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1EVERYBODY'S TUNE

2 3 4

November

22. Saturday

is day I bought the book of country-dances against my wife"s woman Gosnell com es, who dances nely. And there meeting Mr. Playford, he did give me his Latin Songs of Mr. Deerings, which he lately printed.

Samuel Pepys (Diary, 1662)

Novembre

Samedi 22.

Aujourd"hui, j"ai acheté le recueil des danses anglaises en pré vision de la venue de Gosnell, la suivante

de ma femme, qui danse fort bien. Rencontrant là Mr. Playford, il m"a donné les chants latins de

Mr. Deerings, qu"il a récemment imprimés.

Samuel Pepys (Journal, année 1662)

5

NOBODY'S JIG

Mr Playford's English Dancing Master

1 Nobody's Jig, Mr Lane's Maggott... 5'49

2 Stingo 2'56

3 Virgin Queen, Bobbing Joe 3'53

4 Daphne 4'54

5 Paul's Steeple 3'17

6 Prince Rupert March, Masco 3'11

7 Sheperd's Holiday 2'04

8 Confess his tune 1'21

9 An Italian Rant 2'19

10 Stanes Morris 1'05

11 A Health to Betty 2'31

12 A Mask no.6 4'33

13 Drive the cold winter away, ee Beggar Boy 5'37

14 A Division on a ground 6'15

15 Woodycock 5'31

16 Wallom green 2'13

17 Bravade, Argiers 3'46

18 A piece without title 3'32

19 Hey to the camp, Schottisch Tanz 3'37

20

Rights of Man 3'37

ME N U 6

L?? W??

O E, violon

C? M, iûtes

P?? B?, luth & guitare

S? M?, viole de gambe

F E, clavecin et cistre

Enregistrement & montage numérique : Hugues Deschaux

Direction artistique : Pascal Dubreuil

Enregistré à Sérigny, église Saint Rémi, en octobre 2001

Photographies de Robin Davies

Violon italien, école de Brescia, XVII

e siècle Flûtes à bec ténor d"après Ra, soprano & alto en sol d"après Van Eyck, Francesco Li Virghi (1996, 1999), alto en sol d'après Ganassi, Adrian Brown (1988) Flûtes traversières ténor en ré & dessus en sol, Giovanni Ta rdino (1999,1998)

Flûte à six trous, Je Barbe (2001)

Flûtes à trois trous en sol, Je Barbe (1996), en fa Francesc o Li Virghi (1999)

Tambour, Norbert Eckerman (1999)

Luth 7 chœurs, d"après un original n XVI

e siècle, Ivo Magherini (1989)

Guitare Renaissance, Didier Jarny (2000)

Viole de gambe "

le Roi David », d"après un modèle anglais, Pierre Jaquier (1986) Ottavino (clavecin à l"octave de la quarte inférieure), Phili ppe Humeau (1995)

Cistre, Ugo Casalonga (1999)

8 ?e English Dancing Master: OR, Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance.

LONDON,

Printed by omas Harper, and are to be sold by John Playford, at his

Shop in

the Inner Temple neere the Church doore. 1651.

To the Ingenious Reader.

e Art of Dancing called by the Ancient Greeks Orchestice, and Orches tis, is a commendable and rare Quality r for yong Gentlemen, if opportunely and civilly us ed. And Plato, that Famous Philosopher thought it meet, that yong Ingenious Children be taught to dance. It is a quality that has been formerly honoured in the Courts of Princes, when performed by the most Noble Heroes of the Times! e Gentlemen of the Inees of Court, w hose sweet and ayry Activitiy has crowned their Grand Solemnities with Admiration to all Spe ctators. is Art has been Anciently handled by Athenaeus, Julius Pollux, Caelius Rhodigin us, and others, and much commend it to be Excellent for Recreation, after more serious Studi es, making the body active and strong, gracefull in deportment, and a quality very much bese eming a Gentleman. Yet all this should not have been an Incitement to me for Publication of this Worke (kno wing these Times and the Nature of it do not agree,) But that there was a false and surrepticious Copy at the Printing Presse, which if it had been published, would have been a disparagement to the quality and the Professors thereof, and a hinderance to the Learn er. erefore for prevention of all which, having an Excellent Copy by me, and the assista nce of a knowing Friend; I have ventured to put forth this ensuing Worke to the view, and gentle censure of all ingenious Gentlemen lovers of this Quallity; not doubting but their goodnes will pardeon what may be amisse, and accept of the honest Intention of him that is a faithfull honourer of your Virtues, and Your servant to command, J.P. 10 Music can be listened to from varying distances of knowledge and desire.

