Festive Fayre. 1400-1800
/ Musica Antiqua
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Symposium 1157
1993
C
FESTIVE FAYRE
In Early Times music was in every way as varied as it is today. Sacred,
serious, dance, ceremonial, folk, easy listening and so on; human
requirements change little over the years.
Until some 250 years ago composers were, in the main, humble craftsmen
serving the requirements of their patrons be it Priest, Baron, or
wealthy Merchant. There were no distinctions between “Pop” and serious
composers, all had to turn their hand to whatever was required of them.
The main differentiation was social, between Court and Country, Gentry
and Peasant. From the latter came the great heritage of Folk Music
which evolved spontaneously down generations, whilst the former
provided the composed music.
The catalyst between the two were the wandering minstrels, highly
versatile but often destitute musicians who travelled from village to
village, town to town providing entertainment to all and sundry.
This recording presents a selection of popular music spanning some 500
years from the 14th to 18th centuries. However there are common threads
which run through all the items, namely, attractive repeatable tunes, a
firm beat, and an on-going rhythmic impulse. 200 years on, the
ingredients have not changed.
Although there is much early music that requires formidable technical
accomplishments, composers also had to produce music of the highest
quality that could be performed by lesser mortals. Such are the pieces
presented here, the music in many cases being readily available in
excellent reasonably priced editions.
By providing full details of publishers and catalogue numbers Musica
Antiqua hope that listeners are encouraged to savour the delights of
playing music themselves.
Where possible copies of period instruments have been used but specific
instrumentation is not called for and the “authentic” spirit of the
music can also be realised on modern instruments both acoustic and
electronic.
In Festive Mood is mainly instrumental and draws on material from all
over Europe including a sequence of rarely heard Polish dances. Songs
were often played instrumentally as instanced in 'Renaissance Medley' and
'String and Pipe'.
In Festive Voice by contrast is predominately for voices and
instruments and includes many familiar carols in not so familiar
arrangements.The old French 'Carole' was a primitive ring dance and is
usually credited with being the forerunner of the carol as we know it.
Indeed carols were often dance-like in character and were a feature of
all the major festivals. Even the Victorians could not resist this
aspect on occasions as instanced by “Ding Dong Merrily” an old French
Bransle reputedly danced by the downstairs staff after a hard days
work! and “Good King Wenceslas” originally a Scandinavian dance-carol
celebrating the advent of Spring.
Many of the carols have been taken from the excellent “Penguin Book of
Christmas Carols”, a delightful mixture of the “Top Ten”, the familiar
and the unusual, together with many tuneful descants written by the
editor Elizabeth Poston. Having gained so much pleasure from this
collection we would commend it not only for its music but also for its
interesting and informative introduction.
MUSICA ANTIQUA
MUSICA ANTIQUA was formed in 1962 by Michael and Dorothy Uridge, and Alan and Stella Giles who
all had an interest in early music and instruments. Gradually their numbers grew until they had about
sixteen regular members at the times these recordings were made. Over the years they have given many
performances mainly in and around the South Coast. Highlights have included visits to Coventry and
Chichester Cathedrals, and appearances have been made in the Brighton, Portsmouth and Greenwich
Festivals. In 1982 and 1984 they made visits to the wonderful city of Dubrovnik in Yugoslavia where they
had the privilege of playing both in the beautiful Franciscan Monastery Church and the Ducal Palace.
