets ascending or descending [four by four, stepwise], one must take the glosas for Semibreves ascending or descending a fifth. 

Helpful Hints & Improvisation

Book 2, Chapter 52.  Useful advice for new players.

Tomas’ purpose is not only to teach the instrument and basic musicianship, he also gives advice on how to learn to improvise within the demanding style of 4-voice Renaissance polyphony.

1. Practise running the hands throughout the whole range of the instrument, with appropriate fingerings, observing all the conditions and circumstances already discussed.

2. Practise making redobles and quiebros with both hands.

3. Maintain Tactus very well with hand or foot… give each note-value its precise value

4. After studying a piece well in a class, write it out just as the master taught it, with the glosas etc. Similarly, sing through each individual voice.

5. Understand well how to play the instrument

6. Take as your foundation and guide the Eight Conditions for playing perfectly [above].

7. Understand and be able to play in all possible keys

8. Practise easy works first, and then progressively more difficult ones

9. Practise transposing works into every possible key.

Similarly, try to take from each work those progressions which have graceful melodies, and memorise them, so that afterwards you can improvise on them spontaneously.

Once you are expert in all these things, try to start to play improvisations, based on some melodious progressions. In addition, try to play the progressions with different imitative counterpoints – fugas – i.e. at the fourth, fifth and octave, which greatly beautifies the music.

Similarly, try taking one voice from a work (whichever you want, soprano, alto, tenor or bass), and play it as the treble in four-voice harmony, making up three voices in your head… with a variety of harmonies, which greatly exalts and beautifies the music.

Similarly, once you are already a little expert in playing a given voice like this as the treble, trying playing it as the alto, tenor or bass [with three new voices created around it]. This suggests the Renaissance technique of composing a Parody Mass, in which the counterpoint of a pre-extant motet is re-worked and greatly extended to create an entire mass setting. This technique could be a model for improvisation in Tomas’ style, as could the fantasias compiled for keyboard, harp and vihuela by Henestrosa, ‘cutting and pasting’ contrapuntal progressions from various works into a new creation.

If you want to be a perfect player, try to apply yourself and practise little by little, playing counterpoint that has a good feeling – ayre – and graceful melody; on plainchant; and especially polyphonic music, until you are perfect at it. For this is the root and source from which grow and proceed all the skills applicable to the keyboard, and also the perfection and grace which it gives to all the music that is played.’

Tomas final words perfectly capture the essence of Renaissance improvisation: Practise by playing good music well; strive for total perfection; this will improve your skills, your improvisation and your playing of written music.

Modern-day performance

Three significant differences stand out from Tomas’ rules of arte, when compared to today’s HIP approach to fantasia and renaissance polyphony.

  1. Many modern-day performers choose not to play in rhythm.
  2. Few modern-day performers add much ornamentation.
  3. Few modern-day improvisers maintain correct counterpoint to Tomas’ standards.

Tomas’ comments on Tactus are so strongly worded that it is beyond any doubt that all the music of this period should be played in Tactus, counting regularly on a minim beat, and controlling this with the physical movement of hand or foot. Unless you frequently practise and problem-solve with a physical Tactus-beat, you are out of touch (sic) with Renaissance rhythm.

This insistence on Tactus is certainly fundamental, but it is not merely elementary. On the contrary, Tomas associates it witha perfect and refined … expert’, and with playing that is ‘delicate and high art’. 

The amount and detail of ornamentation specified by Tomas is alarming for those of us accustomed to ‘the pure lines of renaissance polyphony’. Our ears, as well as our fingers, will need plenty of practice with so many redoblesquiebros and glosas in all the voices, on almost every second note.

We might assume that improvisation excuses sloppy rhythm and bad counterpoint, even that ‘art has no rules’: Tomas’ book exists to teach the contrary!

 

El Maestro on Tactus: Luys Milán’s renaissance instructions for well-measured Tempo

 

 

Luys Milán’s (1536) book of music for the vihuela de mano entitled El maestro is the first collection of music for this renaissance instrument, tuned like a lute but shaped like a guitar and played similarly to the lute by plucking rather than strumming. It is also the first teaching book for any instrument, intended for complete beginners (a basic knowledge of singing from staff-notation is assumed) and structured progressively from the rudiments of tablature notation to elementary solo pieces, more demanding fantasias and dance-music, and song accompaniment in various styles.

 

Milán’s purpose is not only to teach how to play the instrument, but to show his students how to create their own fantasias in the formal contrapuntal style of the high renaissance. Right from the first example, his tientos (musical ‘essays’) are of the highest artistic quality, beautifully expressive as well as gramatically correct.

 

Of particular interest are his detailed comments for each piece, holding firmly to his declared priorities: tempo and tones. His renaissance ‘tones’ are the eight modal scales which define the ‘key note’, progressions and final cadence of each piece.

Freely available online, you can download the original print (full colour, high resolution, Spanish language and tablature) and also a transcription into staff notation, transposed for modern guitar (with some errors and omissions, without Milán’s tempo indications, with note-values halved or otherwise reduced) My recording, with Jordi Savall, is here, but it does not reflect my more recent research into Tactus.

 

 

 

Compas, mesura & ayre

In this post I analyse Milán’s remarks on Tempo, his highest priority. His Spanish terms are mesura (the ‘measuring’ of music in time); ayre (musical ‘feel’, rhythmic patterning, we might well translate this as ‘groove’); and (most frequently) compas. The significance of compas is broad, combining the philosophical concept of Tactus (the slow, steady pulse governing renaissance and baroque rhythm) with the practical, physical representation of that pulse as a down-up movement of the hand (or foot) and with the notation of the duration of a down-up pulse unit by the note-value of a semibreve and by a bar of tablature enclosed by bar-lines.

 

 

The pre-requisite for studying with El maestro is that the student should understand as a singer, how one must keep Tactus and Measure: basta que sepa cantando entender como se ha de traer el compas y mesura.

Tactus is the slow, steady underlying pulse, Measure is the sub-division of that slow pulse into all the various rhythmic combinations of differing note-values. Milán’s ygual compas is remarkably parallel to lutenist John Dowland’s insistence on the ‘equality of measure’ in his (1609) translation of Ornithoparcus’  (1515) Micrologus. 

 

It is also consistent with baroque lute/theorbo-player Thomas Mace’s (1676) Rule of Time-keeping, requiring ‘Exact, Equal, Constant, True and Even Motion… like the Balance of a good Clock… in all musical performances whatever’ read more, and with such theorists as Zacconi (1592), who characterised Tactus as r’egular, solid, stable, firm… clear, sure, fearless, and without any pertubation.’

 

 

Contrary to the present-day fashion for artistic freedom, Milán’s language (in common with most period sources) is strongly prescriptive. His oft-repeated formula is se ha de… – one has to: se ha de tañer con el compas – you have to play with the Tactus. This theoretical understanding and practical skill in maintaining steady Tactus should similarly be the pre-requisite for all modern-day HIP performances of renaissance and baroque music.

Milán begins with this essential requirement:  es menester que sepays que mesura y ayre se ha de dar a la musica – you need to know what measure and groove have to be given to the music. Pues sabemos que cosa es compas, vengamos a saber quantas de las sobredichas cifras entran en un compas: pues por esto se ha de saber el ayre y mesura – once we know what Tactus is, we can learn how many note-values fit into one Tactus: then from that you have to know the groove and measure.

In the detailed comments that follow, Milán’s starting assumption and ‘default setting’ is steady Tactus, maintained throughout the piece: ‘you have to play it all with an equal Tactus, without making any change’ – la [musica] aveys de tañer toda a un igual compas sin hazer mutacion.  That Tactus should be well-measured, neither very fast (rushed) nor very slow (spacious) – con un compas bien mesurado… ni muy apriessa  ni muy a espacio.  In practice, the Tactus is shown by a down-up movement of the hand or (more conveniently while playing) an up-down movement of foot, in steady time – El compas en la musica no es otra cosa … sino un alçar y abaxar la mano o pie por un ygual tiempo.

As notated in tablature, the combined up-down movement corresponds to the standard bar-length of a semibreve, so a single beat (either down or up) corresponds to a minim. This is consistent with many other sources, and in Spanish practice was referred to as compasillo. Milán shows one piece with bars of double length, which is a notational convenience designed to be easier on the eye, but seems to have no implications for the beat or the tempo.

 

Default Tactus: ‘ygual tiempo’ & ‘compas bien mesurado’

 

The ‘equality of measure’ characteristic of Tactus is certainly the default setting for any particular piece. This ‘equality’ probably continues between one piece and another across the whole repertoire, since Milán is careful to specify when any piece goes even slightly faster or slower. And it is these painstakingly described exceptions to the default tempo that make this vihuela book a crucial source for anyone working with renaissance music.

From the very outset, Milán is clear that the performer should not select their own tempo at will, but should respect the composer’s intentions. se ha de considerar en las siguentes fantasias la una: que se ha de tañer con el compas apressurado o espacioso como el auctor quiere – the first thing one has to consider in the following fantasias is that one must play with the Tactus fast or slow as the composer wants. [His second priority is to identify the tone].

The default setting for any given piece is an equal Tactus for the whole piece. But Milán asks for that Tactus to be selected (according to his wishes, not the performer’s whim!) within a range centred on ‘well-measured, neither very fast nor very slow.’

 

Milán’s range of tempo indications

 

compas a espacio – slow Tactus

compas bien mesurado– well-measured Tactus

compas algo apressurado – slightly fast Tactus

compas apressurado – fast Tactus

quanto mas se tañera con el compas apressurado mejor parecera – the faster the Tactus, the better

Note that it is the Tactus itself that goes slow, well-measured, slightly fast, fast or ‘the faster, the better’. The note-values within the Tactus can be anything from breve to quaver. The physical action of beating time with the hand makes even a small change of Tactus feel quite different – a different groove or ayre. And we can assume that even the biggest change of Tactus is distinctly less than a doubling/halving of tempo, since this could be better shown by halving/doubling note-values.

I suggest that Milán’s compas bien mesurado might be approximately minim ~ MM60, and that his other tempi would be subtle adjustments to that default setting. In the language of jazz, Milán’s apressurado could be ‘up-tempo’ and his a espacio ‘laid back’.

Milán states that compas batido (literally, ‘beaten’) means the same as apressurado (literally, ‘pushed’), i.e. ‘fast’.

Changes of Tactus within a piece

The reader should experience a frisson of shock at the above sub-heading: in the renaissance context of equal, steady Tactus ‘without any perturbation’, the idea of changing Tactus at all is surprising, and changing it within a piece is almost alarming. Milán recognises that to play like this ‘has litttle respect for Tactus or for most music’: it is appropriate only in a certain bravura style, tañer de gala, with long passages of fast notes, redobles, contrasted against slow harmonies, consonancias. 

This is musica con diversos redobles … y tiene mas respecto a tañer de gala, que de mucha musica ni compas – music with various fast notes… and it has more respect for bravura playing than for formal musical construction or Tactus.

Its particular style is tañer de gala con estos redobles largos – bravura playing with these long passages of fast notes.

The noun gala and its related adjective galana occupy an area of meaning that extends from ‘decorative’ or ‘elegant’ to ‘luxury’ or ‘ostentation’. Milán’s tañer de gala with its disregard for the normal rules of Tactus and musical structure would seem to be well towards the ‘showy’ end of this semantic spectrum, as suggested by my translation ‘bravura’.

Writing his own Arte de tañer Fantasia for keyboards and vihuela in 1565, Tomas de Santa Maria similarly emphasises steady Tactus in all music, and offers suggestions in Book 1, Chapter 19 for the ‘groove’ – buen ayre – of crotchets and quavers within the regular minim (semi-Tactus) beat. Crotchets always go long-short (i.e. good-bad), with the long crotchet on the Tactus beat. Quavers can go long-short, or short-long. This second style is only suitable for short passages of fast notes – glosas – but is much more galana (elegant) than the first. The third way is in groups of four quavers, short-short-short-long: this is suitable for long or short glosas and is the most galana (showy) of all. Perhaps Tomas’ third style would be appropriate for Milán’s tañer de gala. Whichever style is chosen, it should be maintained consistently through that particular glosa. More on Tomas de Santa Maria in another post.

Milán repeats many times and with small variations in wording his instructions for changing Tactus, but only in this context of tañer de gala – music which is like ‘trying out’ the vihuela, mixing harmonies with fast notes:  una musica la cual es como un tentar la vihuela a consonancias mescladas con redobles…

para tañerla con su natural ayre haveys os de regir desta maniera. Todo lo que sera consonancias tañerlas con el compas a espacio y todo lo que sera redobles tañerlos con el compas apriessa. ‘To play it with its natural groove, you have to rule yourself in this way: everything which will be harmonies you have to play with the Tactus slow and everything which will be fast notes you must play with the Tactus fast.’

Milán is quite specific that he asks for something beyond normal rhythmic accuracy – it’s not enough for him that the small note-values are faster notes anyway. He insists (many, many times) on changing the Tactus itself, so that the written contrast in note-values is exaggerated by the change in Tactus.

Modern performers might be tempted to interpret ‘fast’ as ‘twice as fast’, but this robs the listener of the sensation of a change of pulse, since the doubling of speed will be heard as halved note-values within the same underlying pulse. The shock of changing Tactus is greater if the change is noticeable, but small, and not proportional.

Similarly, modern performers might want to add accelerando or rallentando, but Milán does not suggest this, and again, the effect of an abrubt change is greater. I tell my students to

use the gear-shift, not the accelerator or brakes!

Milán is very clear that change of Tactus is only allowed in particular circumstances: Esta fantasia que sigue es de la misma arte de la passada fantasia tentando la vihuela con redobles y consonancias; y que vos he dicho de que manera y compas se han de tañer estas fantasias que mas propriamente se pueden dezir tentos – This fantasia that follows is in the same style as the preceding fantasia, trying out the vihuela with fast passages and harmonies: and I have told you in what style and Tactus you have to play these fantasias, which more properly might be called tientos [essays].

Y por esta mutacion de compas os dire que no la aveys de tañer como tañereys esta musica que de aqui adelante torna a proseguir la qual es como la del principio que la aveys de tañer toda a un igual compas sin hazer mutacion. And about this change of Tactus, I tell you that you must not play like that in the music that returns in the following pieces, which is like the pieces at the beginning, which you have to play all in an equal Tactus without making any change.

 

Technique & Phrasing

Milán distinguishes between two different techniques for playing fast notes. Both techniques produce an alternating pattern, but with different sound-quality: alternating two fingers dos dedos is considered more elegant than back-and-forth with a single finger dedillo, but particular melodic patterns suit one or the other technique.

y parar de tañer en cada coronado un poco – and stop playing a bit at each fermata mark.  This could be interpreted in the modern sense of breaking the time and waiting longer at the pause mark, but is more likely to imply creating a silence (literally, stop playing for a bit) within the notated value. This is consistent with the Rhetorical (i.e. word-based) principle of making the last note of the phrase ‘bad’, i.e. short/un-accented, and with period use of this sign (historically not a pause but signum congruentiae – the sign of harmonic resolution, the end of a phrase). More on good/bad notes here.

In the slow tempo that Milán requires, the vihuela’s final chord would need to be sustained for more than four seconds. There is little hope that a vihuela-player could prolong this even further, as a modern fermata: it is almost inevitable that the sound will stop before the notated duration – the usual situation for final notes in this period.

 

Romances

Some songs – romances – have similar passages of instrumental redobles between the vocal phrases, for which Milán suggests a variety  of performance options. The passages in fast notes can be omitted entirely, or the song can be performed with two different Tactus speeds, in the bravura tañer de gala style described for those particular fantasias. han se de tañer lo que fuere consonancias a espacio, y los redobles que ay a las finales quando acaba la boz muy apriessa – it has to be played with the harmonies slow, and the passages at the end of phrases when the voice stops very fast.

For the first romances in the book, Milán requires the singer to sing llano – plain, sustained – whilst the vihuela shouldn’t go very fast, nor very slow: la vihuela ni ha de yr muy apriessa ni muy a espacio. This might rule out the tañer de gala approach, or it might be an instruction applying to the vocal episodes only.

For each vocal genre, there are specific instructions song-by-song for the differing roles of singer/instrumentalist. Sometimes the singer may improvise ornamentation whilst the vihuela plays slow chords, and sometimes the voice is ‘plain’ and the instrument has discanto – counterpoint.

The alternative version of the first villancio has the instruction: el cantor ha de cantar llano y la vihuela algo apriessa – the singer has to sing plain and the vihuela slightly fast. Note that this is not an instruction about the compas (Tactus), it clarifies the different levels of activity in the voice-line and instrumental-part respectively. Singer and vihuela must keep the same Tactus (of course!), but within that Tactus there can be various levels of activity.

Similarly, the second villancio has the instruction: el cantor puede hazer garganta y la vihuela ha de yr muy espacio – the singer can make throat-ornamentation and the vihuela has to go very slowly. This song also has an alternative version with the singer llano and the vihuela apriessa.

For the first soneto (sonnet), Milán writes that the singer can add some trills- algun quiebro – whilst the vihuela goes at moderate pace. Other sonnets have similar instructions: el cantor glose donde huviere lugar con la boz y donde no cantar llano – the singer ornaments where he has an opportunity with the voice, and otherwise sings plain. El cantor ha de cantor llano. Y donde cabera glosar con la boz sea quiebro o trinar que dizen – the singer has to sing plain. And where it fits, to ornament with the voice, which should be quiebros or trills as they are called. The last sonnet has to be played algun tanto regozijado – with rather much rejoicing.

It’s worth noting that Milán distinguishes carefully between different genres – Spanish or Portuguese villancico, Italian soneto and the romance.  Each genre has its own performance practice. Milán leaves no doubt that romances are a special case, and the fast instrumental solo passage-work within them has to be treated differently from the rest of the song: lo que de musica se sigue despues de las finales es para solo tañer y ha de callar la boz donde acaba la cifra colorada – the music which continues after the end of phrases is instrumental only and the voice has to be silent where the coloured notation ends.

