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On Performing the "Lo Estampies"

Author(s): Frederick CraneSource: Early Music, Vol. 7, No. 1 (Jan., 1979), pp. 25-33Published by: Oxford University PressStable URL: http://www.jstor.org/stable/3126380Accessed: 20-11-2015 04:56 UTC

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L o

c s w

I

i j v ;

*%

Y"n?~

~~r

I?,

ov: r

F k

F

( * j

Some.

f

King

David musicians

from

The

Weltchronik

f

Rudolf

on

Ems,

Zentral

Bibliothek,

urich,

MS Rh.

15,

ol.

218

The Lo

estampies

are

a

large part

of the

precious

remnantof instrumental music from the Middle Ages.

These

lively,

attractive

pieces,

from an Italian manu-

script

of c

1400

(British

Library

Add.

MS

29987)

are

rightly popular

with

performers

of

medieval music

and

full of

interest

for

listener and

analyst.

Ever since

the

first

publication

of

most of

the

music

in

1918,

the

pieces

have

found as

great.

a

response

as

any

medieval

repertory,

among

performers

and listeners.

Two of

the

tunes have

even

exerted sufficient attraction

to

be

incorporated

into

the works

of

prominent

20th-

century

composers.

The

final

movement

of Paul

Hindemith's

Concerto

for

piano

and orchestra

(1945)

is

based

throughout

on

the

first

puncture

of

Trefontane

(Lo

4),

and in

Alberto Ginastera's

opera,

Bomarzo

(1966),

the

first

few

measures

of

Lamento

i

Tristano

(Lo

13)

are

sung

by

the

Shepherd

Boy,

as a ritornello in

Scene

1.

The

manuscript

The

fifteen

pieces

with which

we

are concerned are:

eight longer

ones headed

'Istanpitta',

followed

by

seven shorter ones

(four

salterelli, trotto,

nd two with

characteristicrather than

generic

titles).

In

order

(and

ignoring the other music in the manuscript)theyare:

1.

Ghaetta 9. Salterello

2. Chominciamento

i

gioia

10.

Trotto

3.

Isabella 11. Salterello

4.

Trefontane

12.

Salterello

5.

Belicha 13.

Lamento i Tristano

6. Parlamento

14. La

Manfredina

7. In

pro

15.

Salterello

8.

Principio

i virtu

All

are

monophonic,

and

all are

in

the

estampie

orm:

1. axy axz

2.

bxy

bxz

3.

cxy

cxz

where y and z are first and second endings, x is an

invariable

passage

that

always

precedes

the

endings,

and

a, b,

c,

. . .

constitute

constantly

new or

varied

material

that

begins

each

of the

puncta

numbered

1,

2,

3

...

above. The

various

pieces

have

from three to six

puncta.

(Lo

6 is

irregular

in that

puncta

4 and 5

are

totally

unrelated

to

puncta

1-3,

and

appear

to

belong

to a different

estampie.)

The remarks

that

follow,

on

performance

of the Lo

instrumental

music,

were

inspired

by

the

experience

of

listening

to a

large sample

of recorded

performances

of

the

pieces, ultimately

80

of

them,

including

from

one

to 15 of each

piece,

on 34

long-playing

records

recorded between 1953

and

c

197

6.

Editions

The

most

serious

defect of the

performances

is

that the

great majority

are based

on

faulty

editions. Often one

is not told what edition has been used, and one has to

listen

to

the record

to

guess

at

it.

Of the 34 records

checked,

four come with mention of Lo as the manu-

script

source

and five with reference

to

the edition

used;

another five

give

both the

manuscript

and the

edition.

Many

of the records

do

not even

identify

the

pieces

other than

to

title them

'Estampie'

or

'Saltarello'

(only

once

correctly

spelled

Salterello).

n

four

cases,

Lo

pieces

are

attributed

to

the 13th

century,

25

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and in

four

others

no

date

is

given

(though

in

one of

these

cases,

the date is

by

implication

c

1600 ).

One

record

calls a

salter'elloTrotto'.

The ultimate edition of

the

Lo

pieces

is

impossible,

as

there are

many

errors and

ambiguities

in

the

manu-

script,

which demand

subjective interpretations.

The

faults of the

published

editions

on

which

most of

the

performances are based, however, go far beyond

doubtful

interpretation.

Most

of

them are

so

full

of

errors that

they

are

unusable

without

considerable

distortion of

the

music;

some

may

be made

correct

with a

few

changes.

A

chronological

list

of the

editions

that have

come

to

my

attention follows

the

article,

with

numbers of

the Lo

estampies

ncluded in

each,

and

brief

comments.

(In

addition

to

these,

there

are

a

few

collections of

music for

performance,

for

example by

recorders,

that

include

some Lo

pieces.)

The two most

popular

of

the Lo

estampies

re the

Salterello

12),

with its

vigorous C-major

melody,

and

the Lamento i

Tristano,

ne of the most beautiful

of

all

medieval melodies. Both

have

suffered

at the hands

of

the

editors.

Noting

that

the

Salterello

alls

into two-

measure

groupings throughout,

except

for the first

phrase,

Wolf inserted

a

highly

improbable

repetition

of

the

fifth

measure

immediately

after

it,

making

a nice

eight-plus-eight

measure

period

of the first

punctum.

All later

editions

of the

piece

have

included this inser-

tion,

with the

exception

of editions

9,

10 and

20

of the

list below.

I

do not feel that

anything

is

gained

by

the

insertion. Two of the fifteen recordings follow the

reading

of

the

manuscript,

and the

melody

does not

suffer.

There has never

been

a

satisfactory

edition

of the

Lamento

di

Tristano.

The

main

problem

is

that

in

punctum

2

of the

rotta,

the section

preceding

the

first

ending

has been

omitted

in

the

manuscript.

All

editors

since

Wolf

have chosen

to

repeat

the

corresponding

section

of

punctum 1

at

this

point,

a

repetition

totally

at odds

with other

estampies.

s the three

puncta

of

the

rotta

are variations

of the

corresponding

three of

the

Lamento,

t

is

possible

to

make

a

plausible

reconstruc-

tion of the missing passage. One such reconstructionis

incorporated

in

the edition

given

on

p.

24,

and

various

other reasonable

conjectures

could be

made.

