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Welcome to Harmonia…I’m Angela Mariani. Practice, practice, practice! When learning how to play an instrument today, we might employ a teacher, open up a primer, or even start up some YouTube videos. In centuries past, musicians learned from a tutor—both a person and a book. This hour, we’ll explore method books that teach how to play Baroque wind instruments including recorder, transverse flute, oboe, bassoon, and trumpet. Plus, our featured release is Of Arms and a Woman: Late Medieval Wind Music including recorder, shawms, slide trumpet, sackbut, tabor pipe, bagpipes, and percussion.
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MUSIC TRACK
Fürchtet euch nicht: Bassoons & Bombards—Music from the German Baroque
Syntagma Amici / Vox Luminis and Lionel Meunier
Ricercar 2020 / Naxos RIC420
Johann Hermann Schein
Tr. 1 Hosianna dem Sohne David (4:52)
That was Johann Herman Schein’s “Hosianna dem Sohne David” performed by Syntagma Amici and Vox Luminis, directed by Lionel Meunier, [from the 2020 recording Fürchtet euch nicht: Bassoons & Bombards—Music from the German Baroque].
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MUSIC TRACK
John Hyde: A New and Complete Preceptor for the Trumpet and Bugle Horn
University of Kentucky Baroque Trumpet Ensemble, directed by Jason Dovel
2020 University of Kentucky Baroque Trumpet Ensemble
John Hyde
Tr. 24 Duetts for Two Bugle Horns: IX. Quick March for Four Bugle Horns (:36)
“Quick March for Four Bugle Horns,” played by the University of Kentucky Baroque Trumpet ensemble. You’re hearing the sound of rapid trumpet articulation in late eighteenth-century England. In his 1799 treatise, “A New and Complete Preceptor for the Trumpet and Bugle Horn,” trumpeter John Hyde instructs players in how to play the trumpet. But in order to appreciate this, let’s talk a little about these early trumpets and bugle horns. There are no valves—all the changes in pitch have to be made with your lips, and with overblowing, and the only notes available to you are the harmonic series, which long story short is basically do-sol-do-mi-sol and some higher partials. Incredibly difficult, so you can just imagine adding in the rapid articulation.
MUSIC TRACK
John Hyde: A New and Complete Preceptor for the Trumpet and Bugle Horn
University of Kentucky Baroque Trumpet Ensemble, directed by Jason Dovel
2020 University of Kentucky Baroque Trumpet Ensemble
John Hyde
Tr. 3: Marches and Quick Steps for Three Trumpets. III: Third March (:35)
Another interesting thing about these early brass instruments is that since they are playing the pitches that result from the natural harmonic series, they are not tuned in "equal temperament” like a lot of our modern instruments. As a result, some of the intervals between notes sound a little odd to us, maybe a little sharp, or off somehow. But if you were not accustomed to equal-tempered intervals, THOSE intervals would sound a bit off to you.
MUSIC TRACK
John Hyde: A New and Complete Preceptor for the Trumpet and Bugle Horn
University of Kentucky Baroque Trumpet Ensemble, directed by Jason Dovel
2020 University of Kentucky Baroque Trumpet Ensemble
John Hyde
Tr. 29: Drink only of thine eyes, for Two Trumpets (:57)
Tr. 16: Duetts for Two Bugle Horns: I. First Duet (1:08)
The first duet for Two Bugle Horns, and before that, Drink Only of Thine Eyes, for Two Trumpets, by John Hyde, -- early trumpets, that is, playing pieces from a work published at the turn of the 19th century, played on period instruments by the University of Kentucky Baroque Trumpet ensemble.
John Hyde’s preceptor gives eighteenth-century instruction, but winds are discussed in earlier publications, too. Daniel Speer’s “Basic teaching of musical art” provides probably the first fingering chart for dulcian. This allowed players to look at a chart and determine which holes on the instrument should be covered by certain fingers and which should be left open in order to produce distinct pitches. Fingering charts were especially important for professional Renaissance and Baroque woodwind players, who probably all played multiple instruments such as recorder, crumhorn, and dulcian. We’ll hear two dances featuring dulcians: Padouan and Almande by Samuel Scheidt.