Pavan

The Italian Pavan is also a particular genre with its own performance style. Milán presents 4 of his own compostions, and 2 Italian melodies set by him for the vihuela. The first pavan-like fantasia se ha de tañer ni muy a espacio ni muy apriessurado: sino con un compas bien mesurado has to be played neither very slow nor very fast, but with a well-measured Tactus. el ayre della remeda al ayre de las pavanas que tañen en ytalia – Its groove resembles the groove of the Pavans that are played in Italy.

The Pavans that follow are to be played with a slightly fast Tactus, algo apressurado. Milán asks for this dance-music to be played two or three times through. The last Pavan is in triple metre (often found in Spain, not in Italy) with the [slow, sesquialtera] proportion of three semibreves.

 

Proportions

Milán shows two triple-metre proportions, notated with three minims to the bar and three semibreves to the bar. We can observe the notated bar-lengths of Milán’s two proportions, but there is no explanation of how to measure those triple-metre bars in time, i.e. with the hand-movement of the Tactus.

Most of the pieces (in common time), and the examples of proportions in the introduction, have no mensuration sign (time signature) at all. For changes between duple and triple metre, Milán uses these signs without explanation:

 

The modern reader might well wish that the Maestro would have distinguished more clearly between the inter-linked concepts of compas as bar-length, hand-movement and time-duration.  But whatever significance might be read into the mensuration signs, the musical content seems to argue against the hypothesis of  “bar = bar” as a universal rule for linking compas as notated bar-length to compas as time-duration/Tactus. A large variety of rhythms, including short note-values, is found in Milán’s proportion of 3 semibreves to the bar; whereas the episodes in 3 minims to the bar are almost entirely in the jig (canario) rhythm of dotted minim, quarter, minim. This suggests a fast proportion for 3 minims (tripla, 3 minims to one tactus beat, 6 minims to the complete down-up cycle: minim ~ MM180), and a slow proportion for 3 semibreves (sesquialtera, 3 semibreves to two tactus beats = the complete down-up cycle: semibreve ~ MM 90).

This would be consistent with what appears to be Monteverdi’s practice in the early 17th-century: read more.

 

 

Temperament

For certain pieces, Milán asks for the 4th fret to be adjusted. Alçareys un poco el quarto traste de la vihuela para que el punto del dicho traste sea fuerte y no flaco – raise the 4th fret a bit so that the stop at this fret might be strong and not weak. This appears ambiguous: which way is ‘up’? Moving a fret towards the bridge raises the pitch of the note and might seem to be Milan’s meaning. But when he repeats the instruction later for a song accompaniment, he clarifies: haveys de alçar el quarto traste un poco hasta las clavijas de la vihuela – you must raise the 4th fret a bit towards the tuning-pegs. This has the effect of lowering the pitch of the stopped note, which is what we would expect for the sharps and hard-hexachord notes on this fret in the meantone temperament typical of the period.

 

From a History of Emotions perspective, it is interesting that the low (i.e. in-tune) major third is characterised as fuerte, and the out-of-tune high third (characteristic of modern Equal Temperament) is ‘flaccid’.

 

Zarambeques: Encounters between Spanish Baroque & African Traditions

Andrew Lawrence-King & Ballaké Sissoko perform Zarambeques in the Festival de Fontfroide, 16 July 2019…

 

 

The Kora

The African Kora defies categorisation in Western organology. Like a double-harp, it has two ranks of strings stretched along a long hard-wood neck, but secured on a bridge, like a lute; the bridge is supported on a leather-covered calabash which functions as a resonator. Played by jali (griots), the poets, story-tellers and musicians of the West African Mandinka people, the Kora enjoyed similar high status and associations with royalty as the medieval harp and renaissance lute in Europe.

Traditionally, the nyenmyemo, a leaf-shaped metal plate clamped to the bridge enhanced the sound of antelope-hide strings, tuned with leather tuning-rings, but modern-day players use nylon strings, machine-head tuning pegs and electronic amplification. Kora music is characterised by repeating poly-rhythmic chord-sequences – kumbengo – and brilliantly ornamented melodic flourishes – birimintingo.

 

 

According to Mandinka history, the Kora’s origins are linked to the jali Mady Fouling Cissoko in the 16th century. Its music has been transmitted by oral tradition, and the first recorded album, Mali: cordes anciennes, was released in 1970, featuring Sidiki Diabaté and Djelimadi Sissoko. Album here. Their sons, Toumani and Ballaké, recorded Nouvelles Cordes Anciennes in 1999 as homage. The new generation album here.

 

The new generation, Ballaké & Toumani

 

 

 

Spanish Baroque Harp

 

 

The Spanish arpa doblada has two ranks of strings, that cross over between neck and sound-box in the way that your fingers interlace when you clasp your hands. One row has the diatonic ‘white’ notes, the other has the chromatic sharps and flats. Harps played solo, to accompany singers, in church-music and in the first Spanish and South American operas. The Spanish harp enjoyed similar high status to the renaissance lute and baroque harpsichord in Italy and France.

 

 

The gut strings are attached to a tall sound-box, which is narrow and shallow in the treble, wide and deep in the bass. This shape, and the playing technique with the right hand high up near the neck, the left hand about half-way down the strings, produce a characteristic contrast of sound: bright and punchy in the treble, rich and resonant in the bass. Spanish harp-music shares a common repertoire with the baroque guitar, consisting of written and improvised variations – flowing diferencias – over the repeating ostinato-bass of dance-rhythm grounds – formal danzas and popular bailes.

According to Juan Bermudo’s (1555) Declaración de instrumentos musicales, some harpists had already added a complete set of chromatic strings to the one-rank renaissance harp. Surviving 17th-century instruments and such publications as Ribayaz’s Luz y norte (1677) show how widespread the double-harp became. Nevertheless, single-rank harps were even more numerous, and the various national instruments of Central and South America are the descendants of particular harps brought from Spain in colonial times.

The first Spanish harp CD album, Luz y norte, was recorded in 1994, featuring The Harp Consort directed by Andrew Lawrence-King. Album here. The same ensemble recorded the first South American opera, Torrejón’s La púrpura de la rosa (1701) – opera here – and accompanied baroque guitarist Paul O’Dette’s recording of Santiago de Murcia.

 

Pat O’Brien, ALK & other founder-members of The Harp Consort, at the recording sessions of Luz y Norte in 1994.

 

Zarambeques

 

 

The Spanish harp-book Luz y norte and guitar intabulations by Murcia contain fascinating hints of baroque African music, identified by such titles as zarambeques, cumbées, paracumbé etc. These names [read more here], containing the characteristically African mb phoneme, are associated with dancers’ swaying hips, with harmonies in ‘blue note’ sevenths, and with rhythmic patterns that avoid the accent on the downbeat. Similar rhythms and harmonies characterise the chacona, which may have been brought along the slave routes from Africa to South America before re-crossing the Atlantic back to Spain. Certainly, Afro-Caribbean influences produced the Cuban guaracha, preserved in Juan Garcia de Zéspedes 17th-century setting as a Christmas music-drama for Puebla Cathedral, Mexico. Afro-Cuban/Mexican guaracha here. Murcia’s sub-title zarambeques o muecas hints at open-mouthed facial expressions of dramatic emotions or ritual dance.

 

 

This project brings together the splendours of African and Spanish harps, the noble history of baroque Spain and the rich traditions of ancient Africa, two distinct styles of improvised variations over ground basses, two world-renowned performers, and four centuries of artistic exchanges, to produce a unique cross-cultural, time-travelling musical encounter…

… or perhaps a distant echo of that long-lost meeting which first brought the zarambeques to Europe.

Zarambeques:

Encounters between Spanish Baroque & African Traditions

 

Andrew Lawrence-King Spanish Baroque Harp
Ballaké Sissoko Kora

 

PARACUMBEES
Fantasia de Luduvico Alonso Mudarra (Sevilla, 1546)
Zarambeques o Muecas Santiago de Murcia (Madrid, 18th cent.)
Guarachas Juan García de Zéspedes (Puebla, 17th cent.)
Cumbées Murcia

KORA
Futur Ballaké Sissoko
Maimouna

LUZ Y NORTE
Fantasía de consonancias y redobles Luys Milán (Valencia, 1536)
Xacaras & Gallardas Lucas Ruiz de Ribayaz (Madrid, 1677)
Folias portuguesas Anon (Cancioneiro de Paris, 16th cent.)
Paradetas Improvised after Ribayaz Luz y norte

MUECAS
Niandou Ballaké Sissoko
Passa Quatro Vicent Segal
Samba Tomora Ballaké Sissoko

… and perhaps, there might be a visit to the Isla de la Chacona…

 

It’s Recitative, but not as we know it

We all know what Baroque Recitative is, don’t we?

the boring bit between the nice tunes!

And we all know how to perform it –

free rhythm,

conversational style,

get through the text quickly,

ornament the cadences [Monteverdi],

eliminate all those silly rests in the middle of sentences [Handel]

NOT!

 

All these 20th-century assumptions are roundly contradicted by period evidence.  [See also Fake news & Early Opera.] Today’s Historically Informed Performers need a re-set, in which we abandon what we think we already know, and start afresh in the spirit of scientific enquiry. We must assume that we do not know what Recitative is, and we must seek period information on how to perform it.

Because all too often, rehearsal discussion relies solely on all those 20th-century wrong assumptions, evoked by the comment:

But it’s recitative, isn’t it?

The short answer is: No, it isn’t.

A long answer is coming soon, with the publication of the formal write-up of my 2017 conference paper for the Society for Seventeenth Century Music Redefining Recitative for academics, and a practical book for performers, Recitative & Rhetoric that I hope to finish next year.

This post offers a medium-length answer, clarifying what 17th-century recitative really is, and summarising period evidence on how to perform it.

 

What is ‘Baroque Recitative’?

The word ‘baroque’ itself is problematic: it is not a 17th-century term. In the sense of a period or style of music or art, it first appears in 1765. So whenever we use this word, we should be aware that we are imposing a later viewpoint on the earlier period.

The word ‘Recitative’ is even more difficult, because although it is a 17th-century term (in various languages), like many words, its meaning has changed over the centuries.

What is Recitative, in modern-day musicology?

The standard academic definition of

syllabic declamation over a static bass-line

works well for 18th-century opera seria, in which the contrast between Recitative and melodious or virtuosic Aria is a fundamental element of formal construction.

 

 

 

But when we try to apply this to the ‘first operas’ of the early seicento, it is a poor fit for what composers actually wrote. Typically we find a fluid mix of changing textures, and a great deal of music that is hard to categorise within that binary system, encouraging musicologists to apply such anachronistic terms as ‘arioso’ as they attempt to analyse music-theatrical works by Cavalieri, Monteverdi and their contemporaries.

Part of the problem is that although the contrasting use of certain kinds of Aria (see below) was a matter of formal construction – usually pre-determined by the poetic structures of the libretto – the ever-changing textures of dramatic Monody (solo singing accompanied by basso continuo) express varying emotions, whether or not those contrasts in Affekt coincide with structural units.

The modern musicological definition of 17th-century Aria is strictly limited to strophic songs over a repeating ground bass. This is a good fit with period nomenclature, aria di passacaglia, aria di romanesca etc, as well as with such formal structures as La Musica’s Prologo in Monteverdi’s Orfeo.  However, this category intersects with – but does not map onto – what is usually referred to as Aria passeggiata, a floridly decorated song which may or may not have a repeating harmonic structure. Before and after the year 1600, this kind of virtuosic vocal display characterised supernatural powers: Harmony’s Prologue, Arion’s rescue by the dolphin and the Sorceress striking the moon from the sky [Victoria Archilei, Jacopo Peri and a composition by Giulio Caccini in the 1589 Florentine Intermedi] do not have a ground bass; Orfeo’s aria in Hell, Possente Spirto (1607) does; Caronte’s challenge and riposte has a ground bass but – befitting his more limited powers and lowly status – no decoration.

Nevertheless, the period definition of aria is rather different, and much more wide-ranging. And – here our modern categorisation breaks down completely – we frequently encounter aria inside a 17th-century Recitative.

 

 

 

 

What does recitare mean in the early 17th-century?

The earlist dictionaries published by the Accademia della Crusca in 1612 and 1623 define recitare in terms of reciting: reading, narrating, saying from memory.  Florio’s 1611 Italian-English dictionary includes a specific reference to spoken theatre:

to recite, to rehearse, to relate, to tell by heart or without book, as players do their parts in Comedies.

For Florio, a recitante is also ‘an interlude player’.

The anonymous (c1630) guide for Il Corago Il Corago – The Baroque Opera Director uses recitare almost interchangeably with rappresentare (‘to represent or show, to play Comedies or Tragedies’ – Florio). In 17th-century theatre, as today,

recitare means ‘to act’.

And to act is ‘to imitate actions human, angelic or divine with voice and gestures’ [Il Corago]

For the Corago there are ‘three ways to act’ [recitare and rappresentare are used interchangeably in the title and body-text of Chapter VI]: without singing, just speaking; the same actions singing in a suitable style; expressing all this without the voice – i.e. mime. The existence of these ‘three ways’ confirms that recitare means ‘to act’ and not ‘to sing Recitative’.

recitativo does NOT mean ‘Recitative’ 

 

 

Our starting point is acting and the speaking voice of a fine actor.

The Corago confirms the simple meaning of the phrases musica recitativa – acting music  – and stile recitativo – acting style.  The stile musico recitativo – acting style of music – requires Monody (rather than complex polyphony), consisting of rhythmic sound articulated with regulated proportions of high and low.

The Corago again: the variety and conciseness of Monody should come as close as possible to the ordinary way of speaking, or ‘to put it better’

the way of speaking of the best actors or passionate speakers.

We should not confuse formal 17th-century speech with the ‘kitchen-sink’ style of 1960s acting, nor with the clichéd ‘naturalism’ of TV sit-coms. Historically Informed Performance of Monteverdi should imitate a great actor on the theatrical stage of Shakespeare’s own time. Handelian recitative is modelled on the grandiose style of a Georgian statesman, preacher or actor.

Addressing a large audience without amplification demands a measured delivery, with short sense-groups separated by rhetorical silences. Samuel Pepys admired Henry Lawes’ careful rhythmic notation, which he compared to printed punctuation.

The Corago examines the precise notation of Monody in terms of both pitch and rhythm. This is supported by Peri’s  (1600) account of how he notates theatrical monody with pitches derived from the ‘course of speech’; and rhythms guided (as Agazzari writes in 1607) by the continuo-bass. If the matter is ‘sad or serious’, the continuo moves in note-values of minims and semibreves, maintaining the Tactus without making the voice ‘dance’ to an inappropriately lively rhythm in the bass.

What is 17th-century aria?

The period meaning of aria is not limited to ‘melodiousness’ in the everyday, modern sense,  nor to a repeating ground bass in the modern musicological definition.

17th-century aria is any kind of patterning, especially rhythmic patterning

In this sense Shakespeare’s ‘A horse, a horse, my kingdom for a horse’ is an aria in the appropriate rhythmic patterning of a galloping anapaeste, within the recitativo [acting] of the entire speech. In Monteverdi’s Orfeo, Proserpina includes a moment of aria at the crucial words of her recitativo speech, persuading Plutone to release Euridice from Hell. The composer’s patterning in both voice and continuo is cued by metrical patterning in short poetic lines: fa ch’Euridice torni / a goder di quei giorni

in contrast to the declamation over Tactus note-values in the previous and subsequent lines. This is 17th-century aria in the midst of – indeed, within – 17th-century recitativo.

Monteverdi’s genere rappresentativo [theatrical genre] – for example the Lamento della Ninfa – does not indicate a device of formal structure (e.g. ‘Recitative’ as opposed to ‘Aria’ in the later, 18th-century sense) nor a musical texture (declamation over a static bass):  the Lamento della Ninfa contains an aria over a ground bass in triple metre. Rather, it defines a genre: theatrical music, intended to be performed in ‘show style’ stile rappresentativo, to be ‘acted out’ – recitativo.

What is the 17th-century terminology?

It’s worth being careful with terminology, in order to avoid imposing modern categories onto period creativity.

The music-dramas of Monteverdi’s period were not called ‘opera’, and even the designation musica recitativa was rarely used: ‘the adjective rappresentativo was the term most widely employed.’ [F.W. Sternfield A note on the stile recitativo, RMA 1983/1984]  Cavalieri’s (1600)  Anima & Corpo is a Rappresentatione; Peri wrote Le Musiche sopra l’Euridice del Signor Ottavio Rinuccini Rappresentate: Caccini’s setting of the same libretto is composta in stile rappresentativo; Monteverdi’s Orfeo is favola in musica (a story in music), the printed libretto adds that favourite word rappresentata.

The great variety of Monody that we find in the ‘acting music’ of this ‘show’ style is named (and analysed in depth) by the Corago as modulazione. Peri describes ‘the flow of speech’, il corso della favella that this modulazione imitates in musical notation.

Peri explains that the bass moves – more or less, or remains static, depending on the affetti [contrasting passions, emotions] – in the time of those modi and accenti [short melodic figures] which are used in being sad, in being happy again and similar. So all the fast-changing variety of textures in the rich spectrum from declamation over a static bass to lively dance-tunes are best analysed as expressions of affetto, rather than as building blocks of formal construction.

We should be alert to the various types of aria that occur within all the various textures of Monody in the ‘acting style’. Any patterning of melody, bass or rhythm is a moment of aria; little dance-like patterns repeated a few times are ariette; a singer or super-human character (Orfeo is both, of course) may sing a strophic aria; similarly, Prologues usually have a strophic design with intervening ritornelli.