Of the 80 recorded

performances

studied,

seven

present

accurate

texts,

equivalent

to

Jan

ten Bokum's

edition,

20 seem

to be based

on

personal

editions,

or

on

improved

versions

of Wolf's

(of

these,

nine have at

least

a

few faults

lingering,

and the

remainder are after

Wolf or one of the editions

thatare based on his.

Thus,

:~?:~?~

I.

- I

;

,-. ?: i?

?;:

i

~

ii

::

t?

~ -

?::: X`

?: ,P

?"`'' ~:?sr

?f~~~~ ?1- .` ??C :

i::.:: ?~?9~e~

F

,?.

'

~-?? : ?

i:.

i??:

i

1

r

I.

;cr

:?~ I ri

-P

r~

i*

I

~:~t?:

:;:':

~ ::-:

Minstrel,

tained

lass,

detailfrom

window n Florentius

hurch

n

Niederhaslach,lsace,

1370

only

about

18

of the 80 are

performed

according

to

good

editions. The more

recent

records are

more often

based on

good

editions,

but some are

not.

Alterations

to the

written

text

Given a

correct

edition to

start

with,

what

alterations

to the

original

text are

likely

to

reflect medieval

prac-

tices?

I

feel that the

tunes

stand

very

well

by

them-

selves,

with

their

generally lively

motion

and

well-

defined structure. The

majority

of the

performances

(50

out of

80)

are

satisfactory

in

this

respect,

leaving

the melodies

unchanged

except

for

some

alterations

in

the

structure,

discussed below.

In

about seven

performances,

the

melodies are un-

changed except

for

embellishments,

usually

not

too

many

of them. One

performance

has an

ornamented

version

simultaneous

with

the

original

melody.

The

finding

most

surprising

to

me is the

popularity

26


7/23/2019 3126380

4/10

of

decoloured,

or skeletal

versions

of

the

melody.

In

these,

most

often,

the

melody

is reduced

o the

most

prominent

note in each measure.

At least14

perform-

ances

use

them,

most often

simultaneously

with

the

original

melody.

In

five

cases,

original,

decoloured,

and

ornamented ersions

are

heard

ogether,

and

ust

once the

decoloured version

is

played

alone,

the

melodybeingadded o it on repetition.

Thereexist

no

more

thanhintsof

evidence or

these

heterophonic practices.

For

example,

the

three

estampies

f

the

Robertsbridge

Codex,

c

1325,2

which

are

ratherclose

in

style

to those

of

Lo,

give

evidence

of

being

two-voice

arrangements

f

monophonicpieces;

often

the

two voices

proceed

n

octaves,

but in

part

are

variantsof

each

other. Such

a

proceduremay

have

been

followed on

occasion

by

two

or

more

instru-

mentalists.

It

may

be

believed

hat

the

decoloured

versions

of

the

tunes are

approximations

f

'original'

versions,

elaborations of which have been preserved n the

manuscript.

am

inclined

to

view

decolouration

s a

recent

theorists'

notion,3

and

to

doubt

that

the

Lo

tunes

were

produced

by

elaborating simpler

pre-

existing

ones.

Freedom o

ornamentor

vary

the

melodies,

n

the

sense

of

the

variantshat

occur

n

oral

tradition,

or

in

the

sense of

improvisatory

variation,

was

surely

assumed

by

the

medieval

minstrels.

The

modern

per-

former

might

appropriate

uch

freedoms,

oo,

but

I

see

little

reason

to do

so.

The

music

has

lost

its

social

context,wherea fiddlermighthavebeencalledon to

expand

a

given

musical

framework

o

great

length.

Now the

performer

imply

provides

a

part

of

a

pro-

gramme

for

an

audience.

Furthermore,

he

modern

performer

does

not

know

under

what

rules

the

varia-

tions

were

produced,

and

can

do

little

more

than

guess,

with

the

likelihood of

authenticity

eriously

diminished

through

contamination

y

all

the

musicof

other

traditions

that

he

has

heard.4

Three of

the

recorded

performances

ake

considerable

iberties

with

the

melody,

n

the

spirit

of

oral

tradition,

adding

and

omitting

from

one to

several

measures,

changing

pitches, tc.

Of

the

recordings

of

the

larger

istanpitte,

o

1-8,

only

eight

out

of

eighteen

are

complete,

five of

them

on

[3].

In

some

of

the

other

performances,

whole

puncta

are

omitted;

less

often,

an

order

like:

axy

axz

bxy

cxz

dxy

dxz

is

followed;

and

in

one

case,

some

puncta

are

abbreviated.

It

may

be

thought

that the

whole

piece,

with

its

many

repeti-

tions,

would

be

tedious

to

the

audience;

the

longest

complete piece

might

last ten minutes.

Omissions

are

made

in several

performances

of the shorter

pieces

as

well.

Several

performances add to

the

original

material:

brief

to

very

long

preludes,

interludes,

and

postludes,

including

drum

solos

and

'improvised'

sections

in

the

style

of

the Lo tunes.

There

is

slight

evidence

for

preluding in medieval literature,but no evidence as to

what

the

style may

have

been

c

1400.

One

perform-

ance

of

12

[9*]

inserts

a new

punctum

for one

missing

in the

manuscript.

In

quite

a few cases,

the

shorter

pieces

are

extended

by

extra

repetitions.

Less

often,

the

performers

both

add to

the

original

text

and

omit

parts

of

it.

All

told,

in

only

38 of

the 80

performances

is

the

piece

played

without

omissions,

additions, or

extra

repetitions,

and

11

of these

performances

are

based

on

Wolf

versions

that

themselves

have

serious

formal

distortions.

In each of the istanpitte 1-8) of Jan ten Bokum's

editions,

there

are some

measures

with

more or

fewer

beats

than

the others.

(The

second

edition

is

much

improved

in the direction

of

regular

metre.)

In

the

performances

in which

regular

drum

rhythms

are

added,

the choice

usually

has been

to maintain

a

metre

throughout,

without

any

change.

In some

passages,

the

rhythms

of the edition

need

not

be

changed,

but

the bar-lines

must

be shifted

to

maintain

the

uniform

metre.

In

a few

cases,

the

performers

have

altered

some

rhythms,

to

keep

the metre

unchanged.

Are

these

dance

pieces? I will not attempt to provide an answer

here,

but

if

they

are,

the

regularized

metre

seems

especially

appropriate.

