The Resounding Project
Volume 1.
Music of the High Medieval Era
performed on period stringed instruments
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[42:30]
Title
Description
Instrumentation by verse - see instruments
1. Stella splendens [3:06]
LV 2
"Splendid Star" is a polyphonic song found in the Llibre Vermell de Montserrat,
in a monastary near Barcelona. The unknown author wrote that the
purpose was to provide wholesome songs "Because the pilgrims wish to
sing and dance while they keep their watch at night in the church."
1. CSM10 citole on both melody and accompaniment |
2. + CSM70 psaltery |
3. + metal whistle |
4. + Koninklijke rebek |
5. + CSM50 psaltery (hammered) |
6. + PG19 lion harp |
End lion harp and CSM10 citole
2. Lamento di Tristano [3:14]
A folk-style estampie found with 116 other songs in a 14th Century, Italian manuscript.
1. Both parts played on the CSM10 citole |
2. + Lincoln Cathedral citole
3. La Rotta [1:41]
A rotta is a lively Italian dance tune, typically
played after a slower estampie. This rotta usually follows "Lamento di
Tristano".
1. CSM10 citole and frame drum |
2. + CSM90 gittern |
3. + CSM50 psaltery (hammered) |
4. + PG19 lion harp
4. Cuncti simus concanentes [2:04]
LV 6
Translated "Let us sing together", this virelai is also from the Llibre Vermell de Montserrat.
1. CSM10 citole and brass finger cymbals |
2. + frame drum and Koninklijke rebec |
3. + CSM50 psaltery (hammered) |
4. Drum, rebec and bells
5. Douce dame Jolie [3:24]
A virelai by the 14th century French composer Guillaume de Machaut.
1. CSM10 citole (strummed), CSM50 psaltery (hammered) |
2. + CSM10 citole (plucked) |
3. + CSM70 psaltery |
4. Only CSM10 citole and PG19 harp |
5. All with added CSM210 viol
6. Strela do dia [4:00]
CSM 100
Cantiga 100, one of 420 Cantigas de Santa Maria attributed to Alfonso X (1221–1284).
1. Frame drum, CSM citole (strummed), PG19 harp (melody) |
2. + CSM10 citole on melody |
3. CSM50 psaltery (hammered) and CSM10 citole, both on melody |
4. CSM70 psaltery and CSM10 citole, both on melody |
5. Lincoln Cathedral citole and CSM10 citole, both on melody |
6. All.
7. Ben pod' a Sennor sen [2:48]
CSM 101
Cantiga 101 of the Cantigas de Santa Maria.
1. CSM10 citole (argeggio and melody), frame drum, brass finger cymbals |
2. + metal whistle and CSM10 citole (strummed) |
3. + PG19 harp |
4. + PG9 citole |
5. + CSM50 psaltery (hammered) and CSM |
6. All with added CSM210 viol
8. A Virgen mui groriosa [3:02]
CSM 42
Cantiga 42 of the Cantigas de Santa Maria.
1. PG19 harp and CSM10 citole |
2. + metal whistle |
3. + CSM50 psaltery (hammered)
9. Como poden per sas culpas [1:58]
CSM 166
Cantiga 166 of the Cantigas de Santa Maria.
Frame drum, brass finger cymbals, CSM10 citole (arpeggio) throughout |
1. CSM10 citole (melody) |
2. + metal whistle and CSM10 citole (strummed) |
3. + PG19 lion harp |
4. + PG9 citole |
5. + CSM50 psaltery (hammered) |
6. + CSM250 viol
10. Rosa das rosas [2:55]
CSM 10
Cantiga 10 of the Cantigas de Santa Maria.
1. Parma Citole (melody), CSM10 citole |
2. + CSM10 citole and brass bells (melody) |
3. + PG19 harp |
4. + Stuttgart citole |
5. + CSM50 psaltery (hammered) and CSM250 viol |
End Parma citole, CSM10 citole
11. Adoro Te Devote [1:54]
A Eucharistic hymn composed by Thomas Aquinas. This
recording uses the droning strings of the cranked organistrum, a
forerunner of the hurdy-gurdy.
1. Portico de Gloria organistrum |
2. + CSM70 psaltery
12. Mandad'ei comigo [2:16]
ca II
A cantiga by the 13th century joglar Martin Codax. This tune, "Word Came Today" [I've got a message], is about a friend returning from battle.
Introduction on frame drum, brass bells, CSM210 viol |
1. Lincoln Cathedral citole |
2. CSM10 citole |
3. CSM50 psaltery (hammered) |
4. All with added CSM70 psaltery |
5. CSM70 psaltery and frame drum |
6. All
13. Palästinalied [4:34]
Written in the early 13th century by Walther von der
Vogelweide, this Crusader's song is from the perspective of a pilgrim
entering the Holy Land. Note the march-style rhythm.
All verses. frame drum, CSM210 viol, CSM10 citole (strummed), CSM290 psaltery |
1. CSM** gittern |
2. CSM** gittern, CSM10 citole (plucked) |
3. CSM70 psaltery |
4. CSM50 psaltery (hammered) |
5. PG19 harp |
6. All
14. Estampie Royale 2 [3:17]
The estampie was a popular 13th century French dance
genre. Either vocal or instrumental, it consisted of repeated phases
called puncta.