Most of this musica rappresentativa represents characters’ speech. But we should also recognise diegetic songs – where stage-characters act out the singing of a song as part of the drama. Such songs are often, but not always aria. In Orfeo, the triumphant marching song Qual honor with its walking bass is an aria in praise of the cetra (the mythical lyre, and inspiration for real-life continuo instruments) over a ground-bass. But the protagonist’s love-song to Euridice begins with declamation over a static bass: nowadays we might (confusingly) call this Recitative, but it represents a character singing a song in the most up-to-date vocal style of Monteverdi’s time, the ‘new music’ of Monody.

 

 

Better modern-day terminology

It’s worth side-stepping familiar, but misleading modern terms, to avoid leaping from unexamined assumptions to false conclusions.

 

 

Not Opera, but Music-drama

Not Recitative, but Monody (for modulazione) or Dramatic Music (for musica recitativa)

Patterning, walking-bass, ground bass, dance-rhythms etc are all examples of 17th-century aria. It’s helpful to have words available for these features, so that we can recognise and respond to any kind of aria that might be present.

Similarly, we need to have academic analysis and practical discussions in rehearsals linking changes of affetto with changes of texture – in particular, changes in the movement of the bass.  The phrases “movement of the bass” and “flow of speech” usefully characterise continuo and vocal lines respectively, avoiding the less appropriate term ‘melody’.

All too often, Rhythm is not discussed at all! So let’s all have a Good Time (sic) by correcting that fatal omission. The concepts of Tactus and of Good & Bad syllables/notes are fundamental,

Consonance and Dissonance are essential in Monody, even though some of the normal rules of harmony are not observed in this style.

The interplay of Rhythm and Dissonance, and the collaboration between singer and continuo are especially important for Suspensions.

What do we find in 17th-century music-drama?

Once we are equipped with appropriate terminology, it’s much easier to recognise what we see in the music of Cavalieri, Caccini, Peri, Monteverdi and their contemporaries. In the best-known early music-drama, Orfeo (1607), Monteverdi’s music follows the formal design of the libretto and expresses passions that change from line to line, sometimes from word to word.

The Prologue features the Personification of Music, and is a strophic aria over the repeating structure of a ground bass.  The static bass at the beginning indicates a serious matter.

In the second strophe, the bass moves fast for nobil’ ira [noble anger], moderately for amore, is static for the serious power of posso, moves moderately in strange harmonies for ‘the most frozen minds’.

 

 

In the final strophe, the bass stops moving at non si mova. 

 

 

See also The Philosophy of La Musica and La Musica hypnotises the Heroes.

The beginning of Act I has a static bass, indicating a serious matter.

 

Monteverdi ‘Orfeo’ Act I

Faster changes in harmony (even though the bass-note remains static) suggest more urgent passions at oggi fatto e pietosa l’alma gia si sdegnosa de la bell’ Euridice [now the soul of beautiful Euridice – previously so spiteful – has become merciful]. Movement of the bass through bitter sharps characterises Orfeo’s sighing and crying for her in the Arcadian woods.

 

 

The Nymph evokes the Muses over a static bass, indicating another serious matter, made more gentle by the change to the soft Hexachord (modern F major).

 

 

But the steady movement of the continuo-bass at Ma tu gentil cantor indicates a more relaxed mood, inviting Orfeo himself to sing.

 

 

Orfeo’s song is in the latest style of rhetorical monody – not an Aria – and begins with a static bass, as he evokes Apollo with appropriate seriousness. The bass moves happily at lieto e fortunato amante [happy and fortunate lover]. The parallel rhetorical structures of the text Fu ben felice il giorno …. e piu felice l’hora [Happy was the day… and happier was the hour] receive the musical patterning of 17th-century aria, a repeated figure in both the Flow of Speech and the Movement of the Bass.

 

Act II begins with a charming sequence of diegetic songs, in dance-like arias with strophic repeats and instrumental ritornelli. The movement of the bass is slow for Orfeo’s Ecco pur ch’a voi ritorno [this is notated in steady C, even though many modern performers take it much too fast, as if it were in tripla 3/2] suggesting a certain melancholy of nostalgia, but the movement increases for the shepherds’ duets, as the passions become more active.

 

 

 

The arrival of the Messaggiera, announcing Euridice’s death, is marked by the sudden change to a slow-moving bass (indicating a sad and serious matter) in hard-hexachord harmonies.

 

 

I suggest that such historically informed description, linking the movement of the bass to changes in affetto, is more revealing for academic analysis and more useful to performers than any anachronistic discussion of ‘Recitative’ and ‘Aria’.

How should we perform 17th-century dramatic monody?

Equipped with appropriate terminology, we are better able to recognise typical features of the rappresentativo style, and can more readily understand how to respond as performers, linking what we see in musical scores to what we read in performance practice treatises.

In many performances today, there is little or no respect for composers’ notated rhythms. But just as we admire Monteverdi’s ensemble writing and the brilliant ornamentation of Possente Spirto, so we should recognise his genius for setting the Italian language, comparable to Lully’s excellence in setting French and Purcell’s skill in setting English.

How to perform ‘Recitative’???

 

Of course, period performers did take certain liberties with composed material. For example, they added their own graces and divisions to songs and ensemble-music [though generally not in rappresentativa music]. Such ornamentation is guided by principles explained in period treatises, and must remain with the rules of counterpoint and the underlying rhythm of Tactus.

So it should be for our modern-day performances of dramatic music: there are certain liberties that are permitted, even encouraged, by historical sources. But we must be guided by period principles, inspired by notated examples, and remain within the boundaries of style and the measure of Tactus.

Musica rappresentativa is NOT ‘do as you please’!

 

Priorities

Caccini (1601) declares the priorities of the Nuove musiche [new music] to be Text & Rhythm. Many sources prioritise the Rhetorical concept of Action – gesture, facial expression, contrasts of vocal tone-colour, body posture and movement.

The composers’ notation is a rich source of information. When we choose to depart from it, we should double-check that our personal input follows period principles.

Imitation of Speech

Dramatic Monody imitates the speaking style of a fine actor in a baroque theatre. The composed score indicates an ideal declamation by describing (as precisely as notation allows) the rhythms and pitch contours of such stylised speaking. We do not have to create our own ‘speech rhythms’, and we should certainly not  re-model the Flow of 17th-century Speech in imitation of modern-day conversation or film dialogue.

Baroque speech-making was highly Rhetorical. Declamation was pitched and timed to carry without amplification in a theatre seating up to a thousand [Cavalieri]. This need not imply vibrato in the (speaking) voice, but it does require frequent silences as the long sentence is broken up into short sense-groups. If we think of the Shakespearian style of the generation of John Gielgud, or even the portentious – and memorable! – declarations of movie super-heroes – “I’ll be back!”; “No, I am your father!”; “Space, the final frontier…” we can begin to move away from conversational and microphone styles towards vocal and text-based charisma.

Text

We need to understand every single word of the Text, not just the overall meaning of sentences, but the function of each individual word.

The articulation of musica rappresentativa demands special attention to good/bad syllables and single/double consonants. In particular, we should avoid false accents on bad syllables, especially the weak final syllable at cadences.

Singers should vary their tone-colour according to the meaning of the words. Il Corago recognises that this can be difficult for some singers, and modern vocal training emphasises consistency, rather than variety, of tone-colour. A good starting exercise is to imagine telling a fairy-story to young children.

Tactus

The dramatic timing of musica rappresentativa is measured by Tactus, even though singers should not actually beat Tactus with their hand whilst they are acting. [Singers did routinely beat Tactus in madrigals, even in solo songs, but not when representing a character in music-drama – Il Corago.]

Tactus is ‘regular, solid, stable, firm … clear, sure, fearless, and without any perturbation” [Zacconi 1592]. Almost all period images of vocal performance (and many of instrumentalists studying their part in advance) show the Tactus hand, palm outwards, ready to move up and down in the slow, steady minim beat typical of the early 17th century.

There was no conductor in 17th century music – of course! It is the continuo who ‘guide and direct the whole ensemble of voices and instruments’ [Agazzari 1607, here].

 

 

Driving the Time

Nevertheless, in such expressive genres as Toccatas, continuo-madrigals and dramatic music, the Tactus could change according to the affetto. These changes were still managed by Tactus (see Frescobaldi Rules) and were almost certainly small (see Houle 1987 Meter in Music 1600-1800). Caccini uses a slower Tactus only once, in all his example songs, Frescobaldi specifies very limited situations where changes can occur – essentially between different movements. Since the composer would already have set agitated texts to short notes, and languid texts to long notes, any Affekt-based change in Tactus will tend to exaggerate written contrasts in note-values.

What can be used more frequently is the kind of rhythmic alteration within the regular Tactus, for which Caccini gives many examples. The common feature of these examples is that long notes are made extra-long, short notes extra-short. Once again, the composer’s contrasts in note-values are exaggerated.

Sprezzatura

Caccini’s ‘cool’ manner of singing is a style of vocal production, halfway between speech and song. [The truth about Caccini’s sprezzatura] In just one instance in his example songs, he combines this with senza misura, where the voice-part floats freely over the measured bass. This jazz-like effect is notated clearly by Monteverdi, usually only once or twice per song. [Monteverdi, Caccini & Jazz]

No Ornamentation

Cavalieri, Caccini, Peri, Monteverdi, Il Corago and other period sources advise both singers and continuo-players to avoid ornamentation in dramatic music.  Cavalieri and Caccini give examples of simple cadential ornaments which are used very sparingly. The trillo – and almost all 17th-century ornamentation – accelerates towards the final note rather than slowing down. The modern cliché of a tenor cadence decorated with a upwards jump of a fourth, linear descent, and a slowing trillo is not supported by period evidence.

 

 

Prologue-roles, aria-singers and characters with divine or supernatural powers can add more ornamentation.

Expression

Many 17th-century sources emphasise the supreme importance of clear communication of the text, in order to convey emotions to the audience. Monteverdi is frequently praised for his expressive word-setting (harmonies and rhythms!). Caccini advises crescendo and/or diminuendo on a single note on exclamatory words, Ahi! Deh! etc.  Emotions in Early Opera.

Action

From Demosthenes via Cicero and Quintilian to the 17th century, Rhetoricians prioritise Action: posture and movement, facial expressions and what we nowadays call Baroque Gesture. Although we tend to view Gesture as a bolt-on extra, a special option for a particularly HIP production, period sources regard Action as fundamental, built-in to composers’ notation and performers’ training. Rhetorical gestures and stylised posture were an everday part of courtly etiquette, and can be observed in many baroque images.

 

 

This is a complex subject that requires considerable study and practice, but it’s easy to add some fundamental principles into any vocal performance:

  1. Stand still, diagonally-on (not square) to your audience, with your weight on one leg
  2. Hold your music with the LEFT hand, leaving your elegantly shaped RIGHT hand free to gesture
  3. Imagine that you see in front of you the scene you are describing, and point at what you talk about.

For my free on-line course in Historical Action and Baroque Gesture, start here! 

Conclusion

So now we can all be ready for the next time a singer or stage director says:

But it’s recitative, isn’t it?

 

The Best Practical Musick: Thomas Mace’s Rule of Time-Keeping

 

The Best Practical Music

 

In a recent online discussion in the Historical Performance Research group, I gave

a timely warning to anyone who might be tempted by the idea that Rhetorical Eloquence is somehow contrary to rhythmical or harmonic structure.

My provocation drew the hoped-for riposte, with a suggestion that 17th-century lutenist Thomas Mace thought that ‘playing in time is [only] for beginners’. This suggestion, and the mis-reading of period texts as if they supported it, is so commonly encountered, that I took up the challenge, and re-read the whole of Mace’s 1676 treatise Musick’s Monument to find out what Thomas actually wrote.

 

 

Time-keeping

 

The book includes many music examples, even complete pieces and suites, in tablature. Its 272 pages are divided into three parts, on the Necessity of Singing, the Noble Lute and the Generous Viol. Concerning time-keeping, Mace’s instructions for beginners and comments for advanced players are found in the The Civil Part: or the Lute made Easie, starting at page 78:

In all musical performances whatever, if they be done according to Art, they are done according to the Rule of Time-Keeping

This alone should be enough to settle any debate. And Mace gives us plenty of further detail of how to keep time.

 

 

The inter-dependence of Time and Motion is rooted in Aristotle’s definition of Time as ‘a number of motion, in respect of before and after’. Not until a century or so later would Newton’s concept (Principia, 1687) of Absolute Time gain general acceptance. Mace’s Aristotelean time requires steady motion to drive it, and – according to the philosophy of the Music of the Spheres – the motion of music imitates the perfect movement of the stars and the harmonious nature of the human body.

On the lute, ‘an instrument on which both are hands are employed, we must therefore keep time with a foot’. Muffat gives the same advice for violinists in his preface to Florilegium Secundum (1698).

 

 

Mace’s requirement for

Exact, Equal, Constant, True and Even Motion… like the Balance of a good Clock

carries forward from 1592 the principles of Zacconi’s (hand-beating) Tactus:

regular, solid, stable, firm… clear, sure, fearless, and without any pertubation

 

 

Mace’s time-keeping foot moves just like Zacconi’s tactus-hand: down for one minim, up for the next minim, so that the complete tactus-motion occupies a semibreve.

 

 

The instruction (page 79) that there should not be ‘the least Difference’ during the piece is supported by Muffat’s repeated insistence that the vrai mouvement (true movement) of French dances should continue from the beginning to the end. And as a good teacher, Mace recommends that beginners ‘carefully practise; so that the good habi acquired ‘at the first’ will ‘ever continue’ for the rest of the player’s career.

In contrast, many of us who nowadays play Early Music, received our first training in the post-romantic school of the 20th-century, with its tacit assumption that the vacillating rhythm and wayward tempi of Rubato are the secret of advanced expression. We have to read Mace’s words carefully, if we are to escape our own assumptions and inhabit his world of Aristotelean time.

In chapter XI, Mace recommends a pendulum as an aid to learning how to keep time ‘by the most Exact, Easie and Infallible Way’, and as a test for ‘masters’ even for an ‘Artist of the Highest Form… a very Master’ that should ‘be able to keep Exact True Time’. The length of the pendulum should be adjusted so that one can count from one to four ‘with Deliberation, as a Man would speak Gravely or Soberly, and not Hastily or Huddlingly; yet not Drawlingly or Dreamingly; but in an Ordinary Familiar way of Speaking’. These four crotchet-beats, i.e. one semibreve, occupy the time for the pendulum to swing one way and then the other way, i.e. a complete oscillation.  The pendulum, as an ‘assured time-keeper’ should be the musician’s Director.

Mace’s advice for students concludes with a reminder (page 81) that

The Exact Motion of True Time-Keeping is one of the most Necessary and Main Things in Musick

Liberty

In this familiar 17th-century context of true time-keeping, which is supported so strongly by period French and Italian sources, Mace’s next remark might well seem contradictory:

Although in our First Undertakings we ought to strive for the most Exact Habit of Time-Keeping that we can possibly attain unto (and for several good Reasons) yet, when we come to be Masters, so that we can command all manner of Time, at our own Pleasures, we then take Liberty (and very often for Humour and good Adornment-sake, in certain places) to break time; sometimes faster and sometimes slower, as we perceive the nature of the thing requires, which often adds much Grace and Lustre to the performance.

How are we to reconcile such Liberty with Mace’s uncompromising remarks on the ‘Exact, Equal, Constant, True and Even Motion’ of Time-Keeping’ … ‘in all musical performances whatever;?  Mace, a cleric in divine orders, greatly admired the lute-playing of John Dowland, who similarly preached

Above all things, keep the Equality of Measure. For to sing without law and measure is an offence to God himself.

 

 

And according to Shakespeare’s Richard II, sweet music becomes sour ‘when time is broke’.

 

 

It would be foolhardy to turn a blind eye to all this period context of ‘exact Time-Keeping’, and leap to the conclusion that Mace’s Liberty is an invitation to apply 20th-century rubato indiscriminately to 17th-century music. Rather we must search for evidence of precisely where the ‘certain places’ are, and of how to ‘perceive the nature of the thing’.

 

Humour

Above all, we need to understand Mace’s concept of Humour – not as a modern performer’s personal ‘interpretation’, but as a quality that already resides within the composition, and which the performer must perceive, so that the listener may understand, enjoy and be moved. In a philosophy of performance that goes back to the trobadors and trouveres, Mace requires players to find the Humour, not invent it.

17th-century ‘Humour‘ does not mean comedy: we might roughly define it as ‘Emotion’, ‘Mood’, or (to use another period English term) ‘Passion’. As a term for musical performance, Humour is rooted in period Science, where the doctrine of the Four Humours offers a self-consistent and practicable system for understanding and working with the psychological and physiological effects of emotions. Words and music that are heard and understood in the mind (see Enargeia, Visions in Performance) send signals (Energia) down to the body, creating changes in various body-fluids. The changing balance of those fluids creates the physiological effects of emotional change.

The Sanguine Humour is linked to blood, associated with healthy red cheeks, or a delicate blush, with love, courage, hope, with the enjoyment of music, good food and red wine. The Choleric Humour is linked to yellow bile, associated with desire, anger and the urge for strong drink. The Melancholy Humour (beloved of John Dowland and Shakespeare’s Jacques) is linked to black bile, paleness in the face (lack of Sanguinity, the opposite humour), associated with sleeplessness, too much study, unlucky love-affairs, and academic precision! The Phlegmatic Humour is linked to green phlegm, and lack of any emotional response: a wet blanket.

 

Of course, these four Humours are not a complete catalogue of the vast array of human emotion; rather, like the four cardinal points, North, South, East & West, they indicate primary directions within the whole area being mapped.

Like those cardinal points, the Four Humours focus attention on opposites: North & South, Sanguine & Melancholic. This supports the tendency in 17th-century music to contrast one Humour (in Italian, affetto) with its opposite (oposto) – see Motion and E-motion in the First Opera. In common with opera- and ballo-composer Cavalieri’s advice for singers, Mace’s instructions for lutenists ask for contrasts of loud and soft.