MUSIC TRACK
Fürchtet euch nicht: Bassoons & Bombards—Music from the German Baroque
Syntagma Amici / Vox Luminis and Lionel Meunier
Ricercar 2020 / Naxos RIC420
Samuel Scheidt
Tr. 5 Padouan 3 a 4 (5:06)
Tr. 6 Almande 16 a 4 (1:58)
Two dances, Padouan and Almande, by Samuel Scheidt performed on dulcians by Syntagma Amici.
Like bassoonists, budding oboists would have had printed resources for learning how to play. John Playford’s 1695 publication The Sprightly Companion provides written instruction about how to play the oboe; fingering charts; information on how to read music; and more. The Sprightly Companion also includes tunes that would have been well-known at the time—the way we might learn how to play “Happy Birthday” or “Twinkle, Twinkle, Little Star” in a beginning band method book. Only in The Sprightly Companion, many of the tunes are brand new. We’ll hear the “The Queen’s Farewell” for oboe band, by Jacques Paisible, also known as James Peasible. The piece was first performed at the funeral of Queen Mary II in 1695.
MUSIC TRACK
Love's goddess Sure was Blind
The Sixteen, vocal ensemble; The Symphony of Harmony and Invention; Harry Christophers, conductor.
Coro 2004 / Amazon B00030EROW / also available on Naxos via IUCAT
John Paisible
Tr. 16 The Complete Funeral Music for Queen Mary (1695) – Order of Service at the Burial of the Dead: The Queen’s Farewell (4:29)
We heard “The Queen’s Farewell” James Paisible, also known as Jacques Paisible. The Symphony of Harmony and Invention was led by Harry Christophers.
As with chamber works, method books were also aimed at instructing multiple instruments. Jacques-Martin Hotteterre’s “Principles for the Flute, Recorder, and Oboe” discusses how to play those three most popular baroque high-winds. In addition to instructing players, the Hotteterre family made woodwind instruments, and the publication was widely available where the family’s instruments were sold. Let’s hear two dances by Jacques-Martin Hotteterre featuring transverse flute.
MUSIC TRACK
Complete chamber music. Vol. 3: Complete chamber music. Vol. 3
Camerata Köln
CPO 2018
Jacques-Martin Hotteterre
Disc 2 Tr. 1 Suite in C Minor, Op. 5, No. 2, I. Prélude (3:26)
Disc 2 Tr. 2 Suite in C Minor, Op. 5, No. 2, II. Allemande (3:02)
Camerata Köln performed two dances, Prélude and Allemande duet, from Jacques-Martin Hotteterre’s Second Suite from Opus 5.
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Theme Music Bed: Ensemble Alcatraz, Danse Royale, Elektra Nonesuch 79240-2 / B000005J0B, T.12: La Prime Estampie Royal
Early music can mean a lot of things. What does it mean to you? Let us know your thoughts and ideas. Contact us at harmonia early music dot org, where you’ll also find playlists and an archive of past shows.
You’re listening to Harmonia . . . I’m Angela Mariani.
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:59 Midpoint Break Music Bed:
John Hyde: A New and Complete Preceptor for the Trumpet and Bugle Horn
University of Kentucky Baroque Trumpet Ensemble, directed by Jason Dovel
2020 University of Kentucky Baroque Trumpet Ensemble
Tr. 33: Setting the Watch: II. Part the Second (1:01)
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Johann Joachim Quantz was a German composer, flutist, flute maker, and flute teacher. His 1752 treatise, not surprisingly entitled “On Playing the Flute,” actually discusses how to play most instruments of his time. Yes, the first ten chapters ARE on playing the transverse flute, but then he discusses how to lead an orchestra, and the characteristics of individual instruments—and players of those instruments. He tells us that cadenzas should be the length of one breath and that the speed of music can be determined by heart rate and mood. Quantz’s writings are widely used as foundational technique for period performance players today. Let’s hear the middle movement, “Amoroso ma non lento,” from Quantz’s F Major Flute Concerto.
MUSIC TRACK
Flute Concertos
Greg Dikmans, flute; Lucinda Moon, violin; Elysium Ensemble
Resonus Classics 5060262791639 (2019) / Naxos 5060262791639
Tr. 5: Quantz, Flute Concerto in F Major, QV 5:162 II. Amoroso, ma non lento (6:08)
“Amoroso, ma non lento,” from the F Major Flute Concerto by Johann Joachim Quantz. Flutist Greg Dikmans performed with Elysium Ensemble.
