In the 14+ years I have been playing in the SCA, I have yet to miss a GNEW.
This year was emotionally tough to get motivated for. Had I not had prior commitments, I had thought about skipping. It has nothing to do with the event itself as it is a wonderful event. It had nothing to do with the offerings or the people. It was simply “It’s hot, I’m tired and I don’t wanna”.
The weather until the day before had predicted rain. LOTS of rain. If you are not from New England, a lesson you should know is that, “If you don’t like the weather, wait 5 minutes”.
So, I waited. The weather cleared for the entire weekend and that was grand.
Wolfgang, Child and I arrived on site about 3 hours later than I had planned, which worked out with the weather (heat).
We set up camp, but I was already full of anxiety. There were some things in my personal life plaguing me, but I won’t get into them here, plus the anxiety of teaching a new class, running an ensemble with very litter external direction from the coordinators and a performing a boast which I had written for a dear friend.
Thursday evening, we sat in camp and wandered about to see friends. Much of my memories for the evening was a blur, but I suspect it was due to my busy day ahead of me on Friday.
Friday am came too quickly and it was rehearsal time. 9:00 am is not my favorite, but it’s when we were all available. The rehearsal was for playing in the Deed of Arms. If you read my blog last year, we did the same thing.
This year we played an assortment of Duets and Trios from the Rosenbeck books (1 and 2) and some other gems I grabbed off the internet. All of the pieces we played would have been heard in the 14th century (So, 13th and 14th century pieces).
I am grateful for Ameline (Center) and Richard (Right) for their willingness to play and be flexible… and meeting me at 9am for rehearsal.
After we finished up, I was off to teach my brand new class, “16th Century Vocal Technique and Pedagogy”.
The class was attending by a few people, but their varying levels of background gave me a good sense of what was working and if anything had areas of opportunity for growth. I focus on a very niche topic and I am always concerned that there will be no interest in it. I am excited to present this class at Pennsic. This will be 1 of 2 class offerings that I will be bringing to Pennsic.
From there, I hid back in my tent until it was just time to change for the Deed. Part of the Deed was not only playing 14th century music, but also dressing. Apparently, my performers and I chose an unofficial uniform. GREEN FOR DAYS!
The Deed itself was wonderful to watch and each of my instrumentalists were a delight. Not pictured is our wonderful bagpipe player.
The rest of the evening was spent socializing and prepping for the next day.
The next AM, the true reason I was excited to be at GNEW were my friends, Tessa, was about to be elevated to the Order of the Pelican, Cedric to the Order of Defense and Matt to the Order of the Pelican.
Tessa is my deputy for Harper’s retreat 2024 (COME! IT WILL BE A GREAT TIME). I had been told about her elevation and was asked to boast/herald her in. Who was I to refuse this great honor to celebrate my friend. She and I were doing a site walk and had stayed behind to do some follow-up discussion from the site-walk. I had a stroke of genius… or perhaps just a stroke, but I figured out how I was going to get what she wanted for a boast (Mind you, she has no peer, no ICOP…just friends desperately trying to not ruin the secret).
“Hey Tessa… I’ve got a friend down in Atlantia who’s going to be elevated to Laurel in September. They’ve got a 14th century Italian Persona and they -love music/performing arts. Any idea what they might like for a boast?”
“Solveig, you should do it based on Chaucer from “”A knights tale””. His speeches are *chefs kiss*”.
There… that is what I was going to do. I watched all of the speeches and settled on his 2nd speech. Separate post coming with the boast and information.
After she was taken to Vigil (and I had shot a little archery with Wolfgang) I went to go visit my friend, Tessa. (I did not visit the other two as Cedric lives 2 miles from me and had a mile long list of visitors and Matt also had a mile long list of visitors.) I went in by myself (though, I typically take Wolfgang in with me, I wanted this to be a private moment between us.
I’m not a peer, but I always try to bring some words of wisdom and support to candidates I am talking to. I never rehearse anything and only speak from the heart. It is, however, my goal to make them cry. Cry from being touched, from feels… whatever.
Anyways, I walked in. I shared with Tessa that information. I shared with her that I did the wordsmithing on her scroll (But would not share it at that time) and also that I was who was going to be boasting her in. I gently reminded her of our last Harper’s walkthrough. I explained I wanted to share her boast with her now as she would likely be too wrapped up in emotions to be able to hear the boast (Despite my crystal clear diction and projection ^_~). As I started to read it to her, her face lit up.
“You bitch!” said in the most loving way possible.
We laughed for the last few minutes and I left her with a hug.