From afar, it

can be nothing but an auditory backdrop, a series of rhythms we vaguely recognize as belonging to a particular period or style; we scarcely notice what instruments are playing; we tap our feet absentmindedly, content but ignorant. If we come a bit closer, though, and start asking ourselves what the music is about, our ears prick up and we begin to distinguish a bit more of what is goin g on and thanks to whom in this case the group is a “broken consort" made up of ute, lute, harpsichord violin and bass viol; we can also discern a few things about the pieces themsel ves whether they"re in minor or major key, masks or anti-masks, whether they involve improvi sation, variation or polyphony... Gradually, we allow our selves to move away from our own, contemporary freedom, nourished by the sounds of jazz and rock, Africa and Arabia, to wards another freedom that of Elizabethan times. Images begin to coalesce insi de our brains drinking songs in Shakespearian taverns; peasant couples grabbing hands and whir ling about on the lawn during village festivals; ladies and gentlemen of the court executing steps imbued with gravity and grace, learned during their hours of precious leisure... Yes , dancing is what it"s all about most of the pieces on this CD are based on simple melodies from John Pl ayford"s collec- tion e Dancing Master, and have been harmonized by the Witches music ians themselves. If we move in still closer, we come to see that this music (like all fo rms of music, in fact... including techno!) is a universe unto itself. It contains endless nuanc es of harmony and tempo, daunting complexities of execution, an original choice of instruments...

Here as elsewhere, it"s

the hardest work that leads to the greatest freedom, and the rigorous respect of rules and forms that gives access to the highest magic (we mustn"t forget that the word magic, like Magi, has to do with the sacred). 11 Suddenly we are utterly wakeful and attentive: gods, fairies, elves and goblins go ?ling past us; we withdraw in the company of Queen Elizabeth for a revery in s olo lute, we leap and twirl with the Scots to the sound of bagpipes, and hear the slight mistu ning of the six-holed whistle in Drive the Cold Winter Away as a desolate cry over an endless expanse of snow... e whole thing becomes resonant, throbbing, alive, and we see that th ese contemporary artists indeed live up to their chosen name of Witches yes, like sorcerers and sorceresses of every time and place, they have a highly rened intelligence, an i n-depth knowledge of the ingredients patiently col lected for their book of spells, and the ability to transport us, metamorphose us... At the stroke of a wand, we become the Virgin Queen, go dancing body and soul with the peasants of yesteryear, vibra te in unisson with the lovely pandora... Four centuries shimmer into nothingness and the Renaissance is now yes, renaissance, a rebirth: thanks to music, thanks to the close and careful apprehension of ancient music, we can know what it"s like to be born and reborn afresh at every instant.

Nancy H

13 ?e Dancing Master '?e English Dancing Master: , Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance. L, Printed by ?omas Harper, and are to be sold by John Playford, at his Shop in the Inner Temple neere the Church doore.' So reads the title-page of ?e English Dancing Master, issued by the publisher and bookseller John Playford in

1651. And Playford justied his publication as follows: ‘But that th

ere was a false and surrepticious Copy at the Printing Presse, which if it had been published, would have been a disparagement to the quality and the Professors thereof, and a hi nderance to the

Learner:

erefore, for prevention of all which, having an Excellent Cop y by me, and the assistance of a knowing Friend, I have ventured to put forth this ensuin g Work to the view, and gentle censure of all ingenious Gentlemen lovers of this Quali ty." ?e English Dancing Master (title shortened to ?e Dancing Master from the second edition onwards) continued in seventeen enlargements and additional vol umes until 1728
1 . Giving dance instructions for over ve hundred country dances, with t he tune to each of them, these books form the largest single source of seventeenth-century English instrumental melodies. Despite its precision, the publication no doubt s erved more often than not as a sort of aide-memoire for dancers and musicians of the time , enabling the latter to recall familiar tunes, which would always be played slightly dierently, and the former to remember the steps and gures of the country dances they had performed a hundred times in the village or at court. It was the rst testimony to the collective memory of Celtic music, com parable to the collecting work carried out by the musicologist Francis O"Neill at the beginning of the twentieth century among the Irish communities of North

America

2 14 e list of titles paints a colourful picture, with characters from myth ology (Daphne, Amaryllis, Cupido"s garden) and history (Prins Rupert's or King James's March, Duke of York"s Delight, Czar of Muscovy, e French King"s mistake), place names (Bloomsbury Market, Edinburgh Castle, America, Jamaica) means of livelihood (Carpenters' maggott, Sheperd"s holiday, e Beggar boy) or simply Mr Lane, Lady Frances Neville, Betty, Joe or Paul, the unknown dedicatees of these Jigs, Maggotts, Morris danc es Gavots or

Steeples.