THE INSTRUMENTS
Michael Uridge
IN FESTIVE MOOD
A
DANCES FROM L'ORCHESOGRAPHIE – 
Thoinot ARBEAU (1588/9)
1. Morisco [1:50]
Rauschpfeife, Cittern, Krummhorn, Bongos –
source: 1
2. Bouffons [0:53]
Krummhorns, Renaissance Viol, Renaissance Rackett, Bongos
2
3. Pavane [0:36]
Renaissance Viol, Recorders, Renaissance Rackett
3
4. Bransle l'Official [0:49]
Rauschpfeife, Krummhorn, Drums, Cymbals
1
B
RENAISSANCE MEDLEY
5. Masque Dance [1:05]
William BRADE (1560-1630) – 
Recorders, Guitar, Renaissance Viol, Cornamusa
4
6. Wer war es, der lorbeer brach (The Crushed Laurel) [0:52]
J. CLEMENS non PAPA (1510-1556). Two Trios – 
Krummhorns, Gemshorn
5
7. Ich stund an einem Morgen (I Stood One Morning) [0:50]
J. CLEMENS non PAPA (1510-1556). Two Trios – 
Recorders
5
8. Es ist ein Schnee Gefallen (Snow Has Fallen) [0:46]
Caspar OTHMAYR (1515-1553) – 
Renaissance Viol, Mediaeval Recorder, Recorders
6
9. Die Weiber mit den Flohen (Women and Fleas) [0:46]
Ivo de VENTO (1540-1575) – 
Krummhorns,Tulip
7
C
PASSTIME WITH GOOD COMPANY
10. Passtime With Good Company [1:41]
Attributed to HENRY VIII – 
Voices, Krummhorn, Bass Viol, Drum 8
11. Fuggit Amore [1:43]
Giovane Domenico da NOLA (1515-1592) – 
Voices 9
12. Wassail Song [1:41]
Yorkshire Traditional – 
Voices, Recorder, Renaissance Viol 10
13. Bring Us Good Ale [2:05]
Mediaeval English – 
Voices, Shawm, Drum 11
14. Tourdion Estampie [1:11]
Pierre ATTAIGNANT. Pariser Tanzbuch 1530 – 
Shawm, Bongos, Drum, Cymbals 12
D
STRING AND PIPE
15. Cantiga n.° 10
CSM 7
[1:24]
ALFONSO el SABIO – 
Psaltery 13
16. Leaping and Dancing [0:41]
Catalan Folk Carol – 
Andalusian Pipe 10
17. Cantiga n.° 5
CSM 166 [1:14]
ALFONSO el SABIO – 
Psaltery, Gemshorn, Cornamuse, Drum 13
E
SLAVONIC FOLK MEDLEY Anon. 16th Century [Let's Be Cheerful #3, 4, 5, 6, 37]
18. Folk Tune [1:54]
Psaltery, Alto Gemshorn 14
19. Folk Tune [1:00]
Sopranino Gemshorn, Psaltery 14
20. Polka [1:05]
Rauschpfeife, Percussion 15
21. I Cannot Forget Thee [0:45]
Viols, Cornamusa 15
22. Walachian Dance [1:21]
Rauschpfeife, Xylophone,Krummhorn, Percussion 14
F
POLISH DANCE SEQUENCE
16
[Let's Be Cheerful #9, 10, 11, 12, 13, 14]
23. A Good Polish Dance [0:51]
Anon. from the Organ Tablature of Christian Loeffelholz –
Cabinet Organ, Sopranino Recorder
24. Cantino Polnica [1:16]
Anon. from a Lute Tablature of 1619 –
Cabinet Organ, Descant Krummhorn
25. Dance [1:46]
Mikolaj of CRACOW, from Jan of Lublin's Organ Tablature –
Cabinet Organ
26. “Heyduck” Dance [1:10]
Mikolaj of CRACOW, from Jan of Lublin's Organ Tablature –
Cabinet Organ
27. Polish Dance [1:37]
Anon. from the Lute Tablature of Mateusz Waisselius –
Cabinet Organ (Regal Stop), Treble Recorder
28. Snatching Dance [0:49]
Anon. from a 17th Century Lute Tablature –
Cabinet Organ, Sopranino Recorder
IN FESTIVE VOICE
G
CZECH CAROL COLLECTION [Let's Be Cheerful #18, 19, 20, 22, 23]
29. Tydlidom [0:57]
Cittern, Descant Gemshom, Cornamusa, String Drum 10
30. Bohemian Traditional Carol [0:53]
Recorders, Viol, Cornamusa 17
31. The Birds [0:46]
Mediaeval Descant Recorder, Recorders, Triangle 18
32. Furiant [0:53]
Renassiance Descant Recorder, Cittern, Cornamusa 10
33. The Drummer Boy [1:19]
Krummhorns, Tabor 19
H
TRADITIONAL CAROLS
34. Tydlidom [1:09]
Walachian Folk Carol – 
Voices, Cittern, Renaissance Rackett, Drum 10
35. As I Rode Out [1:12]
16th Century English – 
Voices, Recorder, Renaissance Viol, Drum 20
36. Tomorrow Shall Be My Dancing Day [1:41]
English Traditional – 
Voices, Psaltery, Andalusian Pipe 10
37. Rocking [2:13]
Czech Traditional – 
Voices 10
38. On Christmas Night All Christians Sing [1:27]
Sussex Traditional – 
Voices, Psaltery, Krummhorn, Recorder 10
I
INSTUMENTAL INTERLUDE
39. Pavanne and Gaillarde “Est il conclud” [3:05]