From there I ran off to go to practice read through the scrolls at court. Audrye runs a tight and well oiled machine and I am always thankful to work under her. I read scrolls and found out I got to spend some delightful time sitting with Wolfgang and Erik (We share a Peer…actually all 3 of us do but anyways).
It was time for the Silver Wheels to be called up. I knew 5/6 of the recipients. I…. made a medallion for each of them. I care for them all and they have all touched me in different ways that this was just something small I wanted to do for them. I suspect many may be passed down or given away, but I wanted them to feel cared for in the moment.
I had not realized that there was only 1 recipient that I didn’t know. I wish I had so I could have gifted her one as well. The schtick of this court became “Is there a medallion?” “Yes, your majesty” *Hustles up to the front of court* “Is there a legacy?” “Nope…. I made it” and some form of variation for each of the 5 I made.
Finally, it was time for the boast. An adult beverage consumed before hand to “Take the edge off” and then here we go!
This was my first truly “Heroic” style boast. I was trying to channel Paul Bettany but still make it my own.
I could not do a better set of timing because I had a parade of folks behind me, but I still tried to do my best. I feel like I at least nailed the timing for the finish.
I heard some snickers, I saw folks reacting in pictures. I watched the video that Arlyanna van Wyck had taken (Thank you as always, Arlyanna for all your hard work and the gift you give to the kingdom with your videography. You capture so many memories).
It wasn’t perfect, but it was perfect for the moment. I, as a performer, am mostly content with it, but the fact that it did make my friend’s day, is all that mattered.
My heart is full and I feel somewhat revitalized. I am still taking the rest of the summer easy as I have responsibilities at Pennsic and Harper’s and in October, my royals step up and I work more for my Largesse coordination.
Please check out the boast video and the scroll words when you get the chance.
GNEW has been one of 2 events I have never missed since I started in the SCA in 2010. It has seen me at my worst and it has seen me at my best. This year I was in charge of running -all- performance related items as well as had separately been in charge of all performances for “The Deed of Arms”.
The weather was not anticipated to behave and it was also looking to be excruciatingly hot. I had apprehension about attending, but I know I had duties to complete. I had recruited a deputy to help alleviate some of my commitments as well as additional help for one of the classes I was running, but life happened.
Thursday, Wolfgang, Smöl and I arrived on site to realize we had forgotten some things, so off to ye olde Walmart I went. Upon return, I started with a rehearsal for the Deed of Arms. For anyone who doesn’t know, The Deed of Arms is a 14th century immersion battle scenario, inclusive of a gallery. One of my vocalists had dropped last minute and another did not make it back to site. I had created a contingency plan to make this all work. I was lucky that we worked through several quirks of the music and was able to create a more comfortable situation for each of the performers. The music was all 14th century homophonic or polyphonic and to a level that individuals who were not deeply immersed in music could manage in a short period of time. For vocalists we did “Miri it is”, “Sumer is icumen in”, “Dona Nobis Pacem” and “Ecco la Primavera”. Our Bagpipist played “Douce Dame Jolie”, “Stella Splendens” and “Quant je sui mis au retour” and our poet did a 3 minute poem”. In addition, Aalina sang ” Ego Humilitas” from Ordo Virtutum by Hildegard von Bingen and ” Ut Queant Laxis”, an 11th century Gregorian chant. However, I only rehearsed with the vocalist ensemble.
To help my vocalists prepare, I created learning tracks for each of the songs and voice parts.:
Friday am started with a youth Bardic circle. I only had 2 youth who showed up, but heck did they sing their little hearts out about unicorns everywhere and pandas everywhere.
Rehearsal 2 and I found out that my 4th vocalist who was supposed to double the bottom of Ecco with me was in a car accident and would not be attending for the rest of the day so PLAN B.
A short break and then off to teach my rounds class. I had a women come who asked if she could just listen. I coaxed her to sing with us anyways and she was a very welcome addition. All of my attendees did a wonderful job. One of them was BRAND NEW to the SCA and I got to listen to his beautiful voice as well.
The Deed of Arms came and my amazing vocalists joined me (Plus my student who was fighting in the Deed) and a resounding applause. It seemed we were well received. More planning for next year to see if we can obtain a larger ensemble and more music can be made.
Saturday and back at it. I was not really anticipating anyone would show up to my recorder jam. This was a class to be a supportive measure for newer recorder players and a way to give out resources so they could obtain free music and also music transcribed by other scadians. Much to my surprise, I had 3 attendees. We worked through one of the Carmina Buranas from Al Cofrin’s books. We have varying level of skills in the group but great attitude. This is what we accomplished:
I ran off to Tiffan’s vigil to present them with a Taranus wheel I had made them but forgot to take a picture. Whoops. Oh well.