How can we bring all these written names to life? How can this music be recreated from the melodies alone, fragile traces of practices that were innitel y more complex?

How can we, here and now, appro

priate these airs from another tradition, another time?

Nobody's Jig

is piece opened the door for us; belonging to nobody, it was there for the taking. en we allowed ourselves to be guided through the labyrinth by tunes that had inspired early composers (several versions of Woodycock in the Fitzwilliam Virginal Book) or composers from other countries (variations by Jacob van Eyck, polyphonic arrangements by William Brade). Choosing from all these melodies also m eant following our feelings, preferring this piece because of the immediate appeal of its melancholy, that one for its liveliness. From one edition to the next of ee Dancing Master, tunes that had gone out of fashion were replaced by more recent ones, adapted from masques or operas. We have chosen tunes that are still very much related to the six teenth century, to ballad tunes and to modality. And we have kept to the rst seven edi tions (1651 to 1686), published by John Playford himself. Some of the pieces on thi s programme were taken from other sources, when their author or style seemed to us c lose to the spirit of ee Dancing Master. us a sarabande - and not a maske 3 - by John Adson begins the rst edition, and the Grounds for the viol from the Drexel manuscript 4 evoke Playford"s publications for that instrument. Finally, although Pauls' Steeple was present in 16 ?e Dancing Master from 1651, we have chosen to present one of the two virtuosic versions that were published in 1684 in ?e Division Violin 5 How do we make a choice, when there are so many di?erent possibilitie?s for the same tune? at is the insoluble problem faced by the collector of music of oral tradition: one tune may give rise to an innite number of variants, depending on origin, interpretation, language, text, period, and even the day on which the pi ece is played. e dierences may be minimal: the memory lapses, the musician improvises to ll the gap and his mistake becomes part of the piece, his proposal is accepted. u s even a tune that everyone can recognise may undergo slight changes. Bravade, in minor for van Eyck, becomes Argieers, in major for Playford. ?e di?erences may also be more consequential:? for example, the courante Excuse moy (7th edition of ?e Dancing Master, 1686) seems to bear only a remote resem blance to John Dowland"s song Can she excuse (First Booke of Songs, 1597), presented here in the form of a Galliard for broken consort by ?omas

Morley (First Booke of Consort Lessons, 1611).

Broken Consort

Which instruments should we choose? In his prefaces, Playford mentions o?nly the treble violin, traditionally the favourite instrument of the village musician, then of the dancing master, who usually played it solo. But how can we imagine t hat other musicians did not join in to inject colour, enthusiasm, variety and harm ony into these melodies? e publication of a volume of basses was announced in the 171

3 edition of

?e Dancing Master, but so far no copy of the book has come to light. Iconographical sources nevertheless show that small instrumental groups were used at th at time. Notably, utes - the pipe and tabor (three-hole duct ute and snare drum, played together by one person), the six-hole duct ute (wooden ancestor of the present-d ay Irish whistle), transverse utes, or recorders, which were at the height of their popul arity in the sixteenth and seventeenth centuries. Appreciated in England from the beginning of the sixteenth century, mentioned by Hamlet (‘It is as easy as lying"... 6 ), the recorder gradually became 17 a fashionable instrument, making its appearance in the title of the anth ology in 1696. e viola da gamba, highly valued in consorts, was about to become a sol o instrument: instrumentalists and composers such as Christopher Simpson 7 developed the art of division - a technique of variation, especially common in viol playing and generall y extemporised, in which the notes of a ground are divided into shorter ones. e bass v iol was used as a melodic instrument, but it was also played ‘harp-way" (i.e. plucked) or ‘lyra-way" ( in chords). An eclectic publisher, John Playford oered the public various method s and anthologies showing his interest in all kinds of instruments: the viol 8 and the violin 9 , but also the gittern and the cittern 10 e latter"s repertoire is not as sophisticated as that of the lute, but its rhythmic eciency is unrivalled when it comes to lead ing the dance. And he even took an interest in the virginal 11 , an instrument so exquisitely served by William Byrd, John Bull and Giles Farnaby at the beginning of the century, but which went into decline from 1650. Its rich repertoire, like that of the lute, an i nstrument typical of Elizabethan music, did not preclude performance with other instruments a nd it brought a more elegant note to the extemporised counterpoint. John Dowland and the English virginalists were inspired by popular melodies or ballad tunes, as is sh own by the short untitled piece for solo lute included in this pro gramme 12