And Mace’s linking of three concepts: specific musical situations (‘certain places’), affetto (Humour), and subtleties of Time recalls Frescobaldi’s (1615) Rules for toccatas (applicable also to madrigals and other genres with contrasting movements). All too often, modern performers take Frescobaldi’s remarks as an encouragement to rhythmic anarchy and Rubato; but close reading of his carefully formulated Rules reveals both the underlying assumption of steady Tactus, and the precisely delimited circumstances under which the Tactus can change. See Frescobaldi Rules – OK?

To summarise, Frescobaldi advocates using Tactus to control the music, even if that Tactus sometimes changes. He limits the opportunities for change to the break between contrasting movements with contrasting emotions. He also allows a momentary pause, on the upbeat. Caccini suggests, and Monteverdi notates another practice of rhythmic freedom, where the accompaniment continues in steady measure, but the solo melody drifts around, like a jazz singer syncopating against the rhythm section. See sprezzatura.

And 17th-century musical Time has its own special shape, described by the concept of Arsis & Thesis and illustrated by the non-linear movement of a pendulum swing. Tactus is not ‘metronomic’, in the perjorative sense. See The Shape of Time

Time & Humour

So now let’s study Mace’s remarks about Time and Humour – all of them – and see what we can discover about the ‘certain places’ where the music might go ‘faster or slower’, and how it might thus go.

Page 97 – Brisk

In describing the character – we might well say, Humour – of the key of B major ( not Bb!), rarely encountered in 17th-century lute-music, Mace uses for this Key the words ‘Noble, Brave and Brisk-Lively’. This usage reminds us that, for Mace, the words Brisk and Lively convey character, not merely speed. It would be nonsense to write that B major is a ‘fast key’, but the quality of Brisk-Liveliness is shown by the dotted notes that Mace uses in the music example that follows.

Mace’s focus in these chapters is on correct left-hand fingering and right-hand strokes, preparing “by setting your Left Hand upon the Stops, and your Right Hand upon the String, ready to strike. yet

 

Strike them in their due time… according to their true Quantities

Page 101-102 – gentle

In his discussion of Full Plays (chords using many strings, for example at cadences – Full Stops), Mace describes the ‘Fashionable way of Playing them (now used)’ which ‘is much more easie’, in which the thumb plays the bass note, and the forefinger rakes down all the other strings, rather than playing each string with a different finger. He defines the word ‘rake’ as ‘smoothly stroke… very gently’. There is no suggestion of slowness, indeed Mace emphasises that an intervening short note ‘will not admit of any delay’.

From this, and my previous citation, it is apparent that Mace perceives two opposing types of Humour, in which Brisk Lively is contrasted with Smoothly Gentle, but without linking these qualities to any change between Fast and Slow.  As readers of modern English, we should be careful not to add any present-day connotations of brisk = fast, gentle = slowly, when we see these words in Mace’s next pages.

Page 103-104

Mace gives a ‘General and Certain Rule (never to be altered)’ for ornamentation – Graces or the Adorning of your Play (note the use of the word ‘adorn’, which he links also to the concept of Liberty), that ‘All Shakes’ must be made according to

The Aire and Humour of your Tuning and Lesson

He then sets down the Aire as a scale, determined by the nature of the tuning of the lute, not by the tonality of the piece at hand.

He rules out the idea that rhythm might be bent for the sake of prolonging ornaments – whatever his concept of Liberty might be, it is not this.

When I have thus continued Beating, so long as my Time will allow me

Page 109 – vibrato

I can’t resist this brief digression to note that Mace’s Sting, ‘a very Neat and Pritty Grace’… ‘for some sorts of Humours very Excellent’ is vibrato, “as to make the Sound seem to Swell with pritty unexpected Humour, and gives much Contentment, upon Cases”. Thomas believes that vibrato adds a pleasing emotional quality, but only in certain circumstances.

But the Sting is ‘not Modish in these days’.  It would seem that Dowland used more vibrato than Mace….

Page 109 – Loud & Soft

Mace gives great importance to dynamic contrasts:

Play some part of the Lesson loud and some part soft

‘which gives much more Grace and Lustre to Play, than any other Grace, whatsoever: therefore I commend it, as a Principal and Chief-Ornamental Grace (in its Proper Place)

Page 109 – the Pause

At the end of this chapter on ornamentation, we have the first mention of modification of Time.

‘The thing to be done is but only to make a kind of Cessation, or standing still, sometimes Longer and sometimes Shorter, according to the Nature, or requiring of the Humour of the Musick’

If this is done ‘in its due Place’, it is a ‘a very excellent Grace’.

In subsequent pages, Mace gives many examples of ‘due Places’ for the Pause. The effect recalls Frescobaldi’s description of the Tactus hand ‘hesitating in the air’  at certain moments. For both writers, the effect is used very sparingly, and as a one-off event. It is not applied repeatedly or continuously throughout a passage, in the manner of 20th-century Rubato. There is no suggestion of rallentando approaching the Pause, indeed Mace’s words ‘but only to make a kind of Cessation’ seem to rule out any anticipatory slowing-down.

Page 115-116 – touch, humour, key, conceit

In this discussion of improvisation, Mace celebrates the ability to manage contrasts in four inter-related qualities: touch (the sounding of one or more notes), Humour (emotional quality), key (what we would today call tonality), conceit (a musical idea, subject or theme). Once the particular key is established, ‘some little Humour’ (a few more notes, a fragment of melody) allows the listener to ‘discern some Shape or Form of Matter’.

The ‘Shape or Form’ is also called a Fugue, i.e. a contrapuntal point, a fragment of melody suitable for polyphonic imitation.

‘This term Fuge is a Term used among Composers, by which they understand a certain intended Order, Shape or Form of Notes, signifying such a Matter, or such an Extention; and is used in Musick as a theme, or as a subject-matter in Oratory, on which the Orator intends to discourse.

‘And this is the Nature and Use of a Fuge in Musick.’

‘Maintain a Fuge or Humour’

In this context of improvised playing, ‘maintaining’ seems to combine the compositorial skill of working a point of counterpoint (Fugue) and the performer’s skill of maintaining an emotional mood (Humour).

Page 117 – Fuge & Humour

‘As to the Humour of It, you may observe that it all tastes of, or similises with the first bar in some small kind; yet not too much of the same Humour…the last part is a little akin to the Fuge; yet perculiarly a Humour by itself. For you may carry on and maintain several Humours and Conceits in the same Lesson, provided they have some affinity or agreement one to the other.’

Mace criticises composers of the previous generation for too many contrasts of Humour in one piece. But in the following page (118) he declares that music is a language that can express any emotion, and that it is even more powerful than rhetorical words.

In Musick any Humour, Conceit or Passsion may be expressed, and so significantly as any Rhetorical Words or Expressions are able to do

‘If any difference be, it is in that Music speaks so transcendently, and communicates its notions so intelligibly to the internal, intellectual and incomprehensible Faculties of the Soul, so far beyond all language of words…. Those Influences that come along with it, may aptly be compared to Emanations, Communications or Distillations of some sweet and heavenly Genius or Spirit, mystically and unapprehensibly  (yet efectually) dispossessing the Soul and Mind of all irregular disturbing and unquiet Motions; and stills and fills it with quietness, joy and peace. absolute tranquillity and inexpressible satisfaction.’

 

On page 120, he observes the ‘Fugues, Orders and Forms’ of his first three examples, in which the Humour of the first two bars is maintained in the next two bars, then for the remainder of the piece there is ‘another Humour or Fuge’, distinct from the opening, ‘but alluding to it’.  Mace’s ideal contrast in Humour is subtle and simple, rather than dramatic or manifold.

Page 120 – Suite

 

A Sett or a Suit of Lessons… may be of any number as you please, yet commonly are about half a dozen. The first always … in the nature of … [an improvised] Prelude…. Then Allmaine, Ayre, Coranto, Saraband, Toy or what you please, provided that they be all in the same key; yet (in my opionion)… they ought to be something akin, or to have some kind of resemblance in their Conceits, Natures or Humours.

 

In the example prelude that follows, ‘the whole Lesson alludes to the same thing, and yet with pleasant variety.’  We might therefore assume that in such a piece , with no significant change of Humour, there will be no need for the Liberty of making any significant change in tempo.

 

Page 121-124 – The Author’s Mistress

Mace tells a touching personal story about the inspiration for the composition of this piece, 40 years previously, in passionate longing for his wife-to-be. He considers it ‘the Best Lesson in the book’ and its powerful emotional associations make it an important test-case for the realisation of Humours in performance.

 

Mace declares that the first two bars give the Fugue, which is maintained through the whole Lesson. The Form and Shape consists of two uniform and equal strains, but the Humour of it ‘which you may perceive by the marks and directions is not common’.  The only marks and directions in the tablature are contrasts of loud/soft, ornaments and slurs.

These three terms ought to be considered in all performances of this Nature (Ayres and the like): Fugue, Form & Humour

The Fugue is Lively, Airy, Neat, Curious and Sweet – like my Mistress.
The Form is Uniform, Comely, Substantial, Grave and Lovely – like my Mistress.
The Humour is singularly Spruce, Amiable, Pleasant, Obliging and Innocent – like my Mistress.

Mace’s verbal directions are ‘to Play Soft and Loud, as you see it marked’; ‘use the Sting (vibrato) where you see it set, and the Spinger after it’; ‘observe the slides and slurs, and you cannot fail to know My Mistress’s Humour, provided you keep True Time, which you must be extremely careful to do in all lessons:

For Time is One Half of Musick.

Thus in his best composition, a work of powerful emotions and deep personal meaning, Mace looks for expression of passions by dynamic contrasts, by subtle use of vibrato and by elegant slurs, whilst insisting on ‘True Time’.  There is no place here for Rubato. Even contrasting tempi for the two sections are not suggested, probably because the nature of the piece is uniform, without contrasts between the sections.

 

Page 125-126 – The Offspring

 

This piece was composed to create a consort, combining with My Mistress as a lute-duo. It can also be played as a solo, continuing on from a solo performance of My Mistress. When it is played as a solo:

 

You must for the Humour’s sake make Pauses

 

Mace marks where the three pauses should be made, in the last strain of the piece: on each of the pause-notes, vibrato should be added. As previously, he emphasises the need for ‘soft and loud, as you see it marked’, and to ‘take notice of the Fugues, which are … maintained to the end, yet various from each other’. The Fugues determine the Humour, the Humour requires dynamic contrasts, and (for the first time) here Mace applies his concept of Liberty, for the sake of Humour.

As we would expect, the Pauses come at the end of (short, internal) phrases, on a consonant, sustained harmony, and on the up-stroke of the lutenist’s time-keeping foot. This corresponds closely to Frescobaldi’s identification of consonant, sustained harmonies as the mark of the end of a section, and with the hesitations of his Tactus hand being also on the up-stroke.

Page 126-129 – Uniformity & Contrast

Mace is teaching the student to improvise, as well as to perform composed music. So he emphasises that renaissance compositorial skill, of working out a contrapuntal point (managing a fugue) and creating ‘a True and Handsome Form or Shape’. Uniformity of Form consists of matching the number of bars between strains, and having an even number of bars in each.

The Fugue or Humour may be whatever one wants, yet they should be neat and spruce, and they should be maintained uniformly and evenly.

Uniformity is especially desirable in short dance movements: Allmaines, Ayres, Corantoes, Sarabands should always be Uniform and Even. But longer pieces – Preludes, Fancies, Pavans etc – often have ‘Humours of Pauses and Flourishes in a wild way, according to their Nature’.

Some pieces have ‘Fansical, Humorous or Conceited Names’ yet have regular ‘Forms, Shapes, and Order of their Time, or Proportion’ and may be called Allmaines or Ayres.

Mace now describes the various movement-types in a suite, He criticises some improvised Preludes as ‘confused-wild-shapeless-kind of intricate-play … in which no perfect Form, Shape or Uniformity can be perceived…. and has an unlimited and unbounded Liberty … of Forms, Shapes and all the rest.’

Pavans are ‘very Grave and Sober; full of Art and Profundity’.

Allmaines are ‘very Airy and Lively’;

Galliards ‘are performed in a Slow and Large Triple Time …. grave and sober’.

Corantoes are ‘shorter … and quicker triple-time, full of sprightfulness and vigour, lively, brisk, cheerful’.

‘Sarabands are of the shortest triple-time, but are more toyish and light than Corantoes’

A Tattle de Moy ‘is much like a Sarabande, only it has more of Conceit in it’ as if ‘speaking the word Tattle de Moy, and of Humour.

‘Chiconas are only a few conceited humorous notes at the end of a suite, very short … commonly of a Grave kind of Humour’

‘Toys or Jiggs are light-squibbish things, only fit for Fantastical and Easy-Light-Headed people’

Common Tunes are popular street songs: Mace praises them as ‘very excellent and well-contrived, neat and spruce’.

‘The Ground is a set number of slow notes, very Grave and Stately … expressed once or twice very plainly … then several Divisions upon it.’

We must understand the word ‘conceited’ in its period meaning, as ‘full of clever and witty ideas’.

Page 130 – Another Liberty

Mace calls the fourth lesson a Coranto, ‘and properly…. by the Time and Shape of it.  However [Mace] would have it played played in a Slow and Long proportion, for the Nature of it is far more Sober than a Coranto.’

‘The Fugue is seen in the first 3 notes, and perceptible’ throughout. ‘The Form is Even, Uniform and Perfect. The Humour is a kind of sorrowing, pitying and bemoaning.’

We can see something of Mace’s underlying assumptions from these instructions. He considers that there is a standard tempo for a Coranto, but that for the sake of the Humour one should adopt a different tempo, in this case slower. His ‘slow and long proportion’ might be a specific tempo, Sesquialtera proportion (rather than the usual Tripla) based on a standard tempo of common time.

Here we see one ‘certain place’ where Liberty is appropriate: for the sake of the Humour, a particular piece may be played slower (or faster) than the standard speed. Nevertheless, within that piece, the (unusual) tempo would be maintained. This application of Liberty still satisfies the absolute requirement for accurate time-keeping. Mace mentions the possibility of varying the length of the tempo-pendulum, and Frescobaldi allows certain movements to be faster or slower, but still ‘facilitated by Tactus’.

In short, performers may take an unusual tempo, if the Humour suggests it, but that tempo should be maintained accurately.

Without contradicting his insistence on ‘vrai mouvement‘ from beginning to end of a given movement, Muffat describes an interesting practice for fast dance-types, which can be played three times through: each time, the tempo is faster. Perhaps this is how we should perform some of the thrice-repeated dance-movements in Handel’s Fireworks and Water Music.

 

Page 130 – Finding the Humour

One short paragraph gives valuable advice for finding the ‘General Humour of any Lesson’,

by observing ‘its Form or Shape’. If it is ‘Uniform and Retortive’ with ‘Short Sentences’, then ‘you will find it very easy to humour a lesson by playing some sentences loud, and others again soft, according as they best please your own Fancy; some very Briskly and Couragiously and some again Gently, Lovingly Tenderly and Smoothly’.

Here the performer has free choice of where to apply Loud and Soft. But there is no indication of contrasting tempi. From Mace’s usage in previous chapters, we know that ‘Brisk’ and ‘Gently’ do not imply changes of tempo, but are character words, linked here and elsewhere in the treatise to Courage or to Love, Tenderness and Smoothness. Notice that according to the doctrine of the Four Humours, these are all aspects of the one, Sanguine Humour. So the contrast of Loud and Soft is not so great, as to require change of tempo.

 

Page 130 – The Pause

 

The ‘choicest lustre… in such Humours’ is given by making ‘your Pauses at Proper Places, which are commonly at the end of such sentences, where there is a Long note.’

This advice correlates well with Mace’s own practice, as observed in earlier chapters.

 

Page 131 – A Humour

This is another coranto-like piece, which Mace calls ‘A Humour’.

 

The Fugue or Subject-Matter … is throughout maintained. with handsome and various intermixtures. The Form is Uniform (each Strain within itself), though not all of the same number of bars’.

 

Here, the strains vary in humour.

‘Sometimes (for Humour-Sake) more Pleasant and Delightful… Humorous and Conceited… and seems to mock, or mowe, or jest; to be blyth or merry, as if it were telling some jiggish story, and pointing at this or that body … In the four last bars … you must pause and use the stinging Grace [vibrato] a pretty while; and then softly whirl away and conclude.’

This delightfully whimsical description conveys a vivid impression of the character of the piece, without resort to any suggestion of tempo change, until the Pause just before the end. Notice that the Pause is all the more prolonged in this witty and active piece; and that after the pause the ending ‘whirls away’ softly, but not slowly.

In this piece, the Liberty is not that the time is altered, but that the Humour is so witty that the performance departs from the normal mood of a Coranto.

‘And although it be Coranto-Time, yet (in regard of the Conceitedness of the Humour) I give it that name.

The title over the tablature reads ‘The fifth lesson of the first set, being a Coranto, but called I like my Humour well

Page 132 – A perfect Coranto

‘This … perfect Coranto … has its Fuge ,,, throughout maintained. Its Form is Uniform … the Humour is Solid, Grave and very Persuasive… Expostulating the Matter with great Ferventness, which you must humour by performing Soft and Loud-Play in Proper Places, where you may easily perceive such Humour to lie’.

 

Page 133 – Tattle de Moy

 

Mace helps students to find out for themselves Fugue, Form and Humour. But notice that students should find these elements, and not invent them for themselves.

The Fugue is in the first two bars. The Form is absolutely Perfect and Uniform … Its Humour is Toyish, Jocond, Harmless and Pleasant, and as if it were one playing with or tossing a ball up and down; yet it seems to have a very Solemn Countenance, and like unto one of a Sober and Innocent condition or disposition; not Antic, Apish or Wild etc’.

‘Remember [as always] to play Loud and Soft …  Briskly and Gently, Smoothly, as your fancy will (no doubt) prompt you’

Memento, that Soft and Loud play is a Chief Grace.