Then after I ran an adults Bardic Circle in the Barn. This was unusual. We typically imagine Bardic during the night. We wanted to try to create an accessible bardic space. If you think about those who cannot camp, those who have difficulty seeing in the dark, dealing with flickering lights and those with families, bardic at night can be difficult. We had about 10 of us over 2 hours but everyone got several turns, new friends made and all in all a delight!
Over both days I also organized having a puppet show for the youth each day.
Finally! Reprive! I get to sit for court. I knew many people receiving well deserved awards. Little did I know, one of those people would be me. We were getting towards the end of court and the smöl was still there despite me having offered to let him head back to camp. 4 hours for a 10 year old is ROUGH. I was so proud of him that he sat with us. Then, I had lost attention for a breif moment as a friend was asking about Bardic for the night. I had to sadly admit we were heading home because of the weather when my husband started pulling me up to the Dias. My name was called. Why? I missed who was up there. What did I do?
Apparently, it was time to join the order of the Silver crescent. This is an award for your dedicated service to the kingdom. I do what I do because I love this game, the people, events happening and I can’t watch things burn. To hear I was receiving an award for it blew my mind.
Here is the scroll I received:
Now you all know this bard and their song. While hours do go by, I’ll keep you apprised. For the deeds of Solveig should be heard ‘cross the East. Let all hear my words about the service and fight. Let’s sing the bard’s song.
Chatelaines are all work and play, welcome us home. Newcomers will always know her name. But the bards’ service will remain. Her hard work will set the stage where performers play. Their fame lives on due to her service strong.
There’s only one song left to be sung. Tale of a brave bard called before the throne. Now the Order gathers to welcome them near. No one need ask you how they serve the Kingdom. We’ll tell their story.
So is the fame sung of our bard, one Solveig Bjarnardottir, by Ardri Brennan and Ardrígain Caoilfhionn, who proclaim her inclusion into the ranks of the Order of the Silver Crescent. Their words are received by beloved populace and joyous companions alike upon the field of the Great Northeastern War this fifteenth day of July, AS LVIII (58).
Scroll by THL Lily Aubrey, Words by THL Eleanor Grey
Beyond that there was one more item. The medallion I received belong to my mentor, my Pelican, Rowen Cloteworthy. This was his. My first and only legacy piece.
As a bard, this is the best gift you can receive. There is a story. A story is how someone lives forever. Thank you, Jedi, for this most precious gift. The cord, also beautifully and lovingly crafted by the amazing Astridr Saegersdottir. I feel truly loved.
Gnew has been and likely always will be my favorite event. Yes, it’s hot but you know what? It’s home. This year the plan was to take it easy. I am still re-learning my body as I am going through changes as I continue to lose weight and see how my instrument is working. Minor other health issues but nothing to bring up here.
Since I had earned consorts champ, I have been trying to put up monthly challenges, serve as a mentor and teach. I chose to provide 3 classes at GNEW as I would not be fencing.
My first class was Friday for 12. I was presenting my ad hoc choir. This was not the best time for this class to be successful, but beggars can’t be choosers. We had a mixed skill level group but not much for vocal variety. Click below to listen to the group perform the piece they learned day of!
Later in the day, I met with several performers who had an interest in the Bardic Arts. Aalina and I hosted a Bard round table to discuss questions, stories, fears and all in between. We had the full gambit of questions and I feel like the new generation of performers is strong and ready to flourish.
From there it was off to teach my son about the joys of service in the SCA. He is 9.5 so doing for others if somewhat foreign to him still. I ran off to retain with Their excellencies Stonemarche. I was given a plate of delicious items to share with the Deed gallery. There was nor formal gallery this year so tasty treats for all!
Saturday I started my day in morning court, seeing folks celebrated and then off to my final class. I did my rounds class. This class had originally been inspired by Aneleda Falconbridge. I had taken it over when she was elevated to Laurel. It had started as her labor of love and I have been continuing it. Inspired by this I have been putting together a book of all period rounds. It is a work in processes, but I hope it will continue to be a tool that folks will use to keep singing in a safe space.
Here is a small recording of the folks singing in my group. This song is originally in German, but I am using the English translation with my students.