Instrumentation

Precise

details

of the construction

and

musical

charac-

teristics

of

many

instruments

remain

uncertain,

but

it

is

probable

that

the

range

of

sounds

produced

by

modern reconstructions

broadly

overlaps

the

range

of

sounds

produced

by

their

medieval

prototypes.

A

greater

obstacle

to

determining

just

what

instruments

would have been used for a given repertoireis that the

invention

or

introduction

of each

new

type

(e.g.

recorder,

trombone,

dulcimer,

harpsichord)

is

lost

in

obscurity.

For

example,

it is

possible

to

be

confident

that it

is

anachronistic

to

play

any

music

from

Machaut's

lifetime

(to

1377)

on

a

trombone,

while,

on

the

other

hand,

one

can use it

for

any

appropriate

*

Numbers

n

square

brackets

efer

to

recordings

isted

on

p. 33.

27


7/23/2019 3126380

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music from

c

1450

onwards.

The

instrument

may

well

have

existed

at the

time of

Dufay's

earliest works of

the

1420s,

but

there is

no

positive

evidence

for

its use

as

early

as

1400,

and

one must

rely

on a

feeling

of

prob-

ability

as

to

whether

it

had been

invented

by

that date.

Instruments of

fairly

wide

variety

in

use at the

time

Lo

was

written

down

might

be

appropriate

for

per-

formance of the pieces. The melody alone might

reasonably

be

played

on

a

rebec, lute,

gittern,

citole,

psaltery,

harp,

shawm,

bombard, recorder,

tabor

pipe,

or

transverse flute.

Among

the

melody

instruments

with built-in

drone

most

appropriate

for

this

reper-

tory

are

the

vielle,

hurdy-gurdy, bagpipe,

organ,

and

Jew's

harp.

A

vielle,

lute,

psaltery, harp,

hurdy-gurdy,

shawm,

bagpipe, organ,

or drum

might

be

played

as

an

independent

drone

instrument. Suitable

percus-

sion

would

include the snare

drum,

small

kettle-

drums, tambourine,

clappers, cymbals,

triangle,

and

hand-clapping.

From several medieval accounts, the vielle was the

traditional

instrument

for

estampies,

nd it

should be

the

first

choice for

performance

of the Lo

pieces.

Normally

the instrument had

a

built-in

drone. The

bridge

was

flat,

and the

player

presumably

played

the

melody

in

moving

it

from one

string

to

another while

sounding

all of

them

simultaneously.5

Three

of the

80

recordings

are

played

in

more

or

less this

manner.

Lo

12

is

given

a fine

performance by

the

Early

Music

Quartet

[91

though

the vielle

is

occasionally

upstaged

by

the

percussion.

The

Ulsamer

Collegium [2]

includes

a performance of Lo 10 on a vielle alone, in most

respects

very satisfactory.

Les

Menestriers

[31]

have a

less

convincing

performance,

always

with

one

drone

tone

bowed

simultaneously

with the

melody.

Performance

of

the

Lo

pieces

on a

single melody

instrument

presents

no

authenticity

problem. Any

transposition

is

unobjectionable

for

this

repertoire,

though

performance

at the written

pitch

has

a

little

more

plausibility, especially

for

the

vielle

(most

or

all

of the

pieces

lie

conveniently

within

the

vielle's

range).

If

one assumes

that

such

pieces

as these were

largely

improvised,

then no more than one

melody

instru-

ment at a time is possible. But in the ratherlikelyevent

that the

pieces

were traditional and

widely

known,

then

performances

by

two or more instruments

in

unison or

octaves

is

plausible

(and there seems

to

be

enough

verbal

and

pictorial

evidence for such

per-

formance).

Performance

by multiple

instruments of

one

type

is as

likely

as

by

varied instruments

(only

the

latter is found on the

recordings).

A

drum of

suitable

type

is the

accompaniment

most

likely

to

have

been

preferred

by

the

medieval

players.

Multiple

drums

were

probably

much

less

common.

Other

percussion

instruments

might

have

been

used

in

moderation,

and

it

is

possible

that

an

occasional

performance

included

as

many

as

three or

four

percus-

sionists.

Simple

percussion

rhythms

with

little

or no

variation for

the

duration of a

piece

seem

most

plausible; the recordings vary all the way from

constant

half-notes

to

continuously-varied

virtuoso

performances

by

drummers

using

hands

rather than

sticks. This

highly improbable

practice6

is

associated

particularly

with the fad

for

Islamic-style

perform-

ance

(see

below,

p.

31).

The

recordings

show a

great variety

of

media.

42

out

of

80

commendably

give

the

entire

melody

to a

single

instrument.

In

these

cases the

accompaniment

is

almost

evenly-distributed

among:

none,

percussion,

and

drone

plus

percussion.

The remainder of the

per-

formances

have

from

two to

six

(or more)

melody

instruments,

in most

cases

with drones and

percussion.

The

chief

sin

of the

ensemble

performances

is

orchestration.

The

ideal here

seems to be

to

make

the

estampies

sound as much as

possible

like

Mahler

sym-

phonies

The various members

of

the

ensemble enter

and exit

individually

and in

every

combination.

Orchestration

of this sort is not common until the

18th

century,

and has no

place

in earlier

music

except

when

called

for

by

the

score. For

medieval

music,

one can

be

confident

that

any

line

of

music,

in

a

monophonic

or

polyphonic piece,

was

performed throughout

by

the

same performer or performers, with no additions,

subtractions,

or

substitutions.

The

Lo

estampies

re

a rare

case

of a

repertoire

that

may

allow

an

occasional

exception

to

the

rule.

First,

hocketing

was

still used in

polyphony up

to this

time.

It

is

possible

that

performers

would break

up

the

given

line

of an

estampie

n

hocket

fashion,

but it is not

likely,

as

it

would demand

much

previous

planning

and

rehearsal.

(Two

recordings

of Lo

1

use

hocketing

[5,6].)

Then,

the

estampie

form itself

suggests

a kind

of

'orchestration':

When a

number of

players

joined

for

a

performance,

it is

possible

that each

in turn

impro-

vised an

opening

section for each

punctum,

to be

joined by

the others

for the invariable

x,

y

and

z

sections.

1

on

(1

and 12 on

[251

follow this

procedure.