Mace encourages students to persist, even if his advice at first seems strange – this is welcome support for today’s Early Music performers too!

These ways of discourse will seem strange to very many at the first, because they are unusual.

 

Page 142 & 147 – Observations

The Humour must be found out, by playing Soft and Loud, and making your Pauses

‘When you meet with such Seeming-Single-Moving-Walking things; and find Affinity between parts and parts, or bars and bars… then Soft and Loud play is the most necessary for to Humour it…

In modern English: if you find a movement that seems rhythmically consistent, with affinity between one part, or one bar and another, then the way to Humour it is by dynamic contrasts.

‘Many drudge and take great pains to play their lessons very … fast [but] you will perceive little Life or Spirit in them…. they do not labour to find out the Humour, Life or Spirit’

 

Page 149 – a Grave Galliard

For the preceding Coranto, Mace writes ‘Loud and Soft, which is enough’.

The next piece has the form of a Galliard, but should be played ‘in a very Sober and Grave Proportion; for it has a most singular Humour in the way of Expostulating Grief and Sorrow’. Here again, the Humour suggests taking the Liberty to play in an unusual tempo, but there is no suggestion of rhythmic irregularity.

The Galliard on page 171 is marked ‘Play this Lesson in very slow time’

 

Page 152 – Slow with Pauses

‘Play it slow, make your pauses, and observe the Humour’

Otherwise, pauses seem to be used mostly in fast pieces.

 

Page 153 – Tattle de Moy

 

‘Find the Humour yourself, by Soft and Loud play’

 

Page 170 – Crackle the crotchets

This special effect on three-note chords consists of arpeggiating each chord, causing them to ‘sob’ by slacking the left hand grip as soon as the note is struck, suddenly deadening the sound. Mace is careful to specify that this is all done in such a way

‘so as not to lose time, but give each crotchet its due quantity’

 

Conclusion

It is beyond debate that the underlying context for all Mace’s advice is of regular Time-Keeping. That time-keeping is by Tactus, counting by minims in common time, and with proportions for triple time. There are standard expectations for the speed of common time, and for the appropriate proportion for particular dance-types.

The model of perfect time-keeping is the Pendulum. The practical means of time-keeping is by moving the foot, down for one minim, up for the next.

The performers’ role is not to impose their own ‘interpretation’ on the piece, but to find out the Humours that are already there. Keeping Time is essential, for finding out the Humours.

The principle means of expressing changes in Humour is dynamic contrast.  A secondary means of expression is the Pause, in particular places.

Dfferent movements can have different tempi, even tempi that are unexpected for the dance-type that the piece seems to resemble, if the Humour demands it.

Fast pieces, and even some slow pieces, can have one or pauses before the end, but the conclusion ‘whirls away’ without rallentando.

I see no evidence at all for Rubato within a phrase or movement.  Mace’s Liberty of ‘fast and slow’ is between one movement and another, or between the standard tempo for a certain dance-type and the specific tempo for a piece in a particular humour. The only other Liberty in time-keeping that he mentions is the Pause.

All this is consistent with what we read in other sources of this period, whether English, Italian or French.

I give Thomas the last word:

Keep True Time

 

In modern English: Keep True Time, which you must be extremely careful to do, in everything you play (page 124).

 

iL Corago – The Baroque Opera Director

The essential guide to Early Opera

 

I’m honoured and delighted to have been invited by Elam Rotem, editor of EarlyMusicSources.com, to contribute to their PIE (Please In English) project a translation of a key text for singers, continuo-players, ensemble directors and Early Opera fans, the anonymous c1630 treatise, Il Corago.

My translation and commentary will be published by OPERA OMNIA, in various formats – as an e-book, budget price paper-back and high quality hard-back – and the translation alone will subsequently be made available online through EarlyMusicSources and IMSLP. You can pre-order the book here.

 

 

A Corago is what we might nowadays call a theatrical Producer or Artistic Director, responsible for every aspect of the production, but required to respect the text, the poet’s libretto (or in spoken theatre, the play-script). Under his direction, various maestri would direct music, dancing, sword-fights and military displays, whilst others would construct and decorate the scenery, make costumes etc.

 

 

The anonymous writer’s remarks show a wealth of experience of many different dramatic genres, with a special interest in what we would nowadays call ‘baroque opera’, the first fully-sung court music-dramas in the decades before the establishment of public opera in Venice: Cavalieri’s Anima & Corpo, Peri’s and Caccini’s settings of Euridice, Monteverdi’s Orfeo and Arianna, Landi’s La Morte d’Orfeo etc.  Fabbri & Pompilio’s (1983) Italian edition of Il Corago is here.

 

Aimed at making the show varied, entertaining and emotionally moving, his practical advice can be immediately applied by today’s singers, continuo-players and musical directors.

 

 

Whilst the job-title Corago is perhaps unfamiliar yet easily understood, another key concept for baroque music seems familiar, but was disastrously  misunderstood in the 20th century. Il Corago radically revises our understanding of Recitative, and clarifies any doubts about continuo-playing and conducting in baroque music-theatre.

 

 

This translation and commentary is founded on period dictionaries (Italian and Italian-English), with references and comparisons to other early 17th-century treatises as well as to secondary literature on dramatic music and baroque theatre. As was the case for the original Corago-writer, my comments are informed by my personal and practical experience of continuo-playing, of stage & musical direction, of Corago-style and modern productions and by my academic research into the practical consequences of renaissance philosophy and historical science.

Please visit the iL Corago website to reserve your pre-order option for the pre-publication special offer.

 

 

Orlando Orlando: 18th-century music tells a 21st-century story

1st November 2019:
To celebrate Orlando Orlando‘s being nominated for Russia’s highest theatrical award, the Golden Mask, in 6 categories – best production Georgij Isaakyan, best design Hartmut Schörghofer, best musical direction Andrew Lawrence-King, best lighting design Alexey Nikolaev , best female soloist Maria Mashulia, best male soloist Kiril Novakhatko – this article has been updated with additional commentary on Handel’s techniques of Drama & Dance-rhythms.

 

This article is posted in connection with the premiere of Handel’s Orlando at the Helikon Theatre in Moscow, 27th March 2019, entitled Orlando, Orlando: Handel’s Orlando (1733) in memory of the victims of the shooting at the Pulse nightclub in Orlando, Florida (2016). Music by George Frideric Handel, Libretto adapted from Carlo Sigismondo Capece L’Orlando (1711) after Ludovico Ariosto Orlando Furioso (1516/1532). Concept & Adaptation by Georgij Isaakyan (Director), Edition by Andrew Lawrence-King (Musical Director), Techno episodes by Gabriel Prokofiev, Design by Hartmut Schörghofer.

Synopsis of Georgy Isaakyan’s version (read online and/or download pdf)

Orlando Orlando libretto (includes English translation: read online and/or download pdf)

 

 

This production is not an ‘authentic’ reconstruction of baroque opera, but a new work of music-theatrical creativity in which 18th-century music tells a 21st-century story, bringing together Gabriel Prokofiev’s specially composed electronic music and the most modern understanding of how George Frideric’s score would have sounded at the King’s Theatre, London in 1733.

 

 

 

For Orlando, Handel assembled an unusually large orchestra with a powerful bass-section, and the dance-rhythm of the fashionable Gavotte is heard several times, representing Orlando’s fury.

 

In his madness, Orlando identifies Angelica as the mythological godess Persephone: “Beautiful eyes, no, do not weep, no”

 

In his madness, Orlando mistakes Dorinda for the goddess Venus, or an enemy warrior: “Already, I wrestle him; already I embrace him  with the force of my arm”

 

 

 

In the extraordinary mad-scene created for the famous Italian castrato Senesino, bass instruments play alone as the protagonist descends into a hell of jealous rage.

 

 

“I am my own spirit, cut off from myself. I am a ghost, and like a ghost I want to make the journey down there to the kingdom of sorrow!”

 

And the full orchestra lurches into 5/8 metre as Orlando imagines himself rowing Charon’s boat into the underworld.

 

“There is boat across the river Styx! In spite of Charon, already I’m rowing over the waves”

 

 

Handel freely borrowed from other composers’ (and his own) work, and the previous season he re-wrote two earlier dramas, expanding the chamber-opera Acis & Galatea and transforming a one-act staged masque into the first English oratorio, Esther, performed as a three-act concert with the addition of solo harp, trumpets, drums and a chorus. For Orlando, Handel adapted Carlo Sigismondo Capece’s (1711) story of mad jealousy, itself a re-working of episodes from Ariosto’s 16th-century classic, Orlando furioso. Bernard Picart’s (1710) engraving of the giant Atlas, republished in 1733 as Le Temple des Muses, was re-interpreted as the stage set for the opening scene with the magician Zoroastro.

 

Perhaps this 1731 print inspired the first scene of Handel’s ‘Orlando’

 

Handel’s audience were thrilled by several spectacular stage transformations, utilising the full resources of period stage machinery and dramatically presented as the result of Zoroastro’s magic, assisted by his demons. In our production, Schörghofer’s design employs modern stage technology to offer the audience surprise and spectacle, whilst clarifying the subtly interwoven stories as characters from medieval romances (Chanson de Roland, 11th cent) are re-drawn by Boiardo (Orlando innamorato, 1495) Capece, Handel and Isaakyan.

 

“Orlando Orlando” at Helikon Theatre

 

 

A German musician producing Italian opera in England, Handel writes a conventional French-style overture, but surprises the audience with up-to-date dance-music, a fast Italian giga.

 

This Italian giga has characteristically continuous movement in the melody line, with a driving bass.

 

The rhythmic drive of the giga is disrupted with broken phrases to depict Dorinda’s misplaced faith in ‘sweet little lies’.

In spite of trills and rests, this Aria still shows the characteristics of an Italian giga: “Oh dear little words, sweet glances; even if you are lies, how I will believe you!”

 

The step-and-jump rhythms of a French gigue are heard in Medoro’s second Act aria;

 

The restrained movement of a French gigue characterises Medoro’s hesitation: “I would like to be able to love you, but…”

 

the slow swing of an Italian folk-dance, the  siciliano characterises Dorinda’s wistful longing;

 

More gentle than a giga, the tender siciliano characterises Dorinda’s nostalgia for a love that never was: “If I return to the meadow, I am made to see my Medoro in every flower”

 

Orlando’s lament in hell is sung to a French passacaille.

 

In French operas the descending bass of the minor-mode passacaille suggests tragic passiona and creates opportunities for expressive dissonances and chromatic variations: “For from tears even in the kingdom of Hell, pity can be aroused in everyone”. The audience come to realise that this text is ironic: in his madness, Orlando shows no pity for Angelica, and changes his Gavotte-refrain to “Yes, eyes, weep, yes, yes!”

 

 

The composer’s bold strokes of dramaturgical re-designing and contrasting musical styles were further transformed by unwritten baroque performance practices. Continuo-players spontaneously realised the written bass-line with rich harmonies and strong rhythms; singers added their own variations to the repeated section of a da capo aria; sometimes time would stop whilst singers  or instrumentalists improvised a final cadenza. Handel did not conduct, but directed by playing the harpsichord, alongside the theorbo (bass lute). The expression of the vocal line was not indicated with markings of piano and forte, but follows from the accentuation and emotions of the words.

 

This Recitative is not just rapid patter, look at all the rhetorical detail: A long note and glorious high notes for “As custodian of your glory…”. Strong dissonance for “I stimulate you to follow it”. Another long note for “Urge.. ” and the highest notes and thrilling contrasts of short notes for “…your heart to great works!”. A long sigh “Ah!” with an intake of breath afterwards, dissonance and Orlando’s voice dropping “love takes it all away from me”. Zoroastro’s voice rises with long notes and an unexpected sharp in the melody-line for “It will be given back to you by valour!”. Orlando’s falling phrase (which would be given the conventional drooping appoggiatura) “It languishes in my breast”. Zoroastro’s strong retort with high notes “Scorned…”, snappily broken phrases “is that what you want to be…” and a suitably horrible melodic tritone “by a vile little boy?”. The “little boy” is Cupid as the flute’s flapping wings show in the following bars.

 

Instrumentalists similarly have few written phrasing-marks, but imitate the crisp articulation of the Italian language with a great variety of bow-strokes.

 

What might appear to be just a series of equal quavers acquires subtle rhythmic patterning from the long/short, accented/un-accented syllables of the Italian text, imitated in this English-language metrical paraphrase: “Respond to it for me; your heart might tell you that.. I discard all your love”. Today’s performers might usefully channel a jazz-singer’s approach to text and rhythm, rather than classical training.

 

 

 

For the eerie calm of Orlando’s final aria we added baroque harp, which in Handel’s dramatic works suggests a vision of heavenly peace. Trumpets and drums represent royal authority and military power; horns and oboes a pastoral idyll; the flute an amorous nightingale or Cupid’s fluttering wings. Modern scholarship has revealed the subtle structure of Handel’s recitatives, which imitate the pitch contours and speech rhythms of a great actor in the baroque theatre.

 

Studying the text as dramatic speech in the grandiose style of baroque spoken theatre reveals how accurately Handel notates [what Il Corago first described c1630 as] ‘the declamation of a fine actor’, in the generation between Thomas Betterton and David Garrick. As shown in my English-language metrical paraphrase: Zoroastro barks out his anger with the urgency of poetic anapests followed by the characteristic contrast of short and long notes “To what risks you’re exposed now, you reckless lovers, by blinded love!”. Angelica’s reply is a languid drawl “We only have to get free from Orlando.” Zoroastro barks again with the upward intonation of an abrupt question “And if he comes here?” – singers can appropriately add an upward appoggiatura. Medoro tries to assert himself, but Handel’s downward inflections betray the character’s weakness “My heart is also valiant!” and Angelica interrupts with powerful rhythm and a strong upward leap “P’haps for my sake, he would not be so cruel” – the conventional appoggiatura makes a harsh dissonance here. Zoroastro mimics her phrase with the slow tempo of bitter sarcasm “And he’ll be nice… to his unfaithful lover?”. With a wonderfully dramatic contrast, he switches back to fast anapests “Hurry up and get running, fly away from his anger…”. The notated rhythms of Handel’s music work perfectly as dramatic speech.

See my previous article on tempo and rhythm for Handel, here.

We added a chorus, whose members (in the manner of Handel’s oratorios or Bach’s Passions) comment on and drive forward the events of which, in the end, they are the victims. Their music is borrowed from Handel’s drama of cultural identity and religious conflict, Israel in Egypt (1739): Handel himself re-worked one of these choruses for Messiah (1741).

 

 

 

In Isaakyan’s reworking of the story, the magician Zoroastro appears in different guises, always as an authority figure: a star news-presenter, a domineering father, a bible-preacher, a populist politician. The choruses I selected show the public’s various reactions: unchallenging acceptance “Great was the company of the preachers”; anxious forboding “The people shall hear and be afraid… they shall be as still as a stone”; belated understanding “There came a thick darkness”; and a fascination with destructive power “He gave them hailstones for rain, fire mingled with the hail”.

 

 

“Orlando Orlando” Premiere Left to right: Hartmut Schörghofer, Gabriel Prokofiev, Georgy Isaakyan, Andrew Lawrence-King, Dmitry Bertman

 

 

Measuring a shepherdess’ heart-rate: Lamento della ninfa

Havendo considerato le nostre passioni, od’ affettioni, del animo…

Monteverdi begins the Preface to his Eighth Book, Madrigals of Love & War (1638), by considering Passions (or Affections) of the Spirit – in modern parlance, Emotions. And one of the most emotionally moving pieces in the collection is the Lamento della Ninfa, in which the Nymph’s Lament is framed and accompanied by male-voice trios, accompanied by continuo. This article examines Monteverdi’s performance instructions for the Lament, revewing the original printed parts with an updated understanding of the historical performance practice context.

 

Lamento della Ninfa BC

 

The original publication is in part-books, with the Preface printed in each book. The “framing” trios set the scene initially, and offer a commentary, in the manner of a Greek chorus, afterwards.

Non havea Febo ancora

“Phoebus [the sun] had not yet brought day to the world, when a young girl went out from her own dwelling. In her delicately pale face could be seen her sadness. Often there came bursting out a great sigh from her heart. Treading on flowers, she wandered here and there, crying for her lost love as she went.”

Si tra sdegnosi pianti

“Thus with angry cries she cast her voice to heaven. Like this, in the hearts of lovers, Amor [Cupid] mixes flames and ice.”

Amor, Amor dicea

This central section is the Lament itself, set for solo soprano over a four-note descending ground bass, with the accompanying trio both narrating  – “she said” “looking at heaven, her footsteps stopped” and commenting “poor girl”, “no, no!”, “so much ice cannot be suffered”.  Monteverdi distinguishes this section (but not the framing trios) as rappresentativo ‘in show style’ or ‘acted out’.

This distinction is anticipated on the title page, which promises:

Madrigali guerrieri, et amorosi con alcuni opuscoli in genere rappresentativo, che saranno per brevi episodi fra i canti senza gesto

“Warlike and amorous madrigals, with some small works in show style, which will make short episodes amidst the songs without action.”

Whilst singers would use at least some hand gestures in any performance context, madrigals were normally sung as chamber music, i.e. the (occasionally gesturing) performers did not attempt to embody a role, they were not ‘representing’ a character in a dramatic scene. In contrast, the ‘staged’ pieces, including the Combattimento di Tancredi & Clorinda also found in this book, were intended as a dramatic surprise during a courtly soiree of madrigals and instrumental music.  These elements of contrast, surprise and drama are missing when the Lamento is performed as a conventional concert-piece.

The distinctive nature of theatrical music calls for particular elements of historical performance practice, and Monteverdi provides specific information for the central, dramatised Amor section, distinct from the framing trios. In this article, that oft-quoted advice is re-assessed, considering other information from the part-books, and in the context of an improved understanding of Monteverdi’s assumptions about rhythm.

