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

In association for
Season 2016-2017 with:

Jon Aaron
Aaron Concert Artists 
220 West 148th St. 4J
New York City 10039, NY / USA
Tel: 212-665-0313
jon@aaronconcert.com

 

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Program Archive

Lost Songs of a Rhineland Harper

Agnethe Christensen voice
Eric Mentzel voice
Benjamin Bagby voice, lyre, harp
Norbert Rodenkirchen flute, lyre

Introduction

What did secular European song sound like one thousand years ago? Who were its singers and what instruments did they play? Where, and under what circumstances, have their songs survived? Can we ever hope to reconstruct music from such a distant age? These are the questions which led to my initial search for the lost songs of a performing musician whose name remains unknown to us, a search which now culminates - or at least pauses for reflection - in this program: Lost Songs of a Rhineland Harper.

Almost one thousand years ago a collection Latin and German song was copied into a manuscript by Anglo-Saxon monks in the Abbey of St. Augustine in Canterbury. The original source - or sources - has long since disappeared, but the manuscript copy has survived to this day, and is now found in the library of Cambridge University. Although we will never know what its exact origin was, one thing is clear: many of the songs copied by the monks come from the milieu of learned, aristocratic churchmen in the Rhineland, where cities such as Cologne, Mainz, Worms and Speyer were centers of culture and power in Germany at the turn of the first millennium. In addition, it is striking that many of the song texts from this collection display an intimate working knowledge of music, the voice, and instruments, especially the harp (cithara, lira) and even the flute (tibia). When considering possible sources of the Canterbury collection, the evidence points strongly to the performance repertoire of a learned "citharista", a bi-lingual harper/singer from the Rhineland, whose songs delighted not only aristocratic bishops and their courts, but also powerful abbots, secular nobility (inlcuding the Kaiser’s court), and the young clerical intelligentsia of those bustling river towns with their imposing cathedrals. Here we have the songs of a professional entertainer whose audience was expected to pay for his services (and he might easily have been joined on occasion by another minstrel from the ranks of the itinerant players, or even a poetically-inclined clerical cantor). Our program combines some of the earliest-known musical manuscripts of European song with reconstructions from the Canterbury manuscript, to give a glimpse into the deliciously subtle, long-lost world of an unknown Rhineland harper and his sophisticated audience.

Benjamin Bagby

Repertoire

I. An Ode to Cosmic Harmony

Quod mundus stabili fide, Rhineland, early 11c

II. The Image of Dawn

Cigni; Frankish, 10c
Foebus abierat; Northern Italy, late 10c
Clangam, filii; Winchester, 10c
Phebi claro; Provence, late 10c
Aurea personet lira; Rhineland, early 11c

III. Songs of the Harp

Caute cane, cantor care; Rheinland, early 11c
Magnus Cesar Otto; Rhineland, ca. 996-1002
Rota modos arte; Rhineland, early 11c
David Reges inclita proles; Rhineland, early 11c

IV. The Harper in the Underworld

Felix qui potuit boni; Rhineland, early 11c

V. The Harper in the Snakepit

Atli sendi ar til Gunnars; Iceland, 10c

VI. Desire and Seduction

Iam, dulcis amica, venito; Aquitaine, late 10c
Advertite, omnes populi; Rhineland, 11c
O admirabile Veneris idolum; Northern Italy, 10c
Puella turbata; Frankish, 10c
Suavissima nunna; Rhineland, 11c
Veni, dilectissime; Rhineland, 11c

Upcoming Concerts

17 March 2017
Basel (CH) Predigerkirche, Freunde Alte Musik
Monks Singing Pagans

25 March – 2 April 2017
Lafayette College, Vassar College, Princeton University, Yale University
Benjamin Bagby Beowulf tour USA

1 April 2017
New York City, Symphony Space
Book release event for ‘The Inquisitor’s Tale’

11 May 2017
Paris, Université de Paris – Sorbonne, Amphithéâtre Richelieu
Beowulf

See full concert schedule

 

News

Hildebrandslied

Benjamin Bagby has recorded the only surviving Old High German epic fragment, the Hildebrandslied (The Song of Hildebrand), for inclusion in an audiobook version of Adam Gidwitz’s new book for children and young adults, The Inquisitor’s Tale, just released by Penguin/Random House. He also recorded harp accompaniments to go with portions of the reading of the story. A release event is being schedule for New York City in early April, 2017.

 

New program given birth at Cambridge University

Following working sessions in 2014-15 with University of Cambridge musicologist Sam Barrett in the USA (Harvard University and Ohio State University) and in Cambridge (Pembroke College), Sequentia was in residence at Cambridge in April for the final rehearsals of the new program 'Monks Singing Pagans'.  An informal video of a rehearsal made by the university became a YouTube sensation, with over 500,000 views. In addition to their rehearsals and working sessions on the songs of Boethius, Sequentia gave a masterclass and the premiere performance of 'Monks Singing Pagans', immediately followed by the US premiere during a residency at Dartmouth College (USA). The week spent at Dartmouth included teaching activities in music history, performance practice, Latin poetry and manuscript studies. Sequentia returned to Cambridge in late June to prepare a special program of the Boethian songs, which was given as part of a symposium on medieval Latin song, with a special concert on 2 July in Pembroke College Chapel.

 

Teaching in Basel and Milano

Benjamin Bagby will be teaching performance courses on medieval song at two music academies this year:

Schola Cantorum Basiliensis (Basel, Switzerland): 31 October to 1 November 2016 and 13-14 March 2017

Scuola Civica di Musica Claudio Abbado (Milano, Italy): 2-3 December 2016 and 16-18 February 2017

 

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