As for

choice

of

instruments,

the

majority

of

the

recordings

do limit themselves to reconstructed

14th-

century

instruments or

reasonably

close

types,

as far as

I

can

judge

from the sounds (and the information

that

comes with the

records).

Several anachronistic instru-

ments

appear,

though:

viols,

violas, crumhorns,

a

28


7/23/2019 3126380

6/10

bassoon,

a trombone

(but

trumpets

together

with

reed

pipes

were

played

by

minstrels at

least as far

back

as

the

mid-

14th

century;

Walter

Salmen

suggests'

that

they

played

drones and

skipped

around

within

the

triad

of

the drone

tone).

Drums

are often

snareless,

though

the

pictorial

evidence

is

that

the

cylindrical

drum

almost

always

had a

snare.

Surprisingly,

I

have

not

yet

found a

recording

of

any

medieval

estampieby

the

Middle

Ages'

favourite

one-man

dance

band,

the

pipe

and

tabor.

A

few

performances

use

from one

to

several

Oriental

instruments.

Harmony

Polyphonic performance

of these

pieces

demands

a

good

measure of

faith,

as

there is little

evidence

for

it."

Accompaniment

of

the

melody by

an

unchanging

drone

has

the

highest

probability,

and is a

very

satisfy-

ing

way

of

performing

any

Lo

estampie.

The

pitch

of

this

drone would

be

that of

the

melody's

final,

with

or

without its octave or fifth, and might be played con-

tinuously,

as

on

a

bagpipe

or

portative,

or

rhyth-

mically

on

such

instruments

as

lute,

harp,

or

tuned

drum.

A

number

of

recordings,

however,

use

a

shifting

drone,

for

example

remaining

on the

final

except

for

each

first

ending,

where it

jumps

to

the

final note

of

that

ending.

Others

change

the

drone

several

times,

so

that

the

principal

notes of

the

melody

at

any

time

are

in

harmony

with the

momentary

drone.

At

an

extreme,

the drone

tones

are

moved

around

so

rapidly

as

to

resemble

a

normal

14th-century

motet or

chanson

tenor.

Polyphonic

accompaniment

with

more

than

one

voice

is

extremely

improbable.

Why

does

anyone

feel

compelled

to

add

harmony

to

these

tunes?

Surely

it

is

a

matter of

the

prejudices

of

the

performers

and

the

presumed

preferences

of

audiences

for

polyphony.

Polyphony

has

been

the

norm

in

the

West

foi-

about

500

years,

and

it is

hard to

be

satisfied

with

the

sound

of

an

unharmonized

melody,

but

most

of

the

music

that

reached

the

European

ear in

1400

was still

monophonic.

Tempo

Performances

of

medieval

and

renaissance

music

are

sometimes

much

too

fast,

but in

this

repertoire

a

lively

tempo

seems

appropriate,

and a

very

fast

one

accept-

able,

provided

that

the

performer

can

play

all

the

notes

cleanly.

Most

of

the

recorded

performances

are

moderately

fast,

and

a

few

very

fast.

Performances

with

a

steady

beat

throughout

are

more

likely

authentic,

and

predominate

strongly

in the

recordings.

In

four

cases,

there

is a

speed-up

in the course

of the piece;

in

six others

the beat

is

inconstant,

with various

tempo

changes

or from

slight

to much

rubato.

Two

of the

Lo

character

pieces,

Lamento

di

Tristano

(13)

and La

Manfredina

(14),

are

special

cases.

In each

a

three-punctum

section

in

triple

metre

is

followed

by

a

three-punctum

rotta

in

duple

metre

that

is a melodic

variation

of the first section.

Most

of the

groups

have

chosen

to

play

the rotta

at

a

faster

tempo

than

the

initial

section

(not

to mention

louder).

In a few

cases,

the beat

is

kept steady

throughout.

To

many,

the

title

of the Lamento

suggests

a

slow

tempo,

and nine

of

the

14 recorded

performances

are from

rather

to

very

lamentoso.

Curt

Sachs

asserts :

'It

need

not

be

emphasized

that

in

reviving

this Lamento

n dance

form

it should

be taken as

a

gay

saltarello

and

not

as a

senti-

mental

plaint.'

If

Sachs

is

correct, this

is one

instance

in

which

I have been

seduced

by

impurists,

as I like

the

most 'pathetic' performances best of all. In one

performance

each

of 13 and

14, each

punctum

of

the

first section

is

followed

by

the

corresponding

punctum

of the rotta;

the

tempi

thus

are

slow-fast-slow-fast-

slow-fast

(I refer

to

[6]

and

[5]

respectively).

Dynamics

and

balance

The

Lo music

does

not need

marked

variations

in

dynamics

to

be

interesting,

and in

most

of

the

recorded

performances

the

dynamic

level

remains

uniform,

with

no more

than slight variations. Some

groups,

however, choose

to introduce

considerable

dynamic

variety

within

a

piece.

Balance

is

sometimes

poor,

especially

in a

few

cases

where

the

drum

is much

louder

than

the

melody.

Another

unpleasant

sound

heard

in

two

cases

is

that

of

a

high-pitched

recorder

with

a

low-pitched

drum.

The

drum

size should

be correlated

with

the

pitch

of

the

solo

instrument.

Technical

competence

On some other

recordings

of

medieval

music

one

hears

the

strugglings

of

amateurs,

but

not

on

these.

The

technical

abilities

of the

players

range

from

very

good

to

excellent.

When

all

aspects

of

performance

are

considered

(but

small

errors

of text

ignored),

only

about

20

out of

the

80

recordings

satisfy

reasonable

standards of

authen-

ticity.

Many

of the

others

are

very attractive,

if

one

ignores

their

lack

of

historical

validity.

29


7/23/2019 3126380

7/10

Programme

notes

The

notes

that

accompany

he 34

recordings

of Lo

pieces

are

inadequate

n most cases. 19

of them have

nothing

at all

or

wholly

trivial

notes

on

performance

practices.

11

have

brief

explanations

f the

choice

of

instruments r other

practices.

Only

four

have,

within

the limitations

f

sleeve-notes,

xtensive omments

n

performance.

Most

of

the

recordings

dentify

he instrumentssed

for each

piece,

though

the

'lowly'

percussion

reoften

called

simply

'percussion'

or 'drum'. Six

list

instru-

ments or

the

recordas a

whole,

but

not for each

piece,

and

two do not

identifyany

of the instruments sed

on

the record. Often

the

performers

f individual

pieces

cannotbe identified.

