Boethius. Songs of Consolation —
Sequentia
[14.5.2018]
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naxosdirect.com |
jpc.de
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The Lost Songs Project
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Berkeley Festival—The Lost Songs Project: Boethius, Songs of Consolation (9th–11th centuries)
[14.5.2018]
medieval.org Remarks
http://www.medieval.org/emfaq/cds/remarks.html
9 July 2018
Todd M. McComb
———
I've kept an eye on Sequentia's productions of music prior to
or from outside of the geographic or cultural confines of
"regular" medieval music, i.e. the emergence of both the
vernacular troubadour repertory & two-voice polyphony out of
the Carolingian Renaissance and into the Notre Dame phenomenon.
By
the twelfth century, and especially into the thirteenth, whereas
there are various musical mysteries of various scopes, there is
also a large supply of documents & materials — written
music, often from a variety of sources, theoretical or other textual
discussions, etc. The volume of material allows for a kind of cross
referencing, especially as iterated through various practical
performance opportunities over the years, that in turn builds
confidence in a correspondence between today's musical results &
earlier sounds.
I shouldn't overstate this confidence or correspondence,
however, as e.g. details of tuning have only been investigated over
the past couple of decades, and details of vocal timbre even more
recently, etc. And so, whereas the earlier or adjunct material
that has continued to fascinate Sequentia over the years comes with
less direct information to study, and so brings more uncertainty,
in many ways, that's only a matter of degree. (One might even say
that this material brings more to study, as the absence of direct
sources can prompt studying an entire surrounding web of indirect
sources... up to the limits of cultural production in total.)
Still,
my interest emerges with those better known repertories, the pre-
& Notre Dame polyphony, and the troubadours, and indeed intensifies
with polyphony of the fourteenth & fifteenth centuries.... From
that perspective, the mysterious monophonic songs pursued by Sequentia
have seemed less compelling, musically speaking, and not simply
more obscure. However, while this material might be musically
obscure, it's often culturally just the opposite: E.g. the Icelandic
sagas or indeed Boethius's Consolation of Philosophy are
iconic, the latter having broadly conditioned Western thought well
into the Renaissance period (after directly influencing e.g. Machaut
& so many others...) & beyond.
So all that said, whereas
I wanted to hear the new Songs of
Consolation reconstruction from Sequentia & scholar Sam
Barrett, I had no expectation of putting it onto
my personal list
— but the music itself won me over, even to the point of
rearranging some sections in that part of the site. The interpretation
is largely based on deciphering (via cross reference, trial &
error, etc.) notation surviving from Canterbury in the 1000s, i.e.
roughly 500 years after Boethius. (And so, whereas one might
consider the accuracy of this reading of 1000s notation, there is
little or no way to judge its correspondence with the sixth century
sound world of Boethius. I'll simply set such a presumptive
correspondence aside.)
This has not been Bagby's first attempt
with this music either, but Barrett's work (published in a large
2013 study) seems to have taken the reconstruction to another level:
Again, whether or not this music is "accurate" in any
sense, it is certainly striking, and creates a uniquely affective
album today. (And as the notes suggest, the principals spent many
years working on this music, both together & separately. This
result didn't arrive overnight. There is also apparently a
"making of" video on Youtube, but I don't patronize the
garish & obnoxious "Youtube," so can't say anything
else about that.)
In other words, I have no direct way to judge
the accuracy of the reconstruction, but it's not derivative: It
forges a real style, whatever that style may be. Beyond the murky
"earliness" then — and the program includes some
of the earliest surviving Western European instrumental tunes as
well — this is also aristocratic music, in the direct sense
with Boethius himself, but also prefiguring the elite impulses
giving rise to the troubadours & Notre Dame (& indeed Western
philosophy). Its historical influence is thus a highly charged
one. Yet, crucial to this space, one actually has the feel of
listening to something new... er, I mean, I guess, old. The
strength of the musical result was thus also quite unexpected.
[19.7.2018]