Claude GERVAISE, The Attaignant Dance Prints 1557 –
Recorder, Bass Viol 21
40. Pastorale [2:22]
Antonio VIVALDI –
Recorders, Guitar 22
41. Pavanne and Gaillarde Premiere [1:55]
Etienne du TERTRE, The Attaignant Dance Prints 1557 –
Recorders, Bass Viol 23
J
CHRISTMAS MEDLEY
42. O Bethlehem [2:20]
Basque Traditional – 
Voices, Recorder, Renaissance Viol 10
43. Lullay, Lullay, Thou Littel Tyne Child [2:16]
16th Century English, The Coventry Carol  
20
Soloists: Dorothy Uridge, Peter Vaughan; Renaissance Viol, Kortholt, Cornamuse
44. Puer Natus – A Boy is Born in Bethlehem [1:28]
Michael PRAETORIUS (1571-1621) –
Voices, Krummhorn, Renaissance Viol 24
45. Puer Natus [0:22]
Michael PRAETORIUS (1571-1621). Medley For Two Gemshorns –
Soprano, Alto Gemshorns 24
46. Walk Ye in All the Ways [0:54]
Adam GUMPELZHAIMER (1559-1625) –
Two Alto Gemshorns 25
47. Joseph Lieber Joseph Mein [0:39]
Leonhardt SCHRÖTER (1540-1595) –
Two Alto Gemshorns 26
48. Joseph Dearest Joseph Mine [2:09]
16th Century Crib Carol –
Voices, Recorder, Bass Viol 10
49. Tempus Adest Floridum [1:40]
Mediaeval Spring Dance Carol  
10
a) Voices, Psaltery, Mediaeval Recorder — b) Mediaeval Recorder, Psaltery, Maracas
50. As I Sat on a Sunny Bank [1:30]
English Folk Carol – 
Voices, Recorder, Bass Viol, Bells 10
K
DANCES FROM MUSICALISCHER TUGENDTSPIEGEL 1613
Erasmus WIDMAN
27
[Let's Be Cheerful #28, 31, 32]
51. Dorothea [0:52]
Viols, Recorder, Cornamuse, Kortholt, Glockenspiel
52. Maria [1:35]
Viols, Recorders, Renaissance Rackett
53. Susanna [1:09]
Viols, Recorders, Renaissance Rackett, Xylophone, Tabor
L
SONGS OF PRAISE
54. Von Kimmel Hoch [1:32]
Samuel SCHEIDT (1587-1654) –
Soloist: Dorothy Uridge; Renaissance Viol, Kortholt, Cornamuse
28
55. All People That on Earth Do Dwell [2:34]
Voices, Krummhorns, Viol, Rauschpfeife 29
Arrangements by Louis BOURGEOUS & John DOWLAND
SCHEDULE OF SOURCES
Title of Publication / Editor · Arranger / Publishers
1 Alte und Neue Tanze / Hans Bergese / B. Schott, Mainz · 3573
2 Twelve Dances from Arbeau's Orchesography / Freda Dinn / Schott, London · 11002
3 Six Sixteenth Century Quartets / Walter Bergmann / Schott, London · 5719, RMS 494
4 William Brade Nine Masque Dances / Bernard Thomas / London Pro Musica · LPM TM32
5 Antiqua Chorbuch Vol 2 Book 2 / Helmut Monkemeyer / B. Schott Söhne, Mainz · 4257
6 Music for Crumhorns Vol 1 / Bernard Thomas / London Pro Musica · LPM MCR1
7 The Renaissance Band Vol 5 / Bernard Thomas / London Pro Musica · LPM RB5
8 Musica Britannica Vol XVIII / John Stevens / Stainer and Bell · 5408
9 Giovan Domenico da Nola. Nine Villanelle / Bernard Thomas / London Pro Musica · LPM TM41
(Translation: Alan Robson)
10 The Penguin Book of English Carols / Elizabeth Poston / Penguin Books Ltd
11 Bodleian Library Manuscript
12 Pierre Attaingnant Pariser Tanzbuch / F.J. Giesbert / B. Schott, Mainz · 3758
13 Transcribed from original source
14 From Old Czech Collections. Pieces in two parts / Pavel Klapil / Veb Deutscher Verlag für Musik
15 Slavonic Tunes / Walter Bergmann / Schott· 10839
16 Music of the Polish Renaissance / Jozef M. Chominski, Zofia Lissa Polski / Wydawnictwo Muzyczne · 1955
17 Carols for Choirs No. 2 / C.H.Trevor / OUP
18 The Oxford Book of Carols for Schools / Freda Dinn / OUP
19 "Carol Gailey Carol / Beatrice Harrop / A & C Black Ltd
20 Two Coventry Carols / Richard Rastell / Antico Edition · A.E.0006
21 The Attaingnant Dance Prints Vol. 3 / Bernard Thomas / London Pro Musica · LPM AD3
22 Neun Pastoralen alter Meister // Hermann Moeck, Celle · 2060
23 The Attaingnant Dance Prints Vol. 7 / Bernard Thomas / London Pro Musica · LPM AD7
24 Der Chorsinger Nun Finger und Feid Froh / Gennann Meyer & Karl Votterle / Bärenreiter-Ausgabe · 2713