A

few

recordings

are

accompanied

by

some

commentson the musical

style

and structure

of the

pieces.

Somenoteworthy ecordings

I

will

give

individual

attention

to

only

a few

of

the

records,

ones

that I find

particularly

triking,

not

necessarily

or their

historicity.

KlausWalter's

ecording

[6],

with

four Lo

pieces,

discusses he

instruments sed at some

length,calling

the

early

trombonea

buisine nd

attributing

t to

the

15th

century, hough

t is used in one of the

Lo

pieces,

and

even

in

one

piece

from

c

1300. The record's

Lamento

i

Tristanos a

remarkable

antasy

or

chamber

orchestrawith

the

most

deliciously

dolorous of

all

interpretationsf the Lamentoection.

An

interesting ecording

of Lo

10,

11 and 13 is The

Lady

and the

Unicorn,

y

the

gifted

Britishfolk-rock

guitarist

ohn

Renbourn

and friends)

15].

The

per-

formancesare neither more nor less

authentic han

many

others,

but Renbourn'snotes are

unusually

candid:

I

have

not

presumed

o

reproduce

arly

music

as

it

would

originally

have been

played,

but

hope

nevertheless

hat

the

qualities

of

the

music can

be

enjoyed,

though interpreted

as

they

are

on

more

recent

nstruments.' he most

nteresting

eature s

the

rotta

f

the Lamento

i

Tristano,

hich s

played

n

strict

canonon itsrepetition.

The

Waverly

Consort's

Douce

ame

[10]

has

a

para-

graph

on the

improvisatory

characterof the

estampie,

and

sure

enough,

the record includes the most

imaginative improvisation

on a

Lo

piece

that

I

have

heard.

Lo 3

here becomes

a

grand fantasy

in

Arab-

Indian-Chinese

style.

The

orchestra features the tad

and

tabla-styledrumming,

with

wobbly

tones,

an

alap,

a

thrillingspeed-up,

and a

great dynamic

climax.

Mu1sician,

etailfrom

Luttrell

salter,

British

Library,

MS Add.

42130

16l.

81v.

c 1330

The

Ulsamer

Collegium's

DanceMusic

of

the Renais-

sance

[21

includes five

Lo

pieces

in

very

intelligently-

conceived

interpretations.

Each

is

an

attempt

to recon-

struct

in

a

totally

different

way

a

performance

or

whose

practices

thereis some historicalbasis.

Included

is

one

of

the

only

two

performances

I

have heard

of

a

Lo

piece

on a

bagpipe,

and one

on a

vielle

played

n

a

way it might reasonably have been played in the 14th

century

(with

flat

bridge

and

drones).

In

some

respects,

though,

these

fail

to

be ideal

performances.

o

men-

tion a few

faults:

the

Wolf

edition is

used,

though

it

has been

improved

in

most

cases;

the Lamento

di

Tristanos

orchestrated;

an

exotic

drum

is used

in

one

piece.

Music

from

the time

of

Boccaccio's ecameron

as

7, 13,

15,

1

and

4

of

Lo,

in

fine

performances

on authentic

instruments

by

Musica

Reservata

[4].

Remarkable

restraint

is shown

in

assigning

the

melody

to

a

single

instrument

for

the whole

of

each

piece.

The editions

used are

pretty faulty;

what is notable about them is

that in

the

long pieces

the

manuscript's rhythms

have

been altered at several

points

in

order

to

maintain a

fixed metre

throughout.

The drum

rhythms

are

universally

imple

and

metrical.

The

Early

Music

Consort's

Ecco

la

primavera

7]

includessix

Lo

pieces

in

fine

performances

f

greater

authenticity

than

most,

except

for

the

faulty

editions

used

(as

with

Musica

Reservata).

30


7/23/2019 3126380

8/10

The

Ziirich

Musik

des

Trecento

umrn

acopo

da

Bologna

[12]

includes five Lo

pieces.

The

edition

used is

an

excellent

one,

except

in

the case of

9. The

melody

is,

played by

a

solo

instrument in

each

piece.

The

performances

are

fine,

with

only

a

few

anachronisms.

One

remarkable record

from

the

Basle

Studio

[31

is

completely

devoted

to Lo

estampies.

It has

eight

of

the

fifteen pieces: 15, 1, 14, 6, 5, 13, 3 and 8; of these, 5, 6

and 8

are

recorded

nowhere else.

The

record

is

accom-

panied

by

extensive

notes,

a

facsimile

of

a

page

of

the

manuscript,

and

photos

of

the

performers.

The

notes

discuss the

manuscript

and

the

performances

at

length.

Because

many

of

the

instruments

of the

Lo

period

could

not

cope

with the

ranges

of

some

of

the

pieces,

and

because not all

of

any

piece's

figurations

were

found to

be

suitable for a

single

instrument,

the

per-

formers

concluded that

the

pieces

are

ensemble

music

condensed to a

single

melodic

line-an

interesting

case

of

mass

delusion.

The

pieces

seem to

be

per-

formed after the

performers'

own

generally-accurate

edition,

rather than

any published

one.

Only

two

are

formally

identical to

the

source,

with

no

additions

or

subtractions.

The others

variously

add

preludes,

post-

ludes,

and

extra

repetitions.

Orchestration

is

the

rule,

various

instruments

coming

and

going

through

most

of

the

pieces.

The

commonest

texture

is

hetero-

phonic-a

combination

of

the

original

melody

with

decoloured

versions

of

it,

sometimes

embellished

versions

as

well,

sometimes with

a

drone.

The

per-

formers'

technique

is

outstanding,

and

the

recording

is

an

altogether impressive one, except

with

regard

to

the

great

improbability

that

it

sounds

even

remotely

like

anything

that

may

have

been

heard in

medieval

Italy.

The

sound

of

the

record

approximates

that of

an

Arab

popular

band of

philharmonic

proportions,

and

in

this

respect

is

similar

to

the

effect

of

several

other

recorded

performances.

The

extent of

the

penetration

of

Islamic-style

performance

into

medieval

Europe

remains

a

controversial

matter.

Some

Arab

instru-

ments

were

adopted,

and

a small

part

of

the

populace

must

have

heard Arab

musicians

on

occasion.

