Celebrant / Therese Schroeder-Sheker
Historical Harp · Volume One
discogs.com |
youtube.com
Lady Reason Records LRR1001
© & ℗ 1984
[20:07 + 21:22]
SIDE I [20:07]
Medieval wire-strung Celtic harp [1:42]
Motet — Alle psallite—Alleluya | Montpellier Codex
Responsorial hymn — D'eirigh na tri Muire | secularized Irish chant
Romanesque harp [2:30]
Antiphon — Asperges me | Liber Usualis
Gothic harp [2:37] voice
Macaronic hymn — Deus meus | Book of Lismore
Renaissance harp [1:49]
Motet — Ave maris stella | John DUNSTABLE
Medieval wire strung Celtic harp [3:02]
Rotrouenge — De moi dolereus | Gillebert de BERNEVILLE
Virelai — E, dame jolie | Anonymous
Renaissance harp [6:04]
Motet — Mariam matrem | Llibre Vermell
LV 8
Dance-song — Los set gotxs | Llibre Vermell
LV 5
Virelai — Stella splendens | Llibre Vermell
LV 2
"The pieces from the Llibre Vermell are for Donald Bloch, who treasured them as jewels." TSS
Medieval wire-strung Celtic harp [2:05] voice
Virelai — Douce dame jolie | Guillaume MACHAUT
Hymn — Ave maris stella | Liber Usualis
SIDE II [21:22]
Wire-strung trapezoidal psaltery [2:35] voice
Hymn — Angelus ad Virginem | Anonymous
Romanesque harp [1:40]
Hymn — Pange lingua | Liber Usualis
Hymn — Adoro to devote | Liber Usualis
Gothic harp [2:14]
Polyphonic rondeaux — Je muir, je muir d'amourete | Adam DE LA HALLE
Polyphonic rondeaux — A Dieu commant amouretes | Adam DE LA HALLE
Brass-strung medieval psaltery | [2:13]
Lieder — Ich sah einmal den lichten Morgensterne | Glogauer Liederbuch
Renaissance harp [1:39]
Ballata — Se la face pale | Guillaume DUFAY
Medieval wire-strung Celtic harp [3:20]
Song — Once I was courted | traditional English
Polyphonic carol — Agincourt Carol | Trinity College MS
Ballad — Greensleeves Anonymous
Renaissance harp [1:38]
Double canon — Recordans de my segnora | Josquin DES PREZ
Renaissance harp [5:35] voice
Cantiga — Ben pode Santa Maria | Cantigas de Santa Maria
CSM 189
Historical harps are modal instruments par excellence.
This explains why Celtic ecclesiastics in Cambrensis's time favored the
small romanesque harps. A medieval harpist would draw upon a huge
variety of material reflecting the many national styles and purposes:
sequence, hymn, conductus, motet, virelai, carol, cantiga, minnesong,
caccia, dance forms, and on. Once familiar with the repertoire of a
given time and place, such a musician was capable of spontaneous
variations of existing music, as well as freely invented preludes,
melismatic interludes assisting passage from one mode to another, the
writing of counter melodies, and highly developed systems of rhythmic
variation and melodic ornamentation. The early harp possessed a
fiercely guarded oral tradition, for which we have no historical
treatises or tutors today. The harpists of the Middle Ages played on
instruments which varied greatly in style, size, and the materials used
to string them: gut, silk, horsehair, wire, silver, braids of gold.
Literature affirms a fingernail technique, and medieval iconography
substantiates the left-shoulder playing position for both gothic and
Celtic harps, the position still maintained as late as 1792 at the last
Belfast Harpers Festival. Praetorius wrote that in the Renaissance,
continental harpists played mostly dance music in ensembles, but it is
well known that the harpists of the Western Isles retained enormous
solo stature, as did the harpists of the Iberian peninsula. Although no
one can give an exact reconstruction of early harp literature, we can
make many careful observations of other certain musical traditions of
the day, and come forward with an artistic integrity reflecting both
scholastic methodology and heartfelt interpretation. My ideas
concerning an archetype for medieval prelude are derived from studying
the vocal literature of the Abbey of St. Martial in Limoges. Many
pieces in my repertoire reflect exact transcriptions, whereas other
selections are harpistic arrangements based on typical performance
practice.
Notes by Therese Schroeder-Sheker
* * *
Through her pioneering work with medieval music and historical harps,
Therese Schroeder-Sheker has established a career as both concert
artist and scholar. Her research has been honored by national and
interna-tional awards, including a grant for Celtic studies and art
song at Trinity College in Dublin. Ms. Schroeder-Sheker's extensive
work for the media began with programs researched and recorded for
KVOD-Denver, tracing the history of medieval and Renaissance music
previously unavailable on recording. Since that time, she has been
active in producing scores for the theatre, films, and numerous
spotlights for National Public Radio and Television. Research at the
Bodleian at Oxford and at the Paris Conservatoire has led to the
preparation of a six-volumed series entitled Historical Harp Repertoire, forthcoming from St. Dunstan's Press. Ms. Schroeder-Sheker is the founder of Ars Antiqua, an independent center for medieval studies, in Denver, Colorado.
REALIZATION: Therese Schroeder-Sheker, © St. Dunstan's Press
Recorded November 1984 at Soundesign Studio, Brattleboro, VT
ENGINEER: Billy Shaw
GRAPHIC DESIGN: Belles Lettres
COVER PHOTO: Seal of Isabelle de Hainault, Queen of France (1190).
Photo by Russ Crider
All rights reserved. Unauthorized duplication is a violation of applicable laws.
LR 1001 ℗ © 1984
LADY REASON RECORDS
Post Office Box 1911 Brattleboro, Vermont 05301