This blog is where I share resources for each Imaginary Song Hunt session, along with a catch-up Zoom video. Feel free to use the ‘comments’ box below to share feedback, fun facts, or just say hello!
In this session we tackled Crist and Sainte Marie, one of the three songs by Saint Godric of Finchale. This one is rather special because the manuscript contains stage directions for a very small-scale dramatisation. Like Godric’s other songs, this came to him in a divine vision. His sister, Burchwen, comes to him accompanied by angels, to reassure him that she is being cared for in heaven.
This blog is where I share resources for each Imaginary Song Hunt session, along with a catch-up Zoom video. Feel free to use the ‘comments’ box below to share feedback, fun facts, or just say hello!
In this ‘Valentine’s Day special’, we had some fun with Veni dilectissime, a goliardic song from the ‘Cambridge Songs’, which is a collection compiled in the Rhineland the late 11th century, and preserved in a manuscript copy now in Cambridge University Library. The words of this song are a little risqué, so a medieval attempt was made to ‘censor’ them by splodging them out of the manuscript!
Slides from the session
Catch-up video
N.b., the Sequentia song I played during this session had to be cut out due to copyright restrictions. But you can find it linked in the ‘recommended listening’ section, below.
My arrangement of the song…
Score
Veni dilectissime – Full Score
As always, this is available for your personal use, but please don’t share or distribute, especially online. 🙂
Further listening
Albums of music from the ‘Cambridge Songs’ manuscript:
This blog is where I share resources from each Imaginary Song Hunt session, along with a Zoom video for anyone who wants to catch up. Feel free to use the ‘comments’ box below to share feedback, fun facts, or just to say hello!
This session explored the oldest known poem in the English language, Cædmon’s Hymn, which, according to the 8th-century historian Bede’s account, came to Cædmon in a divine dream, even though he couldn’t sing or play music. In Bede’s narrative, Cædmon sang the song to various people, including the Whitby Abbess Hild, who were moved by its quality, and the song thereafter became widely known. No musical notation has survived for this ‘song’, so I think it’s fun to reimagine possible melodies for it. The resources here give a glimpse into the process that Hanna Marti and I used to create our own version of the hymn. I am hoping that they might be of use to others too! There’s no right or wrong answer, so plenty of scope for creative interpretation.
Slides from the session
I usually embed the slideshow from every Hunt here, but this time I’m including a ‘Medieval Reimagining Toolkit’ (by myself and Hanna Marti) instead. It’s based on the slideshow used in a slightly longer version of this workshop, and includes a lot of additional information about helpful books, articles, and online resources, with links you can click if you want to go into more depth on any of the topics. I hope it’s interesting! I can’t pretend it’s comprehensive – not even close… so if you notice something important that we’ve missed, please pop it in the comments below.
I’m still editing the performance video I showed during this session (busy couple of weeks!) But you can see it in the above video, at 16:22 in draft form, and it will be on YouTube with full subtitles from 11 Feb.
Scores
Caedmon’s Hymn, S Conner 👈 This is a very rough score of the version on my album, Riddle Songs – feel free to make use of it for your own projects, if it’s helpful, but the document itself for your eyes only.
Further listening
No songs in Old English have survived with notation, but here are a couple of gorgeous albums that will enable you to immerse yourself in very rigorously reconstructed sounds of early medieval England.
Susan Rankin publication list (see especially ‘On the Treatment of Pitch in Early Music Writing’ and ‘Writing and Reading. Word and Sound in the Ninth Century’.
This blog is where I share resources from each Imaginary Song Hunt session, along with a Zoom video for anyone who wants to catch up. Feel free to use the ‘comments’ box below to share feedback, fun facts, or just to say hello!
This session explored the Irish folksong ‘In the Month of January’ (also known as ‘The Fatal Snowstorm’ and ‘The Cruel Father’), which tells the story of a young woman who is seduced and made pregnant, then abandoned by (presumably much wealthier) young man, and is tragically cast out by her family as a result – not an uncommon theme in traditional song!
Slides from the session
I’ll embed the slideshow from every Hunt here, with some extra clickable links.
Video
Full session, for anyone who’d like to catch up:
New performance video (currently unlisted; to be released online 24 Jan):
Scores
You’re welcome to use this score for your own performances, but please just credit me if you do so (and let me know, in case I can come and listen 🙂). I am always grateful for feedback on my scores!
You might remember Stella Richardson giving some nice listening suggestions at the end of the session. She pointed out some parallels with the song ‘Henry the Poacher’, which she and Tony had heard sung by The Young Tradition. There are some melodic similarities, as well as a few lyrical formulas that pop up in both songs, but this one is a tragedy from the perspective of a young man, transported for poaching. It’s a subject close to my heart, since my mum’s amazing family tree research revealed that this was the fate of lots of my ancestors! We haven’t found that particular recording online, but here’s another nice one (sourced by Tony):
And by another ‘source’ singer, Harry Cox, whose singing has been a big influence on me (I’ve made arrangements of his songs for my choir).
Any other folky parallels spring to mind? Floating verses? Similar stories? Please do share in the comments if so…
This blog is where I share resources from each Imaginary Song Hunt session, along with an edited Zoom video for anyone who wants to catch up. Feel free to use the ‘comments’ box below to share feedback, fun facts, or just to say hello!