It

has

become

increasingly

popular

to

perform

the Lo

pieces

in the modern Arab manner, often with Arab instru-

ments.

My

opinion

at

present

is

that

the

probability

that

the Lo

pieces

were

performed

in

such a

way

in

the

14th

century

is

near

zero.

Musical

acculturation is

indeed a

familiar

phenomenon.

It

applies

mainly

to

the diffusion

of

instruments. But

when

instruments

are

passed

from

one

culture to

another,

the

musical

reper-

toire

and

style

do

not

pass

with

them,

except

where the

donating

culture has a

profound

general

effect on

the

receiving

one. The

violin is

a

good

example.

This

European

instrument

has become

a

standard

instru-

ment in

Arab

countries and in

India, but is

held and

played

in

the native manner

in these

places,

and

the

European

violin

repertoire

and

style

were

in no

way

transmitted

with it. Where

the Islamic

religion

and

much

of its associated

culture

(social

practices,

dress,

etc.) have spread, the Islamic instruments and the

musical

style

have

gone

with

them. The

most

notable

case is

in the areas

of Black Africa

that have

adopted,

along

with Islam,

versions

of the Islamic

instruments

and marked

elements

of

the Islamic

style.

Early

in

1977,

the Schola

Cantorum

Basiliensis

and

the

Musik-

wissenschaftliches

Institut

(of Basle

University)

spon-

sored a

'Week of

Encounter: Music

of the

Mediter-

ranean Area

and Music

of the Middle

Ages',

which,

in

papers,

discussion, and

performance,

explored

the

application

of

aspects

of modern

performance

of

music

in North

Africa

to

performance

of

medieval

music.'0 The papers are to be published in the Basler

Jahrbuch

fiir

historische

Musikpraxis,

to which

I

look

forward

for some

light

on a difficult

problem.

It is debatable

whether

any

20th-century practices

can

provide

models

for

performance

of

medieval

music. But

if one feels

compelled

to have

such

a

model

for

performing

the

Lo

repertoire,

it would

be

more

logical

to look

to

European

(especially

Italian)

instru-

mental

folk

music than to an

exotic music.

My

attention

was called

to this

borrowing

by

my

colleague

Albert

Luper.

See note

in current

Gazette n

Gillian

Whitehead's

chamber

opera

Tristan

and Iseult

(ed.).

2

British

Library

Add.

MS

28550,

edited

by

Willi

Apel

in

Keyboard

Music

of

the Fourteenth

&

Frfteenth

Centuries

(Corpus of

Early

Keyboard

Music,

1,

n.p.,

American

Institute

of

Musicology,

1963).

3

See

especially

Arnold

Schering,

Studien

zur

Musikgeschichte

der

Friihrenaissance

Leipzig,

1914).

4

For some

guidance

see

Jacques

Handschin,

'Zur

Frage

der

melodischen

Paraphrasierung

im

Mittelalter',

Zeitschrift

fiir

Musik-

wissenschaft,

0

(1927-8),

pp.

513-59.

5

See Werner

Bachmann,

The

Origins

ofBowing

London,

1969),

esp.

pp.

93ff.

6

See

Jeremy

Montagu, 'Early

Percussion

Techniques',

Early

Music

2/1

(January

1974),

pp.

20-4.

7

Walter

Salmen,

'Bemerkungen

zum

mehrstimmigen

Musizieren

der

Spielleute

im

Mittelalter',

Revue

belge

de

musicologie,

1

(1957),

pp.

17-26.

8

See Salmen for a discussion of many techniques of polyphony for

which thereis at least

slight

evidence.

9

World

History

of

the Dance

(New

York,

1937),

p.

294.

10

Brief

reports

have

been

published

in

Current

Musicology,

23

(1977),

pp.

20-2,

and Die

Musikforschung,

0/3

(July/September

1977),

p.

337.

Chronological

ist

of

editions

1.

Johannes

Wolf,

'Die

Tanze

des

Mittelalters',

Archiv

ir

Musikwissenschaft,

(1918-19),

pp.

10-42.

The

pioneering

edition,

from

which

most

of

the

later

editions

are derived.

It

includes all

the

Lo

instrumental

31


7/23/2019 3126380

9/10

pieces,

except

that

7, 8,

and

15 are

incomplete,

and

uses

the

original

clefs,

but all the

repeated

material is

written

out in

most

cases-an

advantage

to the

performer.

Errors

are

very

numerous;

the

structures

of 9

and 10

are

seriously

misinter-

preted.

Several

pieces

are

edited with

only

one beat to

a

bar,

ignoring

the measure.

Even

the

best-edited

pieces

need some

revisions.

2. Hans

Joachim

Moser,

'Stantipes

und

Ductia',

Zeitschrift

fiir Musikwissenschaft,2 (1919-20), pp. 194-206.

Lo

1,

3,

11, 13,

14. An

improved

edition of

the

pieces

that

had

no

metre

in Wolf's

edition. In

treble

clef

throughout,

trans-

posed

up

an

octave. All but

1

are

heavily

edited,

with

p,

J

crescendo,

ritardando, accents;

there are

many

errors.

3.

Arnold

Schering

ed.,

Geschichte

der Musik in

Beispielen

(Breitkopf

&

Hirtel,

Leipzig,

1931;

R

Broude

Brothers,

New

York,

1950).

pp.

20-2:

Lo

13,

14,

12.

13 and

12

are

usable,

but

include

Wolf's

implausible

conjectures.

14

is

quite faulty,

but

is

metrically

correct for the

first

time.

4.

Harold

Gleason

ed.,

Examples of

Music

Before

1400

(Eastman

School

ofMusic

Series,

Appleton-Century-Crofts,

New

York,

1942).

p.

57:

Lo 10.

Transposed,

and

with

the serious faults of the

Wolf

edition.

5.

Archibald

T.

Davison and

Willi

Apel

eds.,

Historical

Anthologyof

Music: Oriental,

Medieval

and Renaissance

Music,

rev.

ed.

(Harvard

University

Press,

Cambridge,

Mass.,

1950).

pp.

63-4:

Lo

13,

15.

13

in a

good

edition,

except

based

on

Wolf's

reconstruction;

puncta

5

and

6

of

15

are

omitted,

as

in

Wolf.

6.

