Sequentia

Ensemble for Medieval Music. Benjamin Bagby, Director

English | Français
Sequentia celebrates its 40th anniversary in March 2017
 
 

Contact

E-mail: info@sequentia.org

Representation
(Europe)

Katja Zimmermann
VCzimmermann@gmx.net

Representation
(exclusive of Europe)

Seth Cooper
Seth Cooper Arts Inc.
4592 Hampton Ave.
Montréal, QC, Canada
www.sethcooperarts.com
sethcooper.arts@gmail.com
Tel: 514-467-5052

 

Follow us on Facebook

Programs

Fragments for the End of Time

Benjamin Bagby voice, harps, symphonia
Norbert Rodenkirchen flutes, harp

Click here to watch a video excerpt from this program, filmed live in concert in 2009

Photos from the Montalbâne Festival 2010 (Germany)

From the time of Christianity’s introduction into Europe until the end of the first millennium, apocalyptic images of the End of Days and the Last Judgement were widespread, both in texts and in the visual arts. These images, based largely on the Biblical Revelation of John, at times bear a remarkable similarity to the pagan Germanic descriptions of the world’s destruction during the final terrible battle (Ragnarök) between the gods (Odin, Thor, etc.) and their mortal enemies, the giants. These disparate sources share certain characteristics: the terrifying words of female oracles; the sounding of the horn; the massing of armies from below and above; the breakdown of material reality and the final destruction of the world by fire.

The image of the Apocalypse which most readily comes to mind is associated with the almost incomprehensible mystery of the ‚end of time’, filled with terror and destruction. We envision the chilling image of the four horsemen mercilessly riding down upon our doomed world. But the Greek word apokalypsis actually means unveiling, or revelation, an image strongly linked to our mortal desire for access to the mysteries of existence, to our almost physical longing for union with creation and with the deity. John’s Book of Revelation is not only a faithful report of what he saw and heard in visions on the island of Patmos, but it is also filled with the feeling of his impatience and desire. In all these senses of the word, medieval artists created an especially powerful body of sung poetry, often in obscure images and language, visionary and prophetic, to prepare the singer and listener alike for a particular inner voyage of comprehension, and to awaken the soul to the experience of ‚seeing’ that which is one day to be revealed.

In this program, also released as a CD in 2008, we explore the musical world of these surprising, powerful texts, some of which survive only as fragments: the Old High German Muspilli, which describes the waking of the dead, the workings of Satan, the fight of Elias with Anti-Christ, the call to judgement, and warns of the uselessness of wealth and bribery in that final courtroom; the prophecy of the Erythrean Sibyl (an acrostic text in Augustine’s translation in The City of God) as sung in Aquitanian cloisters; the Alsatian monk Otfrid’s rhyming German verses which describe the terrible final day; the Old English ‘Lay of the Last Survivor’ (found embedded in the Anglo-Saxon Beowulf epic) describes the bleak and lonely end to an unnamed tribe, as their useless treasure is heaped in a cave by the lone survivor, to await a dragon’s arrival; masterful Latin sequences from Frankish tradition, describing the Last Day and praising the archangels; instrumental interludes based on sequelae – untexted sequence melodies with enigmatic titles which point to possible pre-Christian usages; and finally, from the Old Icelandic Edda collection, the harrowing description of the pagan Ragnarök, when ‚Muspell’s People’ and the armies of Surt and Loki launch their final, deadly assault on the indigenous northern European gods.

The instruments used in this concert include reconstructions of Germanic harps (based on 7th century instruments from Oberflacht, near Stuttgart), an early medieval triangular harp, and copies of medieval transverse flutes (including a flute made from a swan’s bone, based on an 11th century instrument unearthed near Speyer).

Duration: 75 minutes, without interval

The Pieces

Fortis atque amara
Frankish sequence (9th century)

...sin tac piqueme, daz er touuan scal
the ‘Muspilli Fragment’, probably Fulda (early 9th century)

Unsar trohtin hat farsalt
instrumental version of the Freisinger Petruslied, Bavaria (late 9th c.)

Thes habet er ubar woroltring
‘de die Iudicii’ from the Evangelienbuch of Otfrid von Weißenburg (Alsace, †875)

Gaude coelestis sponsa
instrumental piece based on Frankish sequence melodies (9th c.)

Thaer waes swylcra fela
the ‚Lay of the Last Survivor’ from the Beowulf epic (Anglo-Saxon, ca. 8th c.)

Occidentana
Instrumental piece based on a 9th century Frankish sequence melody

Iudicii signum
the ‚Prophecy of the Erythraean Sibyl’ (Aquitaine, 11th c.)

Scalam ad caelos
Instrumental piece based on a 9th century Frankish sequence melody

Summi regis archangele Michahel
‘Sequentia, quam Alcuinus composuit Karolo Imperatori’ (Einsiedeln, 10th c.)

A fellr austan um eitrdala
the ‚Prophecy of the Völva’, from the Old Icelandic Edda (Iceland, 10th c.)

Upcoming Concerts

19 August 2018
Curio (TI) Switzerland / Garden of the Seven Mountains
European and Japanese Epic Song (Bagby, with Hanna Marti and Sylvain Guignard)

23 August 2018
Antwerpen, Belgium / Laus Polyphoniae Festival
Beowulf

7 December 2018
Amherst, MA / Amherst College
Monks singing pagans

14 December 2018
Gdansk, Poland / Actus Humanus Nativitas
Monks singing pagans

See full concert schedule

 

News

Benjamin Bagby's teaching activities in 2018

In addition to his teaching position at the University of Paris - Sorbonne, where he has taught since 2005 in the professional masters program, Benjamin Bagby travels widely in 2018 to teach other practical workshops for young professionals:

Milano, Scuola Civica di Musica (Milano, Italy) 29-31 January
The troubadours of the Milano manuscript R71 sup. (late 13th century)

Folkwang Universität der Künste (Essen-Werden, Germany) April-June
Benjamin will join the faculty of this renowned masters program for liturgical chant performance and medieval music, specializing this year in music from Notre Dame of Paris. The dates of his courses: 13-14 April, 18-20 May, 28-30 May and 15-17 June. More information

Schola Cantorum Basiliensis (Basel, Switzerland) 25-26 May

7th International Course on Medieval Music Performance (Besalú, Spain) .
Music relating to the idea of the Crusades, especially in the 12th and early 13th centuries.

Amherst Early Music Festival (Connecticut College, New London CT) 15-21 July
An intensive course on the Roman de Fauvel (14th century)
July 21, 2018, 1 pm "Roman de Fauvel project" (student performance)

Burg Fürsteneck, Germany (31 August to 02 September
Fortbildung zur Musik des Mittelalters / Roman de Fauvel (guest instructor)

More news