 

How to stage this song

 

The three parts that sing outside the cries of the Nymph are placed separately like this, because they sing in the time of the hand; the other three parts, which go in soft voice commiserating the Nymph are placed in score, in order to follow the crying of that girl, which is sung in the time of the affection of the spirit, and not in that of the hand.

 

Clearly, Monteverdi is putting into practice the consideration of the ‘passions of the spirit’, of emotions, mentioned in his Preface. But how are his instructions to be realised in performance? In the 20th century,  the answer seemed self-evident: this is ‘expressive’ music, and ‘expressive’ performance suggests rhythmic freedom, tempo rubato. In this view, the framing trios would be sung in strict time (tempo della mano) whilst the central Lamento would be sung in free rhythm (tempo del’affetto del animo) and not in strict time (non a quello della mano).  Performers found this rather counter-intuitive: triple metre and the regular bass of the central Lamento seemed more suited to structured rhythm, and 20th-century habits resisted strict time and a steady tempo for the framing trios.

Another 20th-century misunderstanding should be quickly mentioned: ‘the three parts’ which ‘are placed separately’ means that the three individual voice-parts and continuo accompaniment were placed in four different part-books, whereas the central Lament is printed in score. There is no suggestion that the three singers should be ‘placed separately’, i.e occupy another area of the stage, at some great distance from the solo Nymph!

As Monteverdi writes, the arrangement of the individual parts and score can be seen in the part-books: it is ‘like this’:

 

Non havea Febo ancora T1

Si tra sdegnosi pianti T1

The framing trios are separated into individual voice-parts, in three different part-books: Tenore Primo, Tenore Secondo, Basso Primo.

 

The three parts for the accompanying trio are in vocal score, in another part-book, Alto Primo. This score shows the continuo bass only at the beginning, otherwise STTB.

 

Lamento vocal score in A1

 

The Canto Primo part-book has the soprano solo, in short score, soprano & continuo bass. The trio parts are not included in this short score.

Lamento short score in C1

 

The Continuo part-book has the instructions, and the music is printed as promised: bass-line only (with very few figures) for the framing trios; a full score for the Lamento. This score has STTB & BC throughout (no figures). [See above]

If one wished to perform the piece from a set of part books, two or three continuo-players could read from the one book. The accompanying trio could all three read from the Alto Primo book. (The name Alto Primo does not imply that an alto voice-type is required: instrumental and vocal parts for particular pieces are routinely placed in whichever part-book has space, and is not otherwise in use). The framing trio would read from three individual books T1 T2 B1. And the soprano soloist would read from the Canto Primo book.

The arrangement of the material strongly suggests that there are six male singers, i.e. two trios: one trio for the framing sections, a different trio for the central Lament. True, it’s not impossible for the framing singers to put aside their individual part-books at the end of the intro, cluster around the score in the Alto Primo book for the Lament proper, and then pick up their individual books again for the coda. But there is additional evidence in the part-books supporting the six-men option. In the individual part-books for the framing trios, the central Lament is mentioned, with the indication tacet.

Amor – Tacet in B1

 

Similarly, before and after the vocal score, the framing trios are mentioned with the indication tacet. The index pages of the partbooks are consistent with this.

 

Tavola (index) in T1

 

And Monteverdi’s instructions specify ‘three parts’ and ‘the other three parts’. All of this is consistent with the six-men version, and inconsistent with a three-man performance.

It is interesting to consider whether the soprano and accompanying trio might have memorised their parts: this would be effective in the ‘staged’ section of the piece, and would remove some of the practical difficulties of three-man performance. But the markings of tacet remain a stumbling block: if the three men were supposed to switch part-books (at least in rehearsal), one would have hoped for an indication that this should be done, and of where to find the required score.

There is also the question of how much rehearsal time was available. Monteverdi’s letters include several pleas to try a new piece through at least once, before performance (even for very complex music): this does not give the impression that there would be sufficient rehearsal time to memorise parts without additional effort. A decade or so earlier, a ‘little priest’, the male soprano hired to act the role of Euridice in Orfeo (1607) had great difficulty learning ‘so many notes’: as an experienced singer of religious polyphony, his difficulty was not ‘note-learning’ per se, but memorisation. However, the skills of court chamber-music singers might have changed with the introduction of professional singing-actors into ‘baroque opera’, beginning with La Florinda’s triumph in Arianna (1608).

Hand & Heart

Act with the hand, act with the heart!

The interplay between music, gesture and emotions is frequently mentioned in period discussions of music-drama, i.e. what we nowadays call ‘early opera’. Although Monteverdi’s instructions for the Lamento contrast  ’emotional time’ and ‘hand time’, the preface and libretto of Cavalieri’s Rappresentatione di Anima e Corpo (1600) here as well as many other sources connect emotional impulses with visible action. The designation rappresentativo implied a particular set of performance practices, coordinating text, music and action into a unified spectacle. Here are Monteverdi’s instructions for Combattimento, in the warlike part of Book VIII.

 

 

“Combat of Trancredi & Clorinda in Music, described by Tasso, which needs to be done in show style: they enter suddenly (after some madrigals without action have been sung)…. They make their steps and gestures just as the delivery of the text expounds, neither more nor less, observing carefully the tempi, sword-strikes and foot-work; the instrumentalists [observe carefully] the violent and soft sounds; and the Narrator [observes] the well-timed pronunciation of the words – in such a way that the three actions come to meet in a unified representation. ”

 

“The ‘three actions’ to be ‘unified’ are the protagonists’ movements, the music, and the narrator’s text.  When Clorinda or Tancredi speak, the Narrator is silent. The voice of the Narrator should be clear, firm and well pronounced… so that it is better understood. He should not make divisions [literally ‘throat’, i.e. fast-moving ornamental passage-work] or trills except in the Aria that begins Notte, all the rest should be given a delivery similar to the passions of the oratory. ”

The instruction to avoid ornamentation (both divisions and graces) is found in many sources, including Cavalieri’s Preface to Anima & Corpo. Many sources also require the continuo to avoid ornamentation and play grave – low register and slow notes. Cavalieri also emphasises the importance of whole-body acting, not just hand gestures. Monteverdi asks for a variety of tone-colours from the instruments, Cavalieri makes a similar request to the singers.

The silencing of the Narrator, when there is direct speech from characters onstage, suggests that the six-man version of the Lamento might better distinguish between narration and direct speech, by keeping the narrating trio silent whilst the commiserating trio are heard within the staged scene.

Monteverdi’s call to unify text, music and action reminds us of Shakespeare’s instructions to the players in Hamlet:

Suit the action to the word, the word to the action.

And Shakespeare’s admonition against ‘mouthing’ the speech, like a town-cryer, is consistent with Cavalieri’s warning to singers not to force the voice.

Monteverdi’s Preface makes a similar link between theatrical music, spoken oratory, and emotions:

Tasso, come poeta che esprime con ogni proprieta e naturalezza con la sua oratione quelle passioni, che tende a voler descrivere

“Tasso, as a poet… expresses with all propriety and naturalness in his oratory the passions which he wants to describe.” The connection between detailed description and emotional power is the period concept of Enargeia. Read more about Enargeia here Enargeia VIP.

Meanwhile, many early 17th-century sources compare the new style of singing to speaking (Caccini 1601, here) , to the pitch-contours of spoken delivery (Peri 1600, here) , and to the variety of tone adopted by a fine actor in the spoken Theatre (the anonymous c1638 guide for a music-theatre director, Il Corago here).

Suiting the stage action to the words of the libretto implies that the sung text can serve almost as Stage Directions for the actors. The Nymph should enter at the same moment as the narrating trio sing una donzella…. usci. Her face should be made up to look pale, and she should sigh heavily as she treads on flowers, wandering erractically across the stage.  She might make a hand gesture for dolor. 

 

As she begins to sing, her footseps halt and she looks up at heaven. This is consistent with Gagliano’s instructions in the Preface to Dafne (1608) for singers to enter making an interesting path across the stage, but to stand still whilst singing.  In another Monteverdi madrigal the love-sick protagonist similarly addresses heaven:  Sfogava con le stelle (Book IV, 1603).

 

Il Tempo della mano

 

Such close agreement between many period sources encourages us to attempt to reconcile Monteverdi’s remarks about tempo in the Lament with all that we now know about early 17th-century time and rhythm. The word tempo has many historical meanings: Time itself, musical rhythm, the psychological effect of perceived musical rhythm. This last meaning comes close to our modern usage of tempo to mean the speed of musical performance, measured in beats per minute. There is also another area of period meaning linked to the Greek distinction between chronos (chronological time) and kairos (the moment of opportunity). For sword-fighters, a tempo is the opportune moment to strike. This meaning is relevant in theatrical music as ‘dramatic timing’ and might be particularly significant in Monteverdi’s instructions for Combattimento (above).

Monteverdi died in same the year (1643) that  Isaac Newton was born.  So the composer’s concept of Time was not the Newtonian model of Absolute Time so familiar to us today, but rather Aristotle’s understanding of Time as dependent on motion. Monteverdi’s musical rhythms were organised by the slow, steady pulse of Tactus (about one beat per second), with triple metre measured by simple ratios – Proportions. The notation of the Lamento indicates Sesquilatera (one and a half) Proportion, with three triple-metre semibreves in the time of two duple-metre minims, something around semibreve = MM90.  Read more about Getting back to Monteverdi’s Time.

 

In practice, Tactus was shown by a simple down-up movement of the hand. Tactus-beating was usually done by a performer, not by a stand-alone conductor, and was very different from modern conducting. The job was not to make one’s own personal choice of tempo, nor to interpret the music by changing the tempo, but to find and maintain the correct tempo. According to Zacconi’s Prattica di Musica (1592),

Tactus is regular, solid, stable, firm… clear, sure, fearless and without any perturbation

Quite unlike modern conducting!

Of course, most instruments are played with two hands, so musicians would study using a Tactus hand-beat, in order to play with an internalised sense of Tactus. Frescobaldi confirms this, by discussing keyboard toccatas entirely in terms of Tactus. Even though he specifies certain situations where the Tactus may change between movements of a single piece, and even though keyboard players cannot physically beat Tactus whilst playing, Frescobaldi insists that the performance is still facilitated by, actioned by, Tactus. And he links his Tactus Rules also to ‘modern madrigals’, the kind of music found in Monteverdi’s later books. Frescobaldi rules, OK:  here.

Applying Frescobaldi’s rules, we might try a small change of speed where the ‘movement’ changes, i.e. between the frame and central Lament, perhaps even within the introduction (a pause after dolor and a slightly faster speed for the new rhythmic structure of si calpestando fiori; slower again for cosi piangendo va). Such small changes follow the changing emotions of the text, and therefore would tend to exaggerate the composer’s change of note-values. The notation of si calpestando fiori already responds to the text with short note-values, any change in Tactus would increase the contrast. But within what Frescobaldi calls a passo (literally step or movement: i.e. a self-contained section or movement of a single work), the Tactus remains “regular, solid, stable, firm… clear, sure and fearless”. Frescobaldi limits ‘any perturbation’ to very specific situations.

For theatrical music, Il Corago discusses the question of whether or not the omni-present Tactus should be shown with hand-beating. Obviously, the singing-actor cannot beat time on stage, and Il Corago considers that the continual waving of a Tactus-hand at the side of the stage would be distracting for the spectators, taking away the sense of naturalezza that Monteverdi so admired in Tasso’s poetry-reading. So he recommends that the principal continuo-player should beat Tactus where required in ensemble music, but there should be no time-beating in dramatic solos. We might therefore expect the leader of the continuo to give a couple of Tactus-beats to start the framing trios, but that there would be no Tactus-beating during the central Lament. Of course, the Tactus is still maintained during the Lament solo, “regular, solid, stable… clear, sure, fearless”, but felt, rather than seen.

This advice from Il Corago is consistent with Monteverdi’s marking for another acted-out soprano solo, the Lettera Amorosa in Book VII (1619) Se i languidi miei sguardi, which has the instruction:

in genere rappresentativo e si canta senza battuta

“In dramatic style, and to be sung without beating time.”

It is also consistent with Agazzari’s advice that the continuo (his word is fondamento, emphasising the structural, rather than decorative role of bass-playing) ‘supports and directs the whole ensemble’. The directing is done not by beating time, but in the manner of playing, by providing clear structural rhythm in the improvised realisation of the accompaniment. This contrasts with 20th-century assumptions and practices, in which the continuo is supposed to follow, whilst the singer (perhaps a conductor too) destabilise the rhythm with rubato.

The early-17th-century assumption is clear from Peri: singers are normally guided by the continuo. If the text is sad or serious, the singing should not ‘dance’ to the rhythm of the bass, so the bass itself is reduced to Tactus values of minims and semibreves. This guiding role of the continuo affects not only the rhythm but also the emotions, so Peri is careful to compose the entire bass-part according to the words. Agazzari agrees: ‘true and good music’ doesn’t require lots of fugues and imitative polyphony, but rather the imitation of the emotion and similitude of the words, affetto e somiglianza delle parole.  

This seems very close to Monteverdi’s a similitudine delle passioni del’oratione in his instructions for Combattimento (above). Even instruments are expected to imitate words – especially the Basso Continuo (according to the Preface to Book VIII):

Le maniere di sonare devono essere di tre sorti, oratorie, Armonicha & Rithmicha

“There are three elements of playing: oratory, harmony and rhythm.” What an inspiring definition of continuo!

But in his discussion – also in the Preface to Book VIII – of  repeated semiquavers in the bass-line of Combattimento, Monteverdi’s assumption is tha the continuo-realisation would normally reduce such fast notes to structural values of minim or semibreve, were it not for his specific instructions to play what is written in this particular piece. This is consistent with Landi’s notation of two bass-lines in the sinfonias of Sant’ Alessio (1631), a complex line for harps, lutes, theorboes & bowed strings, and a simplified, structural line for continuo harpsichords.

So the continuo maintained the Tactus, even whilst responding to the emotions of the text. Nevertheless, there was a seicento practice of rhythmic freedom for singers, which Caccini describes as senza misura (unmeasured). Many examples in Monteverdi’s works show how this works: the singer anticipates the beat, or arrives late, but the continuo maintain Tactus –  “regular, solid, stable, firm… clear, sure, fearless and without any perturbation”. This baroque practice is similar to jazz, where the singer floats freely over a steady Iin the rhythm section. It remained in use throughout the 18th century (clearly described by Leopold Mozart) and even later. In Chopin’s style of playing ‘timeless melody over a timed bass’, he kept the bass as steady as the trunk of a tree, whilst the melody can sway like the leaves and branches. Chopin here.

 

Senza misura over a Tactus bass – Caccini

 

Soloist floating around a Tactus bass – Monteverdi

 

Solo tenor and Tactus – Monteverdi

 

In this context, we can understand Monteverdi’s intention that the framing trios would be directed by a hand-beat in Tactus, il tempo della mano, whereas no-one would beat time during the acted-out Lamento. But we would still expect the Lamento to be sung in (unseen) Tactus.  The “regular, solid, stable, firm” Tactus of the Lamento movement might be a little different from that of the framing trio. The text of the coda summarises the Lament as ‘angry cries’  sdegnosi pianti which might suggest a faster, more passionate tempo, rather than slowing down for a Romantic ideal of lamenting. Baroque laments – includingly the famous Lamento di Arianna (1608) and Act V of Orfeo (1607) – often alternate sadness with anger.

 

The Four Humours – changes of ‘humour’ move the passions

Il Tempo dell’affetto del animo

 

 

But what was Monteverdi’s ‘time of the affection of the spirit’, his ’emotional tempo’, and why did it require the singers to read from a score? The 20th-century assumption was Romantic rubato. But nowadays, we know that if the singer floats freely around the (unseen) beat, the continuo would maintain the Tactus groove ‘without any perturbation’.

There are several instances in the (1610) Vespers where the rhythms for the singers differ between the individual part-books and the continuo-book short score. This is not problematic, because the continuo-players did not follow such small details of ornamentation; rather they led with the slow steady pulse of Tactus. Continuo-players were accustomed to singers’ improvising diminutions and graces, and would not follow these or be upset by them: they would just continue in Tactus “regular, solid, stable, firm… fearless”.

So if the lamenting Nymph employed some rhythmic freedom, in the manner described by Caccini and notated by Monteverdi, there would be no unfamiliar demands on the continuo players, or on other members of the vocal ensemble, and no special need for a score. Indeed, continuo-players were accustomed to scores that showed different ornamentation from what the soloist was actually singing!

Perhaps the answer can be found not in the anachronism of Romantic rubato, but in that wonderfully practical source for historical music-theatre, Il Corago. The anonymous writer explains precisely how continuo-players did ‘follow’ the singing-actor in staged performance. If some extra time was needed for some stage ‘business’, the continuo should just repeat the chord they are playing. We see this notated in Monteverdi’s Ulisse (1640) and described in Cavalieri’s Anima & Corpo.

Si replica tante volte

Monteverdi Ulisse: “This Sinfonia (a C minor chord for the basso continuo, played twice, long-short) is repeated as many times as necessary, until Penelope arrives on stage and starts to sing.”

Cavalier Anima & Corpo: “The instruments that have to accompany the singers wait, playing the first chord, until he [the actor in the role of Tempo] begins.”

In this performance practice of historical music-theatre, a stage-wait is managed by having the continuo repeat a chord, in Tactus. Although everything waits until the actor is ready, the Tactus-clock is still ticking.  So we can reconcile instructions that continuo-players should follow actors in staged works with the overwhelming weight of evidence that Tactus was “regular, solid, stable, firm ” in all seicento music. Indeed, the period term is musica mensurata, measured music, which applied to all music, except unmeasured liturgical chant.

So even if the Nymph felt she had to wait for the passion of her spirit to motivate her speech, the tempo of her emotions would be measured by Tactus, even if it was not shown by a hand-beat.

