Members
of the ensemble:
Margaret Caley
(baroque violin)
Malcolm Tattersall
(recorder & flute)
Daniel Cocks
(recorder & oboe)
Wade Tattersall
(cello & recorder)
Kaye Gersch
(harpsichord)
A colourful performance:
The Elizabethan Fair
May 2005
The man behind our name:
Georg Philip Telemann
Links:
North Queensland Recorder Society
|
|
Elizabethan Fair & Shakespeare Festival
Music Workshops for Schools 2006
Presenters: members of The Telemann Ensemble - Margaret Caley, Malcolm Tattersall and Daniel Cocks (see side panel).
Overview - Music of the English Renaissance
The most typical music of the period is vocal music, as vocal ensembles (madrigals and sacred choral music) or solo voice accompanied by lute alone (lute song) or a mixed consort of instruments.
Violins had arrived at the court of Henry VIII from Italy as early as 1540. Other courtly instruments were lutes, recorders, drum and fife, shawms, sackbutt, viols, and keyboard instruments such as virginals and organ. Consort sets of the same instrumental family were common at court and elsewhere. Broken consorts (violin, recorder or flute, viola da gamba, lute and other plucked strings) were very popular also.
In the fairground one might also find bagpipes, hurdy-gurdy, cittern, etc., plus criers selling their wares.
Much of the instrumental music was written to accompany dance. Typical courtly dances were pavanes and galliards (listen - mp3, 700 KB), and country dances included set dances and circle dances, such as branles. There was an overlap between dance music and popular songs, just as there is today: people often danced to well-known songs or set words to well-known dance tunes.
Resources
Websites
The presenters
Instruments (pictures and history)
Elizabethan music in reproductions of the original prints and/or modern editions (free downloads)
More sites specifically about recorders
Sheet Music
- Recorder Book 2, Forty-seven pieces for recorder consort, collected by
Steve Rosenberg, Price Milburn Music Ltd, Wellington, 1978.
(This book is one of a series with a complicated publishing history. The latest versions are called The Recorder Consort, but if you look for Rosenberg’s name you can’t go far wrong.)
- Musikit Recorder Ensemble Book EB2b by Roger and Carol Buckton (also one of a series) is another good collection of renaissance ensemble music arranged for recorders.
- 'Gathering Peascods' opened most of our school presentations. The arrangement is in Malcolm’s Recorder Playbook, available from Orpheus Music; more info from http://members.iinet.net.au/~mtattersall/MalcolmTattersall/MusicExOrpheus.html
Compact Discs
- "The Triumphs of Oriana", Madrigals 1601, Pro Cantione Antique, dir. Ian Partridge, Archiv 437 076-2
- "What if a day or a month or a year", Elizabethan lute songs and Ayres, Gerald English (tenor), Jonathan Rubin (lute), and Sharyn Wicks, (viol da gamba) (Australian performers), Move Records MD 3151.
- "As I went to Walsingham" Elizabethan Music, The Musicians of Swanne Alley, dir. Lyle Nordstrom & Paul O'Dette, HMC 905192
Repertoire for demonstration and student participation
Chosen from:
Vocal canons from Ravenscroft’s collections, e.g. 'Go to Joan Glover.'
Morley dance-songs, eg 'Month of Maying', and madrigals
Morley Canzonets and Fantasias a2
Holborne dance suites
Dance melodies from Playford’s collections (mostly published a little later, but well known in the period)
French, German and Italian dance music of the same period from collections by Praetorius, Attaignant, etc.
Composers
John Dowland (c.1563 - 1626), Thomas Morley (1557-1602), Thomas Ravenscroft (c.1582 - c.1633), Anthony Holborne (? - 1602) William Byrd (1543 - 1623), John Taverner (c.1490 - 1545).
Terminology
madrigal, canon, consort, counterpoint, lute, recorder, fife, shawm, sackbutt, viol, tabor, bagpipes, hurdy-gurdy, cittern, virginals, organ, violin.
Page written by Malcolm Tattersall, May 2006,
based on material prepared by Patricia Reynolds, 2005.
|