The rest of the time in between was a blur until court. Previously, I had been asked if I would serve as an alternate on the A and S team. This was an absolute honor. I didn’t put much thought into it, but it has really kick started my desire to go into further documentation with my pieces. However, look at this group of amazing folks!!!! I am so excited to do this. Look out Pennsic. More to come on that post Pennsic.
Last but not least, for Saturday, my love was to be recognized in court and become a Lord. Wolfgang was to receive his silver brooch. I have a mold of the silver brooches I had made before. if you look back in past posts, you can see what they look like. However, this time, to make his special, I enameled it for him so it represents the heraldic picture of the award. That night, my house mate was being being apprenticed and I had the joy of heralding him and wandering camps to sing and do Bardy things. Just a good ol’ shennaniganless night. Irish coffee without the irish and songs for old and new friends.
Sunday was pack up day. The saddest day of all. Sure, it was hot and gross all weekend, but this is where my heart lies. As I was packing up, some old friends from Malagentia asked if I would mind mentoring their child in Bardic Performance. I was honored and moved. I have watched this amazingly warm human grow and nothing would give me greater honor. I cried back in camp. This… this was my passion, my joy. To bring bardic to the world, be safe and be a teacher. I cried for joy. We drove home…. washed off the GNEW tan and that was the end of this tale.
This weekend was the East Kingdom College of Performers Challenge and Schola down in Iron Bog. This was a little bit of a schlep for a day event, but I am so glad I headed down. This is the first time we’ve done something like this in the East Kingdom. It was a day of classes and challenges. You did not have to master anything to be a part of it, but you would have to be willing to step out of your comfort zone.
With that said, it was a challenging, but positive day over all. I started the day right away with running a rehearsal for the newest addition to the East Kingdom College of performers, Opera D’el Est. The day, however, started more frantically than I hoped it would. Our one and only alto wasn’t able to come. So, I guess I’d sing her part and hopefully make it work. Then, 1/2 of the performers, who were traveling in the same vehicle, were about 45 minutes late (however, due to no fault of their own. Between traffic and weather).
Rehearsal did not go as planned, and that’s ok. We were fighting a lot of odds between company distances, time we had to prepare music and we are a new group. This happens. Everyone had agreed to give up part of their lunch time to meet again for additional rehearsal.
I met with some of the other vocalists after for some one on one help. From there, I whirled into some recorder site reading, which I really haven’t picked up a recorder since 2009… when I graduated college. Not only did I remember some things (Which was huge) I got to encourage 2 more of my friends to come join us. We went from 3- 5! So many tooty flutes!
From there, off to run a class. I have taught this class a couple times prior, but I think this iteration was the best version of the class. I am passionate about making sure performers are well warmed up for performance whether is be Singing, story telling or even heralding. If the body -and- mind are not there, then your performance will suffer. This iteration of the class discussed anatomy, posture, breathing, the parts of your body that make the sounds, projection and location of sound. I had 6 folks join my class of varying experience and age. Everyone seemed to get something new from the class and was able to apply it. Once of the gentleman in the class, who I performed with later in the day, said that it was a comprehensive warm up and encouraged others to do so. This was encouraging.
From there, a very abbreviated lunch and round 2 of rehearsing. This time, the section which the group seemed to be struggling with, seemed to lock in. Though, no real way to test it until performance. TO ADVENTURE!
From there, time to do another class! I have been bringing rounds with me to almost every event I teach at. They are a safe singing space for novice to master and bring joy. 8 folks at my rounds class. Everyone had a varying degree of expertise and it was delightful. There was a young lady, who doesn’t sing much, but her boyfriend does, who came to my class. She spoke to me afterwords, advising that she was over the moon since she got to sing. She felt the class was tailored enough that she could join in and not feel like she was slowing progress, but that she got to sing the songs and sing her part independently.
Whooosh! Off to perform (No, I have not sat down today or stopped for water). It was time for Opera D’el Est to make it’s debut. (See documentation, synopsis and translation below #1). The first piece we did was the Prologue from Eurydice. Despite some minor technical difficulties everyone who sang in that piece, rocked it.
We had a solo from our fearless leader and newest Queen’s Bard, Laila.
Then a solo from me! I died. I love dying on stage. I performed Laciate Morire from L’Arianna (See info below #2). I love death arias. I love dying on stage. To lament, there is no greater form of drama. See! Look, I’m dead… on the floor… singing the high stuff!