Willi Kahl

ed.,

Das

Charakterstiick

Das

Musikwerk, 8,

Arno

Volk,

Cologne

[19551);

english-language

ed.,

The Character

Piece

(Anthologyof

Music,

8,

ibid,

1961).

p. 19: Lo 13. Wolf version plus a few more errors.

7. Erwin

Leuchter

ed.,

Florilegium

musicum

(Ricordi

Americana,

Buenos

Aires,

1964).

p.

37

: Lo 11.

The somewhat

faulty

Wolf version.

8.

Gilbert

Reaney

ed.,

The

Manuscript

London,

British

Museum,

Additional

29987

(Musicological

Studies

and

Documents,

13,

n.p.,

American

Institute

of

Musicology,

1965).

Introductory

commentary

and

inventory,

and

complete

facsimile

of the

manuscript.

Indispensable

for

checking

the

accuracy

of

other

editions.

9.

Georg

Reichert

ed.,

Der

Tanz

(Das

Musikwerk,

27,

Arno

Volk,

Cologne,

1965);

english-language

ed.,

The

Dance

(Anthology

of

Music,

27, ibid,

1974).

p. 17: Lo 12, 10. 12 completely accurate, repeats written

out-an

ideal

edition,

other

than

being

an

octave

too

high.

10 has the serious

faults of the

Wolf edition.

10.

Jan

ten

Bokum

ed.,

De

dansen van het trecento

(Scripta

musicologica

ultrajectina,

1,

Institut

voor

Muziekwetenschap

der

Rijksuniversiteit

te

Utrecht,

Utrecht,

1967).

The first

complete

edition

of the Lo

instrumental

music,

excellent as

to

content

apart

from a few

errors. Poor as to

legibility,

and seven

of the

pieces

have

very

awkward

page

turns.

(See

edition

17.)

11.

Otto

Hamburg

ed.,

Muziekgeschiedenis

in

voorbeelden

(Aula-boeken,

Utrecht and

Antwerp,

1968).

p.

46: Lo

13.

Similar to

edition

5,

but

introducing

a

few

errors

in

pitch

and

rhythm.

12. Edward

R.

Lerner

ed.,

Study

Scores

of

Musical

Styles

(McGraw-Hill,

New

York,

1968).

p.

45: Lo

12. Good

edition,

but

includes

Wolf's

added

measure.

13. Josef Ulsamer and Klaus Stahmer, Musikalisches

Tafelkonfekt

Stirz,

Wirzburg,

1973).

p.

10:

facsimile of

Lo 11.

p.

11:

transcription

of

Lo 11.

Accurate

as

to

notes

and

form,

with

all

repeats

conveniently

written

out;

the

transcription

is

non-metric like

Wolf's,

with

one

beat

per

measure-perhaps

reasonable

in the

case of this

piece,

whose metre

is

ambiguous.

14.

Bruno

Stiblein,

Schriftbild

der

einstimmigen

Musik

(Musik-

geschichte

n

Bildern,

3/4,

Deutscher

Verlag

ffir

Musik,

Leipzig,

1975).

p.

176:

Lo

10.

Accurate

transcription.

p.

177: facsimile of

Lo

10 and 11.

15.

Joscelyn

Godwin

ed.,

Schirmer

Scores

(Schirmer

Books,

New

York,

1975).

p.

56: Lo 11.

Unique

edition

in

duple

metre,

a

rather

convincing

improvement

on the

usual

triple

metre. Some

errors.

16.

Ralph

Harriman

ed.,

Monophonic

Dances

of

the

14th

Century

(Musica

Sacra et

Profana,

San

Lorenzo,

Calif.,

1976).

Lo

10, 11,

12,

13,

9,

14,

15, 2, 1,

3, 4,

5,

6,

in

that

order.

Derived

from

Wolf,

with

most

of

his faults and

some new

ones.

Modern

clefs;

excellent

for

legibility,

but

so full

of

errors as

to

be

virtually

useless.

17.

Jan

ten Bokum

ed.,

De dansen van het

trecento,

second

edition

(Scripta musicologica

ultrajectina,

1,

Instituut

voor

Muziekwetenschap der Rijksuniversiteit te Utrecht, Utrecht,

1976).

Completely

reworked

edition of all

the

Lo

instrumental

pieces.

Much

improved

in

every

aspect:

more

legible

(but

still

not

good),

no

page

turns

within

a

piece,

metre

improved.

Aside

from the

very

few

pieces

that

are

well-edited

elsewhere,

this

edition

is

the

only

one

recommended

for

performance.

18. W. Thomas Marrocco

and

Nicholas

Sandon

eds.,

Medieval Music

(The

Oxford Anthology

of

Music,

Oxford

Univer-

sity

Press, London,

1977).

pp.

196-8:

Lo

2,

12.

In

2,

a few

changes

are made

to

establish

regular

metre,

and

12

includes

Wolf's

extra measure.

Repeats are not written out, with the result that 2 is

confusing

to

read.

Otherwise,

an

excellent

edition.

19.

Richard

H.

Hoppin

ed.,

Anthology

of

Medieval Music

(Norton,

New

York,

1978).

p.

119:

Lo 10. An accurate

edition,

but the

repeats

are

indicated

in a

way

slightly

more

confusing

than

necessary.

20.

John

Caldwell,

Medieval

Music (Indiana

University

Press,

Bloomington;

Hutchinson,

London,

1978).

p.

111:

Lo

12.

Two errors in the

text;

otherwise a

good

edition.

32


7/23/2019 3126380

10/10

The

recordings

The order

of this

list

is

dictated

by

content

(e.g.

a

record

including

Lo

1

only,

comes before

one

with

Lo

1,

9 and

14; 10,

12

and

13 before

12 and

13

only).

For ease

of

reference the order in which

individual

pieces appear

is

given

at the

end of each

entry.

I

Lo

1

Transformations,

Music

for

a

While.

1750

Arch 1753

2 Lo

1, 2, 10,

12,

13

Dance Music

of

the

Renaissance,

Ulsamer

Collegium.

DGG

Archiv

2533

111

(13,

10, 1, 2,

12)

3 Lo

1, 3,

5, 6, 8,

13,

14,

15

Estampie,

Studio

der

fr-ihen

Musik

an

der Schola

Cantorum

Basiliensis.