Divisions, Passaggi, Variations

How do we choose between the dierent ornamental styles, and harmonis e, arrange, write and improvise? Is there not a danger, in recording these pieces, of creating something that is too ‘set", when this music is by nature mutable, belonging essentially to the oral tradition? e tempi dictated by the dance make the skilful contrapuntal diminution s of the virginalists and lutenists largely impracticable. On the other hand, Jacob van Eyck"s variations for solo recorder lend themselves without diculty to the da nce. We have entrusted them in turn to the recorder and the violin, and harmonised th em. Indeed, 19 numerous versions of these airs, translated and adapted to suit Dutch ta ste, are to be found in volumes for voice and lute published in Antwerp, Rotterdam or Amsterd am 13 ; and

Der Fluyten Lust-hof is undoubtedly ‘

e Recorder's Paradise' 14 , it may also be ‘useful to all lovers of the Art, on the Recorder, and on all sorts of instruments, wind and others...". Van Eyck"s publisher, Paulus Matthys, brought out other collections o f instrumental variations 15 at that time, clearly mention ing the violin, and presenting virtuosic pieces by the German violinist Johan Schop based on English songs, French dances and Italian madrigals. e Venetian practice of improvised diminution (‘II vero modo di dim inuir e far passaggi") was certainly present in London at that time, possibl y taken there by the Bassano family of musicians (wind players and makers of wind instrument s), who had moved to England at the end of the sixteenth centu ry. So when we realise that An Italian rant is none other than La Mantovana, a round dance that was famous throughout Italy, it is most tempting to use Italian-style ornaments.

In?uences

Italian-style ornaments - the cornerstone of our practice as modern expo nents of early music (all things considered, quite close to jazz) - no doubt in uence our improvised diminutions, but other styles enrich our historical approach to these re pertoires. Could we possibly not allow ourselves to be inspired by the Irish musicians who are the heirs to and guardians of this unbroken tradition of Celtic music? Without any intention of appropriating their traditions, we have borrowed from them ornaments, drones and bowing strokes, and have attempted to match the variety of their counter-melodies and the dynam ics of their playing in accompaniment to dances. roughout our work on these pieces, we kept in mind the fact that they were intended for the dance. Presenting a programme intended purely for dancing was ou t of the question and we made no attempt to keep strictly to the gures o f the country dance, and not all the pieces are even danceable! Our aim was to focus a ttention on the 20 tunes - tunes that are as catchy to us as they were to people liv ing centuries ago. But we were obviously guided in our choice of accents, tempi and phrase stru ctures by our experience with other dance music - that of the Renaissance and Baroque periods - and by our contact with dancers. Perhaps the dual function as songs and danc es is implicit in these pieces. us in ‘pinning down" just one of so many possible versions, we p ropose a reading that steers a middle course between the cerebral approach of historical research and the spontaneity of traditional practice. We are aware that our style can onl y be the result of in uences and knowledge, enriched by encounters and experiences - the whole sifted through the lters of our memory. If it is impossible to appropriate a tradition, our wish is to bring this repertoire to life, so that Nobody's Jig becomes Everybody's Tune...

Claire M

Translation: Mary Pardoe

1

John Playford (1623-1686) published the rst seven editions, his son Henry Playford (1657-1707) a further ve editions, and John Young (active 1698-1732) the remaining six.

2 Francis O"Neill: Music of Ireland and ee dance music of Ireland (Chicago, 1903 and 1907). 3

From John Adson"s Courtly masking Ayres of 1621.

4 Drexel manuscript 3554 (Washington library of Congress) 5 ee Division Violin, a choice Collection of Divisions to a Ground for the Treble Violin, 1684 6

(Translator"s Note) [Of playing the recorder] ‘It is as easy as lying. Govern these vantages with your ngers and thumb, give it breath with your mouth, and it will discourse most eloquent

music" (Hamlet to Guildenstern) - William Shakespeare, Hamlet, III. ii.

e recorder was also Samuel Pepys's favourite instrument. In his Diary (1668) he wrote: To Drumbleby's and did

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