But it is not plausible that the continuo players would repeat one of their four chords indefinitely, whenever the soprano decided to wait! Again, Il Corago suggests a practical solution: if the continuo know how long they should wait, they can play a little chord sequence. instead of just repeating one chord. In the context of the Lamento’s ground-bass, it’s obvious that the continuo would just repeat the four-note descending ground, as many times as necessary, until the singer started, or (in the middle of the piece) re-started.

Now we understand why scores are necessary. The soprano needs a short score, so that if she waits, she can make her entry at the correct point in the repeating harmonic sequence. (She only needs her part and the bass, since the trio will follow her). The accompanying trio need a vocal score, so that they can be aware if the soprano waits, and make their entries according to her part. (They don’t need the ground bass, since they coordinate their entries with the soprano).

Seicento singers were accustomed to managing misprinted rests in polyphonic music: their familiarity with the style and their general musicianship skills allowed them to sense the right moment to make their entry, in order to fit with the general harmonic movement around them. But in the Lamento, these skills would be no help in dealing with the extra time imposed by an emotionally inspired soprano: the trio polyphony would work on any given iteration of the ground bass. The trio singers needed a score to know whether they should wait four bars, or eight bars, extra: their ears alone could not solve this problem.

In the end, this kind of performance would not sound very shocking to us today. So the continuo put in a few extra rounds of the ground bass, here and there? Probably quite a few modern performances have already done this. But this is easy for us to do, because we are accustomed to reading from scores, and (all too often!) being conducted. If there are only part-books, no conductor, but regular Tactus, it would be difficult for a soprano to wait spontaneously, according to the emotions, without the trio getting lost: without a score, much rehearsal would be needed before the soprano could safely be given this freedom. Monteverdi’s solution was practical, but unusual for his period: give the singers a score!

What does remain shocking for today’s performers is the idea of keeping Tactus; that singers might float around the beat, but the continuo will maintain the groove; the idea that even large-scale music was led by continuo-playing, not by conducting. What is the point of providing early instruments and historically informed performers, only to have them anachronistically conducted. We might as well realise the continuo on a 20th-century pianoforte!

To sum up: baroque music is measured by Tactus and directed by continuo-playing. But a soloist has freedom to float around the steady groove of that Tactus. In staged performance, additional time can be taken for dramatic action, but the ticking clock of Tactus continues. In this Lamento (a staged piece written over a ground bass), the continuo could repeat the ground as many times as necessary, until the singer is emotionally ready to sing.

Monteverdi’s tempo dell’affetto dell’animo is not some kind of ‘free rhythm’, but rather an emotionally-driven sense of dramatic timing, to a steady heart-beat.

 

 

If your pulse stops, the music also dies [ALK]

ARIANNA a la recherche

Remaking the fourth opera in the Monteverdi trilogy

The Indiana paper – watch the video here.

In September 2017, OPERA OMNIA presented in Moscow a re-make of Monteverdi’s lost masterpiece, Arianna (1608), setting Rinuccini’s libretto ‘in Claudio’s voice’ around the sole surviving musical fragment, the famous Lamento. Our aims were to offer performers and audiences an operatic context for this celebrated soliloquy; to reverse the standard processes of musicological investigation by applying new, rigorous creativity to previous analysis; and to re-assess Performance from the perspective of Historically Informed composition, initiated by period practices of improvisation.

With generous help from Tim Carter, we applied methodologies from Monteverdi’s Musical Theatre (2002) and took inspiration from Wilborne’s exploration of Seventeenth-century Opera and the Sound of the Commedia dell’Arte (2016). The practical challenges of re-composing and staging a lost work demanded a sharp focus on Monteverdi’s methods and word-by-word engagement with Rinuccini’s text. The Tragedia emerges as a powerfully effective theatre-piece, with sharp characterisations and dramatic twists in affetto. The visual impact of Bacchus’ arrival (Heller, Early Music October 2017) is matched by aural shock as lamenting strings are blown away by ‘hundreds of trumpets, timpani and the raucous cry of horns’.

Following the interdisciplinary learning methods of the period, Monteverdi’s circa 1608 works were closely imitated, identifying literary citations, and transforming composed models according to rhetorical principles and in steady Tactus. Channelling Peri, Monteverdi and the anonymous Il Corago, historically informed improvisations – basso continuo, declamatory speech and baroque gesture – guided re-composition towards the ‘natural way of imitation’, an ideal that Claudio felt he came closest to in his Arianna.

This article was written as a paper to be given at the Indiana University Historical Performance conference, May 2018. Music examples can be heard on the accompanying video here. In-line footnote numbers correspond to captions in that video.

Scores for the music examples are available for study here: by clicking you agree not to share these scores with anyone else, nor to perform them without first obtaining my written permission.

OPERA OMNIA (Director, Andrew Lawrence-King) is the new Academy for Early Opera & Dance, Institute at Moscow State Theatre Natalya Sats (Intendant, Georgy Isaakyan).

There are currently two early operas running in repertoire at Theatre Sats: Anima & Corpo (60th performance this season) and Celos, aun del aire matan (third season) as well as a mainstream production of Alcina and the anti-opera Guido d’Arezzo. In September 2017, the International Baroque Opera Studio presented the premiere of ARIANNA a la recherche, which is now being recorded for CD release. Future productions include L’Europe Galante and Andrew Lawrence-King’s Kalevala. The 2018 International Baroque Opera Studio will link training/ performances of Purcell’s King Arthur and the Round Table Academy research event.

 

OPERA OMNIA’s Anima & Corpo won Russia’s highest music-theatre award, the Golden Mask. Theatre Sats won the 2017 European Opera Award for Outreach and Education.

 

 

ARIANNA a la recherche:

re-making the fourth opera in the Monteverdi trilogy

 

 

MUSIC EXAMPLE 1: Stampa il ciel con l’auree piante Utopia Chamber Choir, Helsinki

  1. On 28th & 29th September last year, OPERA OMNIA, the Academy for Early Opera & Dance recently founded at Moscow State Theatre ‘Natalya Sats’, presented the premiere of ARIANNA a la recherche, Andrew Lawrence-King’s remake of Claudio Monteverdi’s 1608 masterpiece. This setting of Ottavio Rinuccini’s tragedia ‘in Claudio’s voice’ was performed by the advanced students and young professionals of the International Baroque Opera Studio.

 

WHY?

 

I am immensely grateful to Prof Tim Carter for the valuable insights and helpful advice he contributed to this project. But his first comment to me played devil’s advocate: why reconstruct Arianna?

2. The entire opera takes place on a deserted beach, the libretto often repeats itself, there’s lots of recitative, and whole scenes are devoted to rhetorical debate on the well-worn subject of Love versus Duty. Even the original production’s aristocratic promoter herself described the first draft of the libretto as ‘rather dry’.

 

Recalling the famous question, why climb Mount Everest, I’m tempted to answer for Arianna, “because it’s not there!”. All that survives of the original music is the famous Lamento.

 

3. Lamento d’ Arianna published for voice and continuo in 1623, also transcribed as a 5-voice madrigal and in religious contrafacta.

But Monteverdi regarded Arianna, composed in Mantua the year after Orfeo, as his greatest work for the stage.

4. Monteverdi revived Arianna as his first production for the public theatre in Venice (1640); it came closest to his ideal of the ‘natural way to represent’ drama in music, via naturale alla immitatione.

“Arianna was by all accounts a huge success, and its central lament for the protagonist reportedly moved the ladies in the audience to tears.”

Tim Carter Monteverdi’s Musical Theatre (2002)

Certainly, the construction of almost the entire opera was a formidable challenge. But any half-way decent setting will present an intriguing opportunity for  performers, audiences, critics and musicologists.

 

5. Re-making a ‘lost opera’ as a research project.

“It is the task of the historian to create appropriate frames of reference within which Monteverdi’s works might plausibly have been viewed and understood by competent members of their first audiences.”

“The longest chapter in [Monteverdi’s Musical Theatre] concerns the ‘lost’ works, where Monteverdi’s music does not survive, for all that one can still say a good deal about it. In general, however, my approach tends to be less philosophical or aesthetic than pragmatic; I am not so much concerned with my own, or even Monteverdi’s grand statements as with the nuts and bolts of how a seventeenth-century musician might have written for, and worked within, the theatre.”

Carter

 

In academic study of the arts, the reverse side of the coin from analysis is creativity. Historically Informed Performance searches to understand and follow the composer’s intentions: the reverse of that process is to become the composer oneself. Composing and performing a setting of Rinuccini’s libretto was perhaps the ultimate practical investigation.

I was inspired also by Emily Wilborne’s work, looking beyond surviving documents to the rich variety of sounds that period audiences would have heard.

6. Emily Wilborne Seventeenth-century Opera and the Sound of the Commedia dell’Arte (2016), which examines Virginia Ramponi-Andreini’s performance in (and one might well say, creation of) the title role of Arianna. A professional actress brought into the 1608 production after the death of court singer Caterina Martinelli, La Florinda (to use her stage name) triumphed from first audition to final performance and may well have contributed her improvisatory skill to what became the published text and music of the famous Lamento.

Building on my 5-year Text, Rhythm, Action! program at the Australian Centre for the History of Emotions, this realisation of Arianna with historically informed staging investigates not only lost sound, but the visual and emotional experience of that 1608 theatrical event.

It’s possible that publicising this project might flush out of hiding an original source for Monteverdi’s setting. For performers and academics of the future, this would be a great outcome. Meanwhile, the investigatory effort would not be wasted: on the contrary, comparisons between the original and my reconstruction would reveal gaps in knowledge and understanding.

So ARIANNA a la recherche attempts to set the famous Lament in its operatic context, with all due humility that the exercise of imitating Monteverdi can never be more than an exploration, an Essay in music, a baroque Versuch.

 

7. “Constructing meaning is an exercise both challenging and fraught with danger. But it is an essential part of the theatrical experience.”

Carter

 

MUSIC EXAMPLE 2: Deh, se quel arco stesso Utopia Chamber Choir, Helsinki

The character Amore (Cupid) remains on-stage throughout the drama, invisible to the other, mortal characters. But when Bacco and Arianna fall in love, Amore becomes visible to mortal eyes, as Nunzio Secondo (the Second Herald) tells us. Meanwhile in this chorus, after Arianna’s Lament and the noise of Bacco’s arrival, the Fishermen are still hoping that Teseo might return. As they remain fixed in their previous opionions, so my music returns to the very first song they sang. This music is from Su l’orride paludi, one of two Act-end choruses that seems to require through-composition, even though the libretto prints strophes. Strophes 1 and 2 recount the Orpheus story; strophes 3 and 4 (another story of love and Hell) are discussed later in this article; this is the fifth and last strophe.

 

Alessandro Turchi ‘Bacchus & Ariadne’ (c1630). Historical Action is more than just Baroque Gesture.

 

 

AIMS

 

I was not trying to ‘reconstruct’ the lost manuscript: I wrote a score for music-drama, for a performance in the theatre, with singers, musicians and an audience. Keeping this practical outcome in mind encouraged me to see the libretto not only as singable text, but also as a theatrical script, with hints of scenery, costumes, entrances and exits, of the emotional background and changing moods of the various characters, and of their baroque gestures.

  1. The anonymous c1630 Il Corago defines acting as ‘imitating with gesture’.

 

Recitare … imitando le azioni umane, angeliche o divine con la voce e gesti… rappresentare le medisme azione cantando

To act… by imitating the human, angelic or divine actions with the voice and with gestures… to perform the same action singing.

 

Notice that the 17th-century Italian word recitare means simply ‘to act’: it does not carry the baggage of our modern assumptions about Recitative. Indeed, Il Corago’s definition lists three ways of acting – tre maniere di recitare: spoken drama, sung ‘opera’, and wordless mime.

 

Historical Action is more than just ‘baroque gesture’, it includes not only gestures of the hands, but facial expressions and movements of the whole body. as well as conventions for onstage positions.

 

Whilst there is tendency nowadays to think of gesture as a ‘bolt-on’ extra to historically informed musical performance, period sources make it clear that Action (not only gestures of the hands, but facial expressions and movements of the whole body) was fundamental, ‘built-in’ from the outset. As he began work on a new project, Monteverdi searched the libretto for powerful emotions to express, and for gestures (implied by the words) which could be imitated in music.

  1. In a series of letters to Alessandro Striggio (librettist for Orfeo) concerning an opera being planned in 1627, La finta pazza Licori (a few months later the project was abandoned), Monteverdi discusses and links the concepts of ‘imitation’ (dramatic representation, whether in acting, singing or instrumental music) and gesture.

 

“The words [should] mimic either gestures or noises or any other kind of imitative idea that might suggest itself” (24 May)

 

“I am constantly aiming to have lively imitations of the music, gestures and tempi take place behind the scene (10 July)”

 

This implies instrumental music, played di dentro, behind the scenic backdrop, as specified in Orfeo. The lead role in La finta pazza was to be sung by Margherita Basile. Instruments would imitate not only the singer’s music, but also her acting, specifically her gestures.

After Carter

His instructions for the Combattimento di Tancredi e Clorinda call for the actors’ passi & gesti, the instrumentalists’ varied sounds and the declamation of the text to be delivered in such a way that the three dramatic modalities come together in a united representation.

 

  1. Monteverdi Combattimento di Tancredi e Clorinda: ‘Three Actions’, i.e. three ways of presenting drama: gesti & passi (gestures and steps), music, text.

“che le tre ationi venghino ad’incontrarsi in una imitatione unita.”

 

In such works, Monteverdi’s aim was for to create effetti – not only good effect in general, but also the ‘special effects’ of non-musical noises (e.g. the sounds of battle), and the emotional effect of ‘moving the passions’ – affetti. In this remake of Arianna, my aim was similarly to unite the essential concepts underlying Monteverdi’s vision of what we now call ‘opera’.

 

  1. Effetti/Affetti, Energia/Enargeia

    Lawrence-King ARIANNA a la recherche: drama as Action; acting as Gesture; music and acting as Imitation; musical Effects that move the audience’s Affects; all rooted in the communicative power (Energia) of detailed poetic imagery (Enargeia).

 

Of course, many modern ensembles have programmed other baroque music around the Lament. And there have been two recent attempts to set Rinuccini’s libretto. In 1995, Alexander Goehr composed a modernist score for an ensemble including extensive pitched percussion, saxophone, sampler etc, but preserving some of Monteverdi’s vocal lines. In spite of a talented cast of singers, critical reviews were unfavourable.

 

In 2015, Claudio Cavina, director of the ensemble La Venexiana, presented a semi-staged performance of his assemblage of Monteverdi’s music, reset to Rinuccini’s verses.

 

  1. Contrafactum is a thoroughly historical procedure – we have 17th-century settings of Monteverdi madrigals to devotional texts and even a contrafactum of Arianna’s Lamento with a religious text in Latin, the Pianto della Madonna. The proof of a good contrafactum is not only that the word-setting works in terms of accentuation, word-painting and changes of affetto, but also that any remembered associations connected to the original text complement the new function of the music. This requires careful consideration and adaptation of pre-extant music to the new text.

 

Whatever success this private performance enjoyed was sadly eclipsed by Cavina’s  subsequent illness.

 

My re-make differs from both these previous projects in that the output is a HIP production of baroque opera that is new-composed, rather than a collage of contrafacta. Nevertheless my writing was carefully modelled on Monteverdi’s circa 1608 compositions.

 

METHODOLOGY

 

 

Monteverdi’s letters reveal his negotiations with librettists, and his bold changes to their poetical texts. I was unable to negotiate with Rinuccini, so most of the changes I experimented with in first drafts were removed in later versions. What remains is Monteverdi’s madrigalian technique of mashing-up text to create additional layers of meaning.

 

MUSIC EXAMPLE 3: Ma tu, superbo altero Utopia Chamber Choir, Helsinki

This is the last strophe of the Act-end chorus Avventurose genti. As discussed below, there is a pattern of parallel changes of affect from strophe to strophe, until this last strophe breaks the pattern with an outburst of anger from the normally placid Fishermen.

 

I began with a set-piece aria passeggiata at the beginning of Act V. By 1608, such a florid air is rather old-fashioned, but it remained the way for music-drama to indicate supernatural powers.

 

  1. Aria passeggiata indicates supernatural powers, at the appearance of a god -in Arianna, Amore and Baccho – or where magic, especially the power of music, is at work –Harmony’s Prologue and Arion’s aria in the 1589 Florentine Intermedi, and the aria Possente spirto, in Orfeo (1607).

 

 

After workshopping this first sketch at Opera Omnia, I made a few changes. Amore’s strali, the burning rays of his arrows of love, might fly in whatever direction, but seicento settings tend to use downward passaggi to depict them. The second draft was dedicated to Jordi Savall and Maria Bartels and performed at the celebration of their marriage.

 

Later, I deleted a text-refrain I’d introduced, and added a Sinfonia and Ballo for the Entrance of Bacco, eloquently described in Follino’s eye-witness report:

 

  1. Follino’s description of the Entrance of Bacchus, the final scene of Arianna (1608)

 

“Bacco with the beautiful Arianna, and Amore in front, were seen to enter onto the stage on the left side of the stage, surrounded in front and behind by many couples of Soldiers dressed with beautiful arms, with superb crests on their heads. Once they were on stage, the instruments that were within began a beautiful aria di ballo, one part of the Soldiers danced a very delightful ballo, weaving in and out amongst themselves in a thousand ways; and whilst these danced, another part of the Soldiers took up the accompaniment of the sound and ballo with the following words: Spiega omai, giocondo Nume / L’auree piume.”

 

The danced chorus has the same metric structure as the final chorus of Peri’s Euridice (1600), another Rinuccini libretto.

 

MUSIC EXAMPLE 4: Spiega omai, giocondo nume

As Carter notes, the giocondo nume is Apollo, even though the celebrations are for the arrival of Bacco.