25 Canons and Rounds / Eric M. Cates / Schott, London · 10100 RMS 11a
26 Hausmusik sur Weihnacht / Albert Rodemann / Hermann Moeck, Celle · 2032
27 German Instrumental Musicof the Late Renaissance / Bernard Thomas / London Pro Musica · LPM GM10
28 Das Gorlitzer Tabulaturbuch / Christhard Mahrenholz / Edition Peters · 4494
29 From Arrangements by Louis Bourgeous and John Dowland
Director: Michael Uridge
Instrumentalists
Michael Uridge, Dorothy Uridge, Pamela Vaughan, Shirley Vaughan, Peter Vaughan,
Neil Turner, Jeanette Ward, Heather Saint, Penelope Shone, Jeremy Backhouse, Stella Giles.
Soloists
Dorothy Uridge — Soprano
Peter Vaughan — Bass
Neil Turner — Cabinet Organ
Michael Uridge — Renaissance Woodwind
Singers
Anne Metherell, Mary Kelly, Pauline Barstow, Stella Giles, Anne Clark, Heather Saint,
Ursula Staunton, Mary Britain, Penelope Shone, Peggy Titmus, Dorothy
Uridge, Christine Constable, Jane Weaver, Neil Turner, Stephen Powell,
Peter Vaughan, Jeremy Backhouse.
Taken from recordings made in the Parish Church of St Mary's,
Goring-by-Sea, West Sussex by kind permission of the Vicar, The Rev. P
H E Bennett, during 1980, 1981, and 1983. Produced and edited by
Anthony Hodgson and Michael Uridge. Engineered and balanced by Anthony
Hodgson, assisted by Peter Parsons. Mastered by Bob Auger Associates
and Gemini Sounds.
Cover Design: Becca Smith
Copyright: This recording with its notes is copyright. It may not be
broadcast, copied, hired out or publicly performed without written
permission.
It is hardly surprising given the size of Europe and the hazards of
travel and communication during Mediaeval and Renaissance times that
the variety of instruments is inexhaustible. A craftsman was
responsible for every instrument and thus each was a unique product.
Since it is only occasionally that composers specified instrumentation,
performers were left to choose their own in accordance with
availability, ability and personal preference.
All the instruments used are replicas and by modern craftsmen. The
Early Music Shops in Bradford and London offer a comprehensive service
and sponsor a biannual November exhibition normally held in the New
Horticultural Hall in London.
1. RECORDERS
The most versatile of the wind instruments, were in constant use from
the 12th to 18th centuries. During this time, they evolved
considerably to accomodate developing musical requirements until they
were gradually superseded by the more expressive transverse flute
during the 17th and 18th centuries. Their development can be traced as
follows:
The Mediaeval Recorder
Examples have been discovered and dated back to the 14th century and
modern copies produced. They had a very wide parallel bore with large
finger holes, producing a chuffy yet powerful tone. This means that
they are at their best in the lower octave, intonation in the upper
octave becoming especially difficult. As much Mediaeval music has a
limited melodic range, this is not a disadvantage. The principal sizes
of mediaeval recorder correspond to the Sopranino descant and treble as
we know them today.
The Renaissance Recorder
Also had a parallel bore modified to give a clear powerful bell-like
tone with an extended reliable range. They were ideal instruments for
playing in consort and with other instruments and voices.
The Baroque Recorder
Has a conical bore and a clear range of over two octaves. It was
developed specifically for solo use in such forms as sonatas, trio
sonatas and concerti. Most modern examples have a characteristic reedy
tone but surviving 17th century instruments by makers such as Bressan
produce a tone quality nearer to that of the transverse flute.