In this special preview event, we dipped into a few pieces of music from different periods, to get a flavour of the kinds of things the song hunt will explore when it starts in the New Year. We looked at the earliest known Christian song, the Oxyrhynchus Hymn, skimmed over medieval chant for Saint Nicholas, and learned St Godric of Finchale’s song for Saint Nicholas, one of the three oldest songs in English for which notation has survived. We also looked at medieval techniques for making two-part harmonies.
Slides from the session
I’ll embed the slideshow from every Hunt here, with some extra clickable links. For image information, click any of the pictures to visit the online source.
Video
Full session, for anyone who’d like to catch up:
New performance video (due to go online in a couple of weeks):
Scores
You’re welcome to use this score for your own performances, but please just credit me if you do so (and let me know, in case I can come and listen 🙂).
The Saint Nicholas Centre has a comprehensive discography and resource list for medieval music devoted to Saint Nicholas, so rather than try to make my own, I’ll simply direct you to this link: medieval music and plays for Saint Nicholas.
But here’s a particularly fabulous recording of Godric’s songs, by Sequentia, using the kinds of organum techniques we discussed in the session:
From the Song Hunters…
Mille gratias to Helen Wellen for the dorkiest meme in the whole history of the internet:
Exeter Book Riddle 51 (or 49): Ic seah wrætlice wuhte feower samed siþian… / I saw four weird fellows traveling together as one…
An Old English riddle from the tenth century, set to new music.
Composed and performed by Hanna Marti.
Old English text: Ic seah wrætlice wuhte feower samed siþian swearte wæran lastas swaþu swiþe blacu swift wæs on fore fulgum framra fleotgan lyfte deaf under yþe dreag unstille winnende wiga se him wægas tæcneþ ofer fæted gold feower eallum.
Translation:
I saw four weird fellows traveling together as one.
Dark were their tracks, the path very black.
They moved quickly, faster than birds:
Flew through the air, dove under waves.
The fighting warrior who showed them the way
over plated gold – all of the four.
SOLUTION: Various solutions have been proposed. Stef and Hanna like: hand writing with a quill-pen.
Click here to read more about the riddle (and see possible solutions), on Megan Cavell’s brilliant ‘The Riddle Ages’ blog. And click here to see an alternative translation.
Exeter Book Riddle(s?) 68 and 69 (or 66) [Confused about all the numbers? CLICK HERE], I saw the creature going on its way… / Ic þa wiht geseah on weg feran…
An Old English riddle from the tenth century, set to new music by Stef Conner and Hanna Marti.
Old English text:
Ic þa wiht geseah on weg feran.
heo wæs wrætlice, wundrum gegierwed.
Wundor wearð on wege; wæter wearð to bane.
Translation:
I saw the creature going on its way.
It was splendidly, wonderfully arrayed.
The wonder was on the wave; water became bone.
SOLUTION: Most likely WATER (turning to ice).
Click here to read more about the riddle (and see possible solutions), on Megan Cavell’s ‘The Riddle Ages’ blog. And click here to see an alternative translation.
Exeter Book Riddle 83 (or 79), My lineage is ancient / frod wæs min fromcynn…
An Old English riddle from the tenth century, set to new music by Hanna Marti.
Old English text:
Frod wæs min from cynn biden in burgum siþþan bæles weardwera life bewunden fyre gefælsad nu me fāh warað eorþan broþor se me ærest wearþ gumena to gyrne Ic ful gearwe gemon hwa min fromcynn fruman agette eall of earde ic him yfle ne mot ac ic on hæft nyd hwilum ārære wide geond wongas hæbbe ic wunda fela middangeardes mægen unlytel · Ac ic miþan sceal monna gehwylcū degolfulne dōm dyran cræftes siðfæt minne saga hwæt ic hatte.
Translation:
My lineage is ancient, I lived in towns
since the fire-guardian wrought with flame
my clean beginning in the world of men.
Now earth’s brother, an enemy, guards me,
who was first for me a bringer of sorrow.
I remember who in the beginning
drove my lineage, destroyed all the world.
I may do him no harm
but I raise up captivity from time to time,
the wide world over.
I have many glories, no little strength
in all the land,
but I must conceal from every man
the secret power of precious skill
and the path I follow.
Tell what my name is!
SOLUTION: Several solutions have been proposed. Stef and Hanna like: GOLD.
Click here to read more about the riddle (and see possible solutions), on Megan Cavell’s ‘The Riddle Ages’ blog. And click here to see an alternative translation.
Exeter Book Riddle 47 (or 45), A moth ate words… / Moððe word fræt…
An Old English riddle from the tenth century, set to new music.
Composed and performed by Hanna Marti and Stef Conner.
Old English text:
Moððe word fræt. Me þæt þuhte wrætlicu wyrd, þa ic þæt wundor gefrægn, þæt se wyrm forswealg wera gied sumes, þeof in þystro, þrymfæstne cwide ond þæs strangan staþol. Stælgiest ne wæs wihte þy gleawra, þe he þam wordum swealg.
Translation:
A moth ate words! It struck me
super strange, when I heard
a worm had swallowed someone’s speech-craft.
A thief in darkness, munching through the might of myth.
and its earthly imprint. But that cheeky trespasser was
no wiser for having gulped down all those words!
Click here to read more about the riddle (and see possible solutions), on Megan Cavell’s ‘The Riddle Ages’ blog. And click here to see an alternative translation.
