| July 11 |
Concert
Travelling music players of the palace in medieval Serbia
"Somewhere in the XII (XIII) century on Green islands (Ireland) a group of musicians gathered together to playsome music.
It seemed so nice to them and they wanted to continue playing together.
But as they already had well known the music of Green Islands, they decided to travel a bit and explore music in other countries.
Nearest to them was England. They stopped there, studied and played in castles and courts.
The curiosity played its part.
They boarded the galley, played to sailors and sailed off to Spain.
They played, sang and explored on courts, pubs, squares ... And again they longed for travels, but now they join the merchants, who led them to Italy.
A new experience - new music.
A lot had already been heard about their music and they received an invitation from the Serbian court.
Where is Serbia? At the crossroads, the crossroads of faith, the crossroads of winds ... In the Balkans.
Traveling musicians realized that there was a lot to explore but they did not have to travel the new roads since the roads were travelling to them...
And our traveling musicians?
Well, still playing music and through it, telling the stories from the journeys. "
Program of the ensemble Travelling music players:
Miri it is Anon, English XIII century
3 dances from old Ireland: Blackthorn jig, Killeshanara, O’Caroleans fancy
Istampitta Ghaetta Italian XIII century
Quen quer que na Virgen fia Alfonso X el Sabio
Estampida Nota English XIII century
De Vergonna Alfonso X el Sabio
Rosa das rosas Alfonso X el Sabio
Saltarello II Italian XIII century
Per Deus (instrumental) Alfonso X el Sabio
Gran Confianca Alfonso X el Sabio
2 dances from old Ireland: Kings Fancy, Tune the foole
La Manfredina Italian XIII century
Bring us good Ale Anon, England XIII century
Instruments: vocal, block flute, medieval lute, saz and percussions
Participants:
Vocal - Jelena Dobric
Block flute - Mirjana Jankovic
Medieval lute and saz - Andrej Jovanic
Percussions - Mladen Vasojevic
Sound scripts of "Travelling music players":
- Miri it is (mp3)
- Rosa das Rosas (mp3)
- Bring us good Ale (mp3)
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| November 7 |
CONCERT
Renaissance masquerade, leisureness and partying
Ensemble “Travelling music players”
Program:
Hampton Court Masque - The vision of twelve goddesed by Samuel Daniel, 1604
Past-time with good company - Henry VIII (1491-1547)
Packington’s pound - English traditional, XVI century
O mistress mine - Thomas Morley (1558-1603)
Brave Lord Willoughby - English traditional, XVI century
Greensleeves - Anonymous, XVI century
Lightly love ladies / Willson’s wylde/ Mistris Winters jumpe (renaissance lute solo) - John Dowland (1563-1626)
Sellenger’s round - Traditional dance
The Merry Bachelor - The Masque of the Inner Temple and Grays Inn by George Chapman, 1613
Flow my tears - John Dowland (1563-1626)
Pavanne Passamaizze - Claude Gervaise
Belle qui tien ma vie - Thoinot Arbeau (1519-1595)
Fantasy for solo lute - Luys Milan (1500-1561)
Recercada Primera sobre Tenore - Diego Ortiz (1510-1570)
Douce Memoire - Pierre Sandrin (1490-1561); vocal - instrumental play; from the songbook “Second livre de chansons a quatre parties”, T. Susato (1544)
Branle de la Torche - Michael Praetorius (1571-1621)
Wedding dance - Anonymous
Helas madame - Henry VIII (1491-1547)
Quadran Pavan & Galliard to the Quadran Pavan, Turkelone - “Ancient rhytms” XVI/XVIIth century
Sweet Kate - from the songbook “Musical Dreame” R. Jonesa, 1609
Earl of Essex Measures, Almande Lorayne, The Oulde Almaine, Queen’s Alman, Madam Sosilia Alman, Black Alman - “Ancient rhytms” XVI/XVIIth century
Hey jolly Robin - Anonymous, XVI century
Branle de village - Robert Ballard (1575-1649)
When that I was and a little tiny boy - Anonymous
Londonderry Air - Irish traditional, XVII century
The program is designed as a musical evening (afternoon) in one English Renaissance palace (maybe it was just house in Hampton, near London, built by Henry VIII, and was used as a royal palace until the early 18th century).
Music in the Renaissance was appearing, passing and changing thanks to traveling musicians (and through the first printed work).
With the new music, the new instruments appeared, eg. teorba or chitarrone is an instrument developed as innovation of bass lute, and it first appears at the end of 16th century in Italy.
(On a trip "traveling players" meet an English nobleman who was returning home from his travels in Italy.
As the story is, they play and sing to him, and he invites them to be the guests of the Palace.
The problem appeared when the guards stopped them on entering the Palace, because the Nobleman in his luggage had an unusual, elongated, wooden case that resembled the secret weapon.
At the request of the guards the lute player opens the wooden case and at the surprise of all, takes the "secret weapon" and starts playing on it.
The mystery is solved - this is a new musical instrument, Teorba.)
Our traveling musicians have the opportunity to entertain the king, queen, nobles, diplomats, wealthy merchants and other guests. And for the occasion they prepared a variety of music program modeled on the popular "MASKS".
(Mask or masquerade is a music - stage performance with the vocal and instrumental parts, dance, rich decoration, costumes and effective scene, whose content is often mythical, allegorical or satirical as a forerunner of theater and opera. There is a track record that Marry The Bachelor was performed within the program at the wedding of Princess Elizabeth and Crown Prince Palatinate, 15 February 1613th and also that the Hampton Court Masque was performed in the festivities for the feast of Twelfth Night.)
A typical music style was formed on the English island at that time under the influence of, primarily Italian and French music. Traveling musicians performed several songs from Orchésographie, as well as a Paris chanson "Sweet memory" (very popular in the Renaissance, and appears in its numerous editions during the 16th century, famous throughout the world. Thoinot Arbeau, in 1589 in France published the work Orchésographie - A collection of dances and songs with notation and detailed instructions for Renaissance dance). And some, obviously stray musician, taught them the wonderful variations of Diego Ortiz's from Naples.
And the end, traveling musicians performed, some other topics from the mask or masquerade like "old takts." "The old takts" (or just "takts" – as they were known at the time) indicated a group of dances that were performed for ceremonial or festive occasions in the sixteenth and early seventeenth century. Dances involved Pavano, Galliard and Alemande and they appear in Shakespeare's plays: "As you please," "Richard II" and "Richard III". Full descriptions of the dances, the names and sequence were then stored in the "law pub and clubs - Inns of Court - while the dance music notation can be found in several versions and arrangements in the manuscripts and collections (Francis Willoughby's Lute Book c. 1585, The Fitzwilliam Virginal Book (c. 1609-1619), Pierre Phalese - Hortulus Citharae, Antwerp, 1570; Bernard Schmid, Einer neuen kunstlichen Tabulature auff Orgel und Instrument, Strassburgh, 1577; Anthony Holborn, The Cittharn Schoole, London, 1597th, etc.).
Program endS with a joke song using a text from a theater play that they heard somewhere, in an inn or in a square... |