CSM10 citole strummed (all verses) |
1. CSM10 citole on melody |
2. Lincoln Cathedral citole and frame drum |
3. PG19 lion harp and frame drum
15. Veni Sancte Spiritus [3:14]
This is one of four medieval songs preserved in the Missale Romanum,
published in 1570 following the Council of Trent. Although the exact,
original notation is vague, this arrangement is a mosaic of the most
common extant tunes.
Both parts played on the CSM70 psaltery
The High Medieval Period (roughly the 11th - 13th Century) was quite
diverse musically. Well before the age of standardized orchestration,
there was rich diversity in instruments allowing much experimentation
with musical style and composition. Especially among the strings, we see
instruments specifically designed to suit the player and the genre.
Since we have no extant instruments from this period (wood is not very
durable) much of what we know is via the art. Granted, some artists take
creative license, but taken as a whole I believe early art work
provides a good depiction of instrumentation.
The songs on this album were recorded on instruments modeled after two primary sources--the Cantigas de Santa Maria
from the 13th Century court of Alfonso X and the sculpted Twenty-four
Elders' Instruments over the Portico de Gloria in the Santiago de
Compostola cathedral.
Most of these songs have accompanying lyrics. For this project, however,
the instruments are showcased. I typically added or highlighted a
different instrument in each successive verse, ending with all
instruments in unison. Realizing there are varying opinions regarding
the "correct" interpretation, voicing, tempo, or phrasing, I chose to
err on the side of presenting the acoustics and performance
characteristics of the instruments. Simplicity and clarity of tones were
favored over potentially more creative performances.
FOR THOSE INTERESTED IN THE TECHNICAL ASPECTS...
These pieces were recorded and produced using Presonus Studio One
Professional 4 and Celemony Melodyne. My goal was to preserve the tonal
quality of each instrment, in order to recreate a historically accurate
artifact. I removed ambient noise (not the noises of string squeaks and
overtones) and corrected my own playing deficiencies such as tempo
variation and wrong notes. When a repetitive section was "perfected",
that loop was used for all repeated verses. The final mix was enhanced
with a touch of reverb and delay in order to offset the deadness of my
recording space.
The Instruments
http://roserockmedia.net/RoserockWeb/ResoundingWeb/instruments.html
All of the instruments
used in the RESOUNDING PROJECT are period instruments constructed only
from materials available during that period. They are accurate based on
the best research available regarding dimensions, joinery, internals,
and tunings.
For the designs, I rely heavily on manuscripts, illustrations, and
written descriptions. Earlier instruments tend to be based more on
artwork of the period, since written specifications are rare.
When I construct an instrument,
I consider its purpose within four possible categories. This determines
the actual materials, methods, and degree of accuracy that I employ.
Category 1 - Display
Intended to be only a visual/artistic reconstruction of the instrument. May not be playable.
Category 2 – Educational/Performance
To be used primarily as an educational resource, allowing the player and
audience to see and hear a reasonable recreation. Not using period
tools or material, although the general construction is highly based on a
real instrument or combination of characteristics from similar
instruments.
Category 3 – Research
An instrument that is constructed of period materials and has the same
structure and features of the period instrument. Modern tools and
methods may have been used to achieve these results.
Category 4 – Museum
The instrument for all practical purposes is the same as the original.
Period tools, materials, and methods were used to make an artifact that
is modeled after a known instrument.
All of the instruments heard in the RESOUNDING PROJECT are of category 3 or 4 standards.
Lion Harp
Modeled after one of the sculpted instruments of the Twenty-four Elders
arching over the Portico da Gloria in the Santiago de Compostela
Cathedral, circa 1188.
CSM10 Citole
Four-string citole depicted in the illumination for the 10th cantiga in the Cantigas de Santa Maria.
Parma Citole
A reconstruction of the citole featured in a Benedetto Antelami baptistry sculpture in Parma, Italy, c. 1180.
CSM210 Viol
This bowed viol is essentially the cello of the consort. It has 3 gut strings stretched over a tunable goatskin head.
Organistrum
A cranked stringed instrument similar to a hurdy-gurdy. This instrument
is based on the one in the center of the Portico da Gloria.
PG9 Citole
A plucked citole played by the 9th Elder in the Portico Gloria sculpture.
Lincoln Cathedral Citole
An angelic instrument from a sculpture in the cathedral at Lincoln, England, c. 1270.
CSM70 Psaltery
Based on the illumination for Cantiga 70.
Rebec
Bowed rebecs were quite varied in shape and size. This one is modeled
after "King David with Musicians" from Koninklijke Bibliotheek, The
Hague, MS 76E II, circa 1200.
CSM50 Psaltery
A double-course psaltery patterned after those illustrating CSM 50.
CSM80 Psaltery
A simple, rectangular psaltery as seen with Cantiga 80.
CSM290 Psaltery
An unusual psaltery with 4 courses of 4 metal strings.