Staying with our wind-theme this hour, our featured release is the 2019 First Hand Records CD “Of Arms and a Woman: Late Medieval Wind Music,” by the ensemble Blondel.
The “arms” here refer to weapons of war: [Quote]
“The armed man should be feared. Everywhere it has been proclaimed / That each man shall arm himself / With a coat of iron mail. / The armed man shall be feared.”
These are the words of the late-medieval top ten hit tune called “L'homme armé,” The Armed Man. This tune shows up in lots of unexpected places. Let’s hear three pieces that feature the L’homme arme tune– one by Josquin des Prés, one by the ever-prolific “Anonymous,” and one by Robert Morton.
MUSIC TRACK
Of Arms and a Woman: Late Medieval Wind Music
Blondel (Belinda Paul, Lizzie Gutteridge, Emily Baines, recorders, shawms, bagpipes; Daniel Serafini, slide trumpets, sackbut; Louise Anna Duggan, frame drum, tabor, tamburello)
First Hand Records 2019 / Naxos FHR69
Josquin des Prés, Robert Morton, and Anonymous
Tr. 23 L'homme armé - Lome arme - Lom arme (Falsum) (2:56)
We heard three versions of “L’homme armé” set by Josquen des Prés, Anonymous, and Robert Morton. Ensemble Blondel performed on shawms from their 2019 recording, Of Arms and a Woman: Late Medieval Wind Music.
As well as exploring themes of war, Of Arms and a Woman includes lyrics in the courtly love tradition. Here’s music from fifteenth-century Spain, published in the extensive collection called the Cancionero de palacio. It’s performed here by recorders, but the text of the song is – [quote]
“Since my attentions displease you, and my compliments make you miserable, I don’t know what would satisfy you. I don’t know who knows it. I’m really confused, I serve you generously and you treat me like an enemy. In fact, I think ̶ 21 ̶ you take pleasure in my pain. If my death would satisfy you, I do not know who knows it.”
MUSIC TRACK
Of Arms and a Woman: Late Medieval Wind Music
Blondel (Belinda Paul, Lizzie Gutteridge, Emily Baines, recorders, shawms, bagpipes; Daniel Serafini, slide trumpets, sackbut; Louise Anna Duggan, frame drum, tabor, tamburello)
First Hand Records 2019 / Naxos FHR69
Anon.
Tr.21 Pues Serviçio vos Desplaze – Cançión Contrahecha Pues Serviçio vos Desplaze, Letra y Punto (5:42)
Anon., arr. E. Gutteridge
Ensemble Blondel performed songs from the 15th-century music manuscript known as the Cancionero de palacio.
We’ll conclude with two late fifteenth-century tunes for “Loud Band,” featuring shawms, bagpipes, slide trumpet, and drum. Here are “A cheval” and “Revelliez vous” performed by Blondel from our featured recording Of Arms and a Woman: Late Medieval Wind Music.
MUSIC TRACK
Of Arms and a Woman: Late Medieval Wind Music
Blondel (Belinda Paul, Lizzie Gutteridge, Emily Baines, recorders, shawms, bagpipes; Daniel Serafini, slide trumpets, sackbut; Louise Anna Duggan, frame drum, tabor, tamburello)
First Hand Records 2019 / Naxos FHR69
Anon., arr. E. Gutteridge
Tr. 6 A cheval, tout homme, a cheval (2:46)
Tr. 7 Reveillez vous piccars (2:57)
We heard “A cheval, tout homme, a cheval” and “Reveillez vous,” arranged by Lizzie Gutteridge and performed by the ensemble Blondel.
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Harmonia is a production of WFIU and part of the educational mission of Indiana University.
Support comes from Early Music America: a national organization that advocates and supports the historical performance of music of the past, the community of artists who create it, and the listeners whose lives are enriched by it. On the web at EarlyMusicAmerica-dot-org.
Additional resources come from the William and Gayle Cook Music Library at the Indiana University Jacobs School of Music.
We welcome your thoughts about any part of this program, or about early music in general. Contact us at harmonia early music dot org. You can follow us on Facebook by searching for Harmonia Early Music.
The writer for this edition of Harmonia was Sarah Huebsch Schilling.
Thanks to our studio engineer Michael Paskash, and our production team: LuAnn Johnson, Wendy Gillespie, Aaron Cain, and John Bailey. I’m Angela Mariani, inviting you to join us again for the next edition of Harmonia.
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