 

I also looked for Rinuccini’s coded indications of aria or dance-metres.

 

  1. Indications of Aria (any repeating structure, especially rhythmic patterning) within Recitative (acting):

 

Diegetic songs, entrances of Gods and sententious statements, as well as hints from poetic metre for dance-rhythms or triple-metre. Expressions of movement (in Arianna, walking, running and sailing!) or particular emotions similarly give an excuse for more regular patterning, even for the extra impetus of triple metre.

 

Monteverdi’s practice in Orfeo was to reduce Striggio’s Act-end choruses to a single strophe. I considered this option, since Rinuccini’s Arianna is much longer than Orfeo. But I was persuaded that with so much recitative (implied by Rinuccini’s choice of poetic styles), the remake would need every possible moment of musical interest, whether aria or chorus.

 

I may have gone slightly too far, in creating brief moments of what we might today call Arioso in the midst of long recitative scenes. But Rinuccini gives occasional hints: Consigliero hears the note (notes, i.e. musical aria) of Teseo’s heart in a speech that one might otherwise have assumed to be recitative. Was this Monteverdi’s ‘natural way’ to handle dramatic scenes, which he preferred over the more artificial separation of Aria and Recitative in Ulisse and Poppea?

 

  1. Models for composition of ARIANNA a la recherche: Monteverdi’s compositions circa 1608, including madrigals, Orfeo, the Ballo delle Ingrate, the surviving Lamento and other pieces inspired by it, and the 1610 Vespers.

 

ALK’s musical activities during the period of composition: re-reading books of Monteverdi madrigals, directing a staged production of Ballo delle Ingrate, performing Orfeo, running a workshop on the Lamento and listening to live performances of Sfogava con le stelle and other madrigals.

 

I deliberately pre-loaded my subconscious mind with lots of good examples, re-reading books of Monteverdi madrigals, directing a staged production of Ballo delle Ingrate, performing Orfeo, running a workshop on the Lamento and listening to live performances of Sfogava con le stelle and other madrigals, over a three-month period of thinking and composing. This is comparable to Monteverdi’s pace of composing. I drew on my skills as a continuo-player to think from the bass upwards, ‘improvising onto paper’; and on my theatrical experience to create melody from gestured declamation.

 

Cut-and-Paste

 

In a number of works of this period, a particular word or short phrase is often set to precisely the same notes.

 

For example, Ohime! is often set falling through a ‘forbidden’ interval, c F#, syncopated against a strong bass D between the two syllables. Or the same pattern, a tone higher.

Exclamations of “Oime!” in Monteverdi’s “Orfeo”

 

Almost certainly, this is the musical representation of a conventional way of declaiming such words in the spoken theatre, which (as Peri and Il Corago tell us) is the model for seicento recitative. Where such words or short phrases occur in Rinuccini’s Arianna, I copied Monteverdi’s standard recipes for them.

 

 

 

Transformation

 

There is, to my mind, an important distinction between modelling (my intention) and contrafactum (a valid approach, but not my choice). So when I took the walking bass from Monteverdi’s Laetatus sum in the 1610 Vespers as a model for Bacco’s show-stopping aria, I transformed it from sacred G minor to an exuberant G major, which ends up recalling Orfeo’s triumphant return from hell, Qual honor.

 

 

Cued by Rinuccini’s words Faran del tuo bel crin ghirlanda d’oro (They will make a golden garland of your hair), my violin-writing cites Monteverdi’s madrigal Chiome d’oro (Golden hair), which he himself borrowed from to set the Psalm Beatus Vir.

 

My string ritornello for Apollo’s Prologue, a tenor singing tenderly to the lyre of love – su cetera d’amor teneri carmi – takes its rhythmic structure and rising phrases from the ritornello to the tenor solo from Monteverdi’s Book VII (1619)  Tempro la cetra – I tune my lyre to sing the honour of Mars. But instead of the hard hexachord of G major harmonies and sharpened notes in Monteverdi’s melody, my music for Apollo’s cetra adopts the soft hexachord with G minor harmonies and melodies with flats.

 

It’s important that any associations such models evoke are appropriate. Here, if the listener is reminded of another lyre being tuned, that’s all to the good, especially if they also appreciate the significance of the shift from warlike major to pastoral, even melancholy minor.

 

MUSIC EXAMPLE 5 Apollo ritornello OPERA OMNIA International Baroque Opera Studio

 

Word-painting

 

Apollo’s first words Io che ne l’alto… (I, who on high…) naturally require a high note on alto, matching the actor’s upward extended right hand. Rinuccini provides the grateful composer with many such cues.

  1. Original Italian texts:

 

They will make a golden garland of your hair – Faran del tuo bel crin ghirlanda d’oro

Singing tenderly to the lyre of love – su cetera d’amor teneri carmi

I who on high… – Io che ne l’alto…

Pattern recognition

 

In the madrigal books, Monteverdi responds to texts reminiscent of verses he previously set, with music that recalls his earlier work.

 

  1. Pattern recognition:

 

For example, the Lettera Amorosa with its paean to a woman’s red hair (La Florinda had red hair) frequently recalls moments from Arianna’s Lamento. Rinuccini’s libretto for the opera often suggests well-known texts, from his own work – Ballo delle Ingrate (also 1608), Euridice (1600) and the madrigal Sfogava con le stelle (1603) as well as from Striggio’s Orfeo (1607) and the Florentine Intermedi (1589).

 

There are also very frequent cross-references within the libretto, with many parallels between Arianna’s Lament and the Nunzio’s description of her lamenting, between Teseo’s meeting with Consigliero and the Pescatori’s report of that meeting, and recurring images of sunrise and sunset.

 

Arianna may well contain references that escaped me, and we cannot know how many references Monteverdi would have noticed, or chosen to link with musical citations. But I deliberately took every opportunity I found to make use of pattern recognition. My score may therefore have more citations than Monteverdi’s practice, but Rinuccini’s libretto has more citations than other early operas.

 

Musical Example 6: Or sappi figlio OPERA OMNIA International Baroque Opera Studio

 

 

Declamation

 

I declaimed aloud every single line of the libretto, searching for the best rhythms and pitch contours, accompanying my spoken recitation with historical gestures. Even though Rinuccini praises the eloquence of Bacco’s gestured conversation with Arianna, I had not previously realised how significant the ‘language of gesture’ was for composers in this repertoire, as well as for performers. Once the gestures are decided, the music has to correspond.

 

I had to correct my initial errors, and wrestle with challenging gesture-puzzles: lightning must strike downwards of course, but an emergence out of the deep sea must move upwards, yet somehow allow a low hand-position for the final word profondo. Out from that deep sea come Nymphs and Divas, whose music in my setting recalls the Nymphs coming out to dance in the Ballo Lasciate i monti from Orfeo.

 

 

MUSIC EXAMPLE 7 Indi per l’alto ciel Victor Sordo & The Harp Consort

 

Re-composition

 

Although it is not specifically indicated in Rinuccini’s libretto, instrumental music is clearly required to delineate Act boundaries, to allow characters to enter or exit or as ritornelli between strophes of arias or choruses. Here, bolder compositorial action was necessary, since there was no text to inspire modelling techniques. But the affetto of the situation and the identity of the characters give clear guidance: battaglia figures for Teseo and his Soldiers, pastoral recorders for the nocturnal Fishermen, sad modes for Arianna.

 

  1. Recomposition:

 

My setting of Arianna’s aria of hope Dolcissima speranza is modelled on Monteverdi’s well-known song Si dolce e’l tormento, and I reworked that material again as exit music for the lamenting princess. In another sinfonia for the protagonist, I take the thematic material of Josquin’s 4-voice Mille Regretz (one of those earlier chansons which were remembered in the 17th century and performed in new, ornamented settings) and rework it as a polyphonic fantasia for string quintet in the style of Monteverdi’s prima prattica.

 

Realisation

 

None of the published versions of the Lamento matches descriptions of the 1608 production, in which La Florinda was accompanied by ‘violins & viols’, her outbursts interspersed with commenting choruses from the Fishermen. Thus, even the surviving music requires considerable intervention. This was perhaps the most delicate work of all.

 

  1. ‘Violins and viols’:

 

Modelling my work on Monteverdi’s string accompaniments to Clorinda’s speeches in Combattimento and on the last strophe of Possente Spirto in Orfeo, I gave Arianna the full complement of five strings. ‘Violins and viols’ probably means just small and large string instruments, but does suggest a full consort.    

 

As a performer, I have always opposed the addition of editorial string accompaniments to basso continuo, so it was a strange experience to write such additional accompaniments myself! Modelling my work on Monteverdi’s string accompaniments to Clorinda’s speeches in Combattimento and on the last strophe of Possente Spirto in Orfeo, I gave Arianna the full complement of five strings (‘violins and viols’ probably means just small and large string instruments, but does suggest a full consort), leaving sections with fast-changing harmonies to be accompanied by continuo alone. The resulting contrasts bring out both Arianna’s grandeur and her vulnerability, the essential elements of baroque tragedy.

 

Music Example 6: Lamento: Lasciatemi morire Opera Omnia and Trio: In van lingua mortale Utopia Chamber Choir

 

The period principle of Tactus structured contrasts in the speed of declamation, by notating changes of note-values within a constant pulse.

 

Music Example 7: Trio: Ahi! Che’l cor mi si sprezza Utopia Chamber Choir

 

The distribution of speeches by the Fishermen poses a question: what should be sung by the chorus, what should be ‘spoken’ by an individual?

 

  1. Pescatori – Fisherfolk

 

The Pescatori have a similar function to the Pastori (Shepherds) in Orfeo, indeed Teseo’s first mention of them refers to a pastore. Tim Carter alerted me to subtle hints of contrasting character-types, and of awareness or lack of knowledge of previous action, amongst individual members of this chorus. So I sketched out various distributions: my working notes refer to “Mr Happy = Tenor 1”, “Cassandra, aka Ms Miserable = Soprano” “Mr Sleepy = Bass” etc! I scored Rinuccini’s chorus speeches for 1-6 voices – the larger ensembles might well be doubled, according to contemporary information on the size of choruses.

 

 

 

 

OUTCOMES

 

  1. Outcomes

 

My version can be performed with 10 singers (with a lot of doubling), but would be better with 14 (with some doubling, as suggested by period reports). This would correspond to the nine singers of the all-male Mantuan capella (SSS AA TT BB) plus a mixed-gender group of five guest soloists (including La Florinda as Arianna and Francesco Rasi doubling Apollo in the Prologue and Bacco in the Finale).

 

Applying the principle of constant Tactus at around one beat per second, my setting takes 2 hours and 33 minutes, which fits well with Follino’s report of two and a half hours in 1608.

It isn’t for me to comment on the value of my own composition, but I can report with enthusiasm that Rinuccini’s tragedia makes wonderful music-theatre, full of emotional contrasts and dramatic twists. Teseo and his victorious soldiers enter happily, lieti, felici; Arianna is fearful and sighing, but Teseo declares himself fedelissimo, utterly faithful ‘till death us do part’. The audience, remembering classical mythology and forewarned by Venus and Cupid, knows better.

 

The opera is full of such dramatic irony. The Fishermen sing blithely of the happy dawn just as Teseo’s ship is sailing away; and even when they understand that he has abandoned Arianna, and rage against him, they persist in hoping for his eventual return.

 

Repetitions and cross-references help the audience follow the plot, connecting prediction, event and report.

  1. Emotions

 

Contrasts: Teseo and his victorious soldiers enter happily, lieti, felici; Arianna is fearful and sighing. 

 

Dramatic Irony:  The Fishermen sing blithely of the happy dawn just as Teseo’s ship is sailing away; and even when they understand that he has abandoned Arianna, and rage against him, they persist in hoping for his eventual return.

 

Repetitions and cross-references: As Teseo departs, bitter suffering asprissimo martire  will never leave him; even though Arianna, not yet realising her fate, tells the Fishermen how willingly she is deceived by dolcissima Speranza, sweetest but illusory  hope; they remember his gestures and dolorous emotion, i gesti e i dolorosi affetti.

Contrasts: Speaking to Cupid, Venus primes the audience to be sympathetic to Arianna’s plight Or sappi… e di pieta t’accendi. With an abundance of great anger, dove grand’ ira abbonda, the first Herald curses Teseo’s boat and calls down vengeance from heaven. In contrast, the second Herald will cheerily praise Love amidst heavenly joy.  But first Arianna must lament, despair, call for Teseo to be drowned, repent of her anger and resolve to die. And when the irrepressible Dorilla tries to jolly her along, Arianna proudly asserts her royal authority, in additional music preserved in manuscript sources of the Lament Nacque regina…al mio voler t’acqueta. Sweetest hope becomes malevolent Speranza iniqua serving only to feed bitter sorrow nudrir l’aspro dolore.

 

As Arianna’s emotions reach their lowest ebb, Rinuccini creates a coup de theatre, silencing the lamenting strings with noisy clamour ‘confused, rumbling voices and signal blasts, thousands of warlike trumpets, resounding timpani and raucous horns. The aural and dramatic contrast must have been shocking. Wendy Heller’s article in Early Music (written simultaneously with, but independent from, this project), evokes the visual spectacle of Bacchus’ triumphant arrival. The 1608 audience would have had the double shock, first hearing Bacchus’ arrival (the dozy Fishermen think it’s Teseo, of course), and then after the second Herald’s lengthy build-up, seeing his all-singing, all-dancing triumph.

 

MUSIC EXAMPLE 8: Bacco Fanfare OPERA OMNIA International Baroque Opera Studio

  1. The Triumph of Bacchus

    Sound: “confused, rumbling voices and signal blasts, thousands of warlike trumpets, resounding timpani and raucous horns”

Vision: Lions, tigers, Silenus and his donkey, and a horde of tambourine-playing Maenads.

 

Strophic choruses

 

25. The seemingly wide-focus lens of a ‘History of Emotions’ approach could also be narrowed down for the detailed work of setting Rinuccini’s many strophic choruses. Taking as my model the varied strophes over a ground bass of Alcun non sia – Che poi che nembo rio – E dopo l’aspro gel in Act I of Orfeo, my default-mode was to set the first strophe, and then re-compose variations for subsequent strophes, changing vocal scoring and word-rhythms as appropriate.

In many choruses, it became apparent that Rinuccini had structured parallel shifts of affetto in one strophe after another, so that musical gestures optimised for the first strophe could serve for similar emotional changes in subsequent strophes. But the abrupt shift from pastoral (or piscatorial) escapism to anger at Ma tu, superbo altero demanded a similarly abrupt break in the smooth sequence of strophic variation. And the complex imagery of Si l’orride paludi, evoking the power of love even in Hell, required through-composition. The third and fourth strophes of this chorus refer to the myth of Alcestis, who sacrificed herself to save her husband and was rescued from Hell by Hercules, leading to Rinuccini’s enigmatic line Cambio d’amato sposo (exchange of beloved husband).

 

Cambio d’amato sposo

Here is an explanation for the suitability of Arianna, a tragedy, at the celebrations of a dynastic marriage. Katerina Antonenko’s research for this project revealed that there was indeed an exchange of bridegrooms for Margaret of Savoy.

 

  1. Real-life historical parallels to the Arianna story (Katerina Antonenko):

 

Margherita’s father, Carlo of Savoy (dedicatee of the Prologue in one print of the libretto) hoped to strike a peace-treaty with Geneva on advantageous terms, sealed by marrying his daughter to Prince Henri of Geneva. Negotiations broke down, and Carlos switched allegiance decisively to Italy, marrying his daughters into the Mantuan Gonzaga and Modena’s Este families.

 

Rinuccini mentions ‘the enemy King’ (Geneva’s ally, Henri IV of France), theatrical Giove represents Pope Paul V, whose blessing was withheld for the Genevan “Teseo” and later given for the Mantuan “Bacchus”, Francesco Gonzaga.

 

The backstory of the Minotaur reminds us of animal-mask helmets worn by the Savoy troops.

Now we can understand how Teseo’s Counsellor could be allowed to insult Arianna onstage, in the presence of the real-life bride, Princess Margherita. The attempt at character assassination misfires: for the Mantuan audience, it is Teseo’s reputation that is permanently stained. Behind the conventional debate over Love and Duty, the dynastic fortunes of Geneva and Mantua are in play. From the very first scene, divine figures inform us that Arianna’s ultimate destiny is already settled: the Mantuan audience needed this reassurance that Teseo’s, i.e. Geneva’s suit was doomed to failure, that the Bacchic Francesco’s triumph was always pre-ordained.

 

Our Arianna project continues to progress, with an international CD recording in progress.  At Opera Omnia, in addition to ongoing baroque productions,  we continue to create new Baroque operas.

  1. ARIANNA a la recherche CD recording in collaboration with professional ensembles and conservatoires in Moscow, St Petersburg, Helsinki, Barcelona, London etc.

 

Current OPERA OMNIA productions:

 

  • Cavalieri Anima e Corpo
  • Hidalgo Celos aun del aire, matan
  • Monteverdi Orfeo
  • Purcell King Arthur
  • Landi La morte d’Orfeo
  • Handel Orlando

 

New Baroque operas by Andrew Lawrence-King:

 

  • Kalevala (linking Finnish traditional music to medieval organum and Vivaldi)
  • Carolan’s Travels (imagined encounters between the Irish harp-composer Turlough O’Carolan, Jonathan Swift and George Frideric Handel before the first performance of Messiah in Dublin)
  • Teatro a la moda (Vivaldian comedy)
  • New Ground (a baroque parallel to Britten’s Young Persons Guide to the Orchestra)
  • Pepys’ Hamlet (Morelli’s To be or not to be inspires the opera Purcell never wrote)

 

Amici, ecco…  spettacolo giocondo!

Musical Example 8: Nunzio Secondo Victor Sordo with The Harp Consort

 

  1. The Second Herald in Arianna:

 

My friends, behold this joyful spectacle!       Amici, ecco… spettacolo giocondo