All you need is love

In the first half of the 16th century, recorders were mostly used in consorts, not individually. Since  we started playing together we have been experiencing how a big part of the chanson repertoire  allows us to express its musical meaning. Therefore chansons are the core part of this programme  (Douleur me bat, Amours, partés, Doulce memoire, Fors seulement). 

It is especially nice to enjoy the connection between music and text in the piece „Weeping full  sore“, by William Byrd [please note that Lady Rich actually existed even though we can’t know if  she really turned the god of love into a stone]. 

Weeping full sore, with face as fayre as silver, 

not wanting rose nor lily white to paint it, 

I saw a lady walke, fast by a river, 

uppon whose bankes Dianaes Nimphes all dawnced, 

her beauty great had divers gods inchaunted, 

among the which love was the first transformed, 

who unto her his bow and shafts had graunted, 

and by her sight, to adament was turned. 

Alas quoth I, what meaneth this demeanure, 

so faire a dame to be so full of sorowe: 

No wonder, quoth a Nimphe, she wanted pleasure, 

her teares and sighes ne ceasse from eave to morow: 

This lady, Rich is of the gifts of beauty, 

but unto her, are gifts of fortune daynty. 

Not exclusively the vocal but also our chosen instrumental pieces have inspiring thematic  background which gives the necessity for research and spontaneous reflections, one example is  „The Image of Melancholly“ by Anthony Holborne. The perception of the word melancholy has  been changing throughout history. One important shift happened in 16th and 17th century,  starting in England, where Robert Burton (1577 - 1640) wrote a whole book about the medical and  literal aspects of melancholy. There is a point of view that connects melancholy to artistic work  and makes sense with the atmosphere of Holborne´s piece: the static waiting for inspiration to  come.  

Living in the 21st century we explore the possibilities of our renaissance instruments both in  historic performance research and contemporary music. In the beginning of 2020 we had the  chance to collaborate with the composer Guy Ben - Tov in Graz and Israel. We developed and  performed a piece referring to itself and the 4 following pieces (Douleur me bat, Browning,  Weeping full sore, Amours, partés).