Electrola

C 063-30

122

(15, 1,

14,

6, 5, 13, 3,

8)

4

Lo

1,

4, 7, 13,

15

Music

from

the

time

of

Boccaccio's

Decameron,

Musica

Reservata.

Philips

SAL

3781

(802

904

LY)

7,

13, 15, 1,

4)

5 Lo

1,

9,

14

The Feast

of

Pierobaldo,

Les

Menestrels.

Musical

Heritage

Society

MHS

3289

(Tudor

0501)

(14,

1,

9)

6 Lo

1, 10,

12,

13

Gothic and RenaissanceDances, Klaus Walter dir. Musical Heri-

tage

Society

MHS

761S

(Amadeo AVRS

5052;

Amadeo

66003)

(10,

13,

12,

1)

7 Lo

1,

10,

12,

13, 14,

15

Ecco

a

primavera,

The

Early

Music

Consort.

Argo

ZRG

642

(also

issued

as

part

of

the

3-record

set

ArgoD40D3,

Festival

of

Early

Music)

(13,

10,

15,

12,

14,

1)

8 Lo

1,

12,

13

Golden

Dance

Hits

of

1600,

Ulsamer

Collegium

and

Collegium

Terpsichore,

performances

identical

to

2.

DGG

Archiv

2533

184

(1, 12,

13)

9

Lo

2,

12

Music

of

the

Minstrels,

Early

Music

Quartet.

Das

Alte

Werk

6.41928

(2,

12)

10 Lo3, 13

Douce

dame,

The

Waverly

Consort.

Vanguard

VSD-71179

(13,3)

11

Lo4

The Art

of

Courtly

Love,

The

Early

Music

Consort

of

London.

EMI

SLS

863

(Seraphim

SIC-6092),

3

LPs

12 Lo

7,

9,

10,

11,

12

Musik

des

Trecento

um

Jacopo

da

Bologna,

Ricercare-Ensemble

fiir

alte

Musik,

ZiArich.

Electrola

C

063-30

111

(11,

12,

10,

7,

9)

13

Lo

10

Secular

Music

circa

1300,

Early

Music

Quartet.

Das

Alte

Werk

SAWT

9504

(6.41219)

14

Lo

10

In

a

Medieval

Garden,

Stanley

Buetens

Lute

Ensemble.

Nonesuch

H-7

1120

15 Lo

10,

11,

13

The

Lady

and the

Unicorn,

John

Renbourn.

Reprise

RS

6407

(10,

11,

13)

16

Lo

10,

12

with

Dufay:

Missa sine

nomine;

Danses

mbdi~vales;

Livre

de

danses

de

Marguerite d'Autriche,

Clemencic

Consort.

Harmonia

Mundi

HMU

939

(Musical

Heritage

Society

MHS

3496)

(12,

10)

17

Lo 10,

12, 13

with

Adam

de la Halle:

Lejeu

de Robin

et

Marion,

13

rondeaux;

17 danses

du

13e

et

14e siecle,

Pro Musica

Antiqua.

DGG

Archiv

ARC 3002 (12,

13,

10)

18

Lo

10, 12,

13, 14

Medieval

&

Renaissance

Music

for

the

Irish

&

Medieval

Harps,

Viele, Recorders, and

Tambourin,

Elena

Polonska

dir.

Turn-

about

TV

34019S

(mono: TV 4019) (10,

12, 13,

14)

19 Lo 10,

13

The

Seraphim

Guide

to

Renaissance

Music,

Syntagma

Musicum

of

Amsterdam.

Seraphim

SIC-6052

(SIC-3-6052)

(13,

10)

20 Lo 10,

13

Music

at the Time

of

the Crusades,

The

Florilegium Musicum

of

Paris.

Vanguard

Everyman

Classics

SRV-317-SD

(13,

10)

21 Lo 11

Friihe

Musik

in

Italien,

Frankreich

und

Burgund,

Studio

der

frihen

Musik.

Das

Alte Werk

SAWT

9466

(6.41068)

22 Lo

11

Music

of

the Medieval

Court

and

Countryside,

New

York

Pro

Musica. Decca

DL

9400

23 Lo11

Music

of

the Renaissance,

Collegium

Musicum,

Krefeld.

Lyri-

chord LLST786 (Vox PL8120)

24 Lo

ll

Love

Songs of

Long Ago

1550-1700

A.D.,

The

Renaissance

Quartet.

Project

PR 7004

SD

25 Lo

11, 12

Medieval

Roots, New

York

Pro Musica.

Decca

DL 79438

(MCA

2519)(11, 12)

26

Lo 11, 12

Instruments

of

the Middle

Ages

and

Renaissance, The

Early

Music

Consort

of London.

EMI

SLS 988

(Angel

SBZ-3810), 2

LPs

(11, 12)

27

Lo 12

Recorder

Music

of

Six Centuries

1,

The Recorder

Consort

of

the

Musicians'

Workshop.

Classic Editions

CE

1018

28 Lo

i2

Renaissance

Sounds, Musica

Antiqua.

Oryx

EXP

79

29

Lo

12

Instruments

of

the Middle

Ages

and

Renaissance,

Musica

Reser-

vata.

Vanguard

VSD

71219/20,

2

LPs

30 Lo

12,

13

Music

of

the Middle

Ages,

Collegium

Musicum,

Krefeld.

Lyrichord

LLST 785

(Vox

PL

8110;

Boite

ai

Musique

LD08)

(12, 13)

31 Lo

12, 14

II

etait

unefillette,

Les Menestriers.

Disques

du

Cavalier

BP

2002

(Vanguard

Everyman

Classics

SRV-316-SD,

Les

Menes-

triers)

12, 14)

32 Lo 13, 15

History

of

European

Music,

5. Musical

Heritage

Society

OR

438

(13, 15)

33

Lo

13, 15

Historical

Anthology

of

Music

in

Performance:

Late

Medieval

Music,

The

University

of

Chicago

Collegium

Musicum

8&

The

Southern

Illinois

University

Collegium

Musicum.

Pleiades

P250(13, 15)

34

Lo 14

Music

of

Medieval

France

1200-1400,

The

Deller

Consort.

Vanguard

Bach

Guild

BGS-70656

(mono:

BG-656)

33

Thi t t d l d d f m 74 43 242 253 F i 20 N 2015 04 56 45 UTC