Gemshorns
Are recorders made from the horns of goats, deer and cattle. Because
they have a very wide bore, they cannot be overblown and they normally
have a range of only 9 notes. They are very easy to play and possess a
unique tone quality that always brings forth appreciative comments.
2. WINDCAP REED INSTRUMENTS
Were very popular during the Renaissance and are played by blowing
through a slit in a windcap onto a double reed placed in the top of the
instrument. Basic fingering is similar to the recorder but over-blowing
is impossible because the player has not direct control over the reed.
Like nearly all Renaissance instrtunents they were produced in
families for consort playing.
Krummhorns (Bent horn)
Have the appearance of an up-turned walking stick and produce a
characteristic and appealing buzzy sound, ideal for consort playing and
accompanying voices. A consort of krummhoms is an experience in itself
although comments concerning the arrival of a swarm of bees are not
unknown.
Cornamuse
Is effectively a straight krummhorn but producing a quieter sound.
There is some mystery concerning this instrument because no originals
have yet come to light whereas there are numerous surviving krummhorns.
In Mediaeval times, cornamuse referred to a bag-pipe type of instrument
and the Renaissance cornamuse as we know it today is basically a
bagpipe chanter. There is contemporary written evidence of their
existence.
Kortholt (Short wood)
Again similar but quieter in sound to the krummhom. These instruments
are characterised by having connected twin-bores, which not only halves
the length of the instrument for a given basic pitch but also allows an
extended range of an octave and a sixth.
Renaissance Rackett
The parallel bore concept pushed to an extreme of 9 connecting bores
placed in parallel to produce an instrument able to play the 3rd F
below middle C whilst being less than a foot in length. This is neither
a windcap nor a free reed instrument as the player's mouth acts as the
windcap with the lips resting on a pirouette surrounding the reed. The
rich buzzy quality is very effective when doubling other bass
instruments and voices.
Rauschpfeife (Shrieking pipe)
This is a shawm (see below) played through a windcap as opposed to
placing the reed direct into the mouth. Its conical flared bore gives
it a raucous strident quality. The sopranino Rauschpfeife is especially
suitable for topping a loud consort or playing a rowdy dance.
3. OPEN REED INSTRUMENTS
Shawms
This family of loud outdoor instruments, from the smaller members of which the oboe was developed in the 17th
century, are still very much in use all over the Middle and Far East
today. Indeed, shawm bands are still to be found in Spain and Brittany.
A full shawm band is an exciting sound with the family ranging from the
one foot schalmei to the 10ft bombards. These bands were very popular
in Renaissance Germany.
4. STRINGED INSTRUMENTS
The Viol
It is possible that the viol and the guitar have a common ancestor in
the vihuela of Medieval Spain which could be either plucked or bowed.
Viols were made in several sizes and played whilst being supported by
the legs. They normally have six strings and frets were used to
determine the individual notes. Like so many Renaissance instruments,
they were ideal for playing in consort together and with other
instruments. They attained their golden age in the consort music of
Elizabethan England. The bass Viola da Gamba was extensively used as a
continuo instrument during the Baroque period as well as having quite a
considerable solo repertoire.
The Guitar
Needs no introduction and as indicated has a common ancestor with the viol.
The Cittern
This is a fretted double strung instrument, probably developed from the
citole of Mediaeval times. It has unusual re-entrant tuning whereby the
third string is tuned lower than the fourth string. Having a flat back,
it looks rather likes banjo. It has an extensive solo repertoire and
became a very popular instrument, so much so that it could often be
seen hanging in barber's shops to enable waiting customers to while
away the time. It can be plucked either with the fingers or with a
plectrum.
The Psaltery
Here a number of strings are stretched across a sound board and usually
it has sufficient strings to enable the player to use both hands, thus
providing an accompaniment to the melody. Like so many of our
instruments, it was of Eastern origin and found its way into Europe
during the Crusades. The example used in this record is a pig-snout
psaltery, so-called because of its shape.
5. THE CABINET ORGAN
A portable instrument, with four ranks 8ft, 4ft, 2ft and regal. Built to be carried in the back of an estate car,
nevertheless it was found adequate for service as continuo organ in Bach's B Minor Mass in the Royal Festival Hall.
6. PERCUSSION
Percussion has always played an important part in popular music, this
is especially so in dance music where an insistent steady beat is
required. As will be seen a wide variety of percussion is used on this
recording including tuned percussion such as the xylophone,
glockenspiel, bells and string drum.