We had a beautiful duet from Laila and Ethnye (Enya). Finally, the choral piece from doom. A te qual tu ti, Euridice, Jacopo Peri. (Info below #3) It’s not that this piece was hard or anyone was untalented, it was just a perfect storm. This experience however taught me a new skill. I went to school professionally for singing. Everyone had hours to prep their pieces and weeks to learn music. This was not that. I learned that I should be happy with a product, that I had volunteers. I learned that my standard of performance is not a level for everyone. I don’t want this to come off as condescending. What I mean is that in fact, I should be proud of a group who came so far to even get this going. This was a huge success. Even if the music wasn’t perfect. LOOK AT THESE FOLKS! Look what they accomplished in such a short period of time.
From here, off to the challenges for the day. I stuck myself in a spot just to get out there and do something that I wasn’t necessarily skilled at. I wanted to work on something that wasn’t “Pretty” or necessarily polished. This is a huge fear for me because I was taught to never put anything out there that you weren’t proud of or ready to be recorded for the world. As a Bard, part of my learning is about bringing the news and the stories. They won’t always be perfect, but that is part of the creation and the reality.
The first piece I performed was “Twa Corbies”. This is a spoof written as a response to Raven’s Croft’s “3 ravens”. (See the lyrics and translation of the low Scottish below).
Second, was a completely non period, but SCA appropriate story. I don’t know it’s title, but I shall call it “How I caught the red dragon”. I’m not really a story teller. I do it to challenge myself. Music is my muse. However, I always want to be able to entertain a room. Pretty singing isn’t for everyone. Sometimes, you just need to tell a cheesy story. So I did. I flubbed up some of the words. I didn’t provide enough gesticulations as I’d like, however, I made my goal. I told another story in front of an audience. I’m getting there.
Last but not least, I had the pleasure of presenting the new East Kingdom College of Performer’s Travel journal during the final court. Just prior to, I had sat down in quiet with one of my fellow performers today. She bled her heart to me. She spoke of her struggles and sorrows with today’s events. She exclaimed that she was embarrassed. I shut the door in the room we were… expelling in. I explained to her that this was a new experience. Nothing wen right for any of us. She did well. Was it perfect, no. However, we will grow from good to better to best. I told her of my struggles with the day. That I was just her with 2 years more experience. I told her after the event we would connect and see how we could grow. It was then, I realized I would present the journal to her. She was my inspiration. She fell, she got back up. She is off running again. I could not be more proud of her.
I presented the journal, I shouted, “I”m free” and from court I left.
1)
Prologo: From Eurydice BY Jacopo Peri, Composed in 1600. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne, was written by the same authors in 1597.)
Since both the libretto and score were dedicated to the new Queen of France, Marie de’ Medici, some scholars have recognized a possible parallel between Euridice and Orfeo and the Queen and King of France. While the comparison is readily made, some scholars argue that the traits of King Henry IV are different from Orfeo, especially with respect to Orfeo’s most famous deed. Orfeo loved Euridice so much that he journeyed to Hell and back, quite literally, to unite once more with his beloved wife while King Henry IV wouldn’t travel as far as Florence to retrieve Medici.
Peri’s Euridicetells the story of the musician Orpheus and Euridice from Greek Mythology. According to myth, Orpheus was a great musician who journeyed to the underworld to plead with the gods to revive his wife Euridice after she had been fatally injured.
The opera begins with a Prologue delivered by a singer representing Tragedy. She explains to the audience that she has not come this time to reduce them to tears with stories of sorrow, death and cruelty, but has changed her usual costume in order to awaken much sweeter emotions in the human heart. Future artists may well follow in her footsteps, when the whole world admires what she can do in this changed form: the new queen whose wedding is being celebrated, she says, will be more garlanded with laurels than anyone ever was in ancient Athens or Rome. She herself is going to dress up for the royal wedding, and while France prepares to receive its new queen, the wedding guests can relax and listen to the singing of Orpheus.
Hill, John Walter (2005). Baroque Music: Music in Western Europe, 1580–1750. Norton. ISBN 0-393-97800-1.
Oldmeadow, Earnest (1909). Great Musicians. Forgotten Books.
Io, che d’alti sospir vaga e di pianti
spars’or di doglia, or di minacce il volto
fei negl’ampi teatri al popol folto
scolorir di pietà volti, e sembianti.
Non sangue sparso d’innocenti vene
non ciglia spente di tiranno insano,
spettacolo infelice al guardo umano
canto su meste, e lagrimose scene.
Lungi via lungi pur da regi tetti
simolacri funesti, ombre d’affanni,
ecco i mesti coturni, e i foschi panni
cangio, e desto nei cor più dolci affetti.
Or s’avverrà, che le cangiate forme
non senza alto stupor la terra ammiri,
tal ch’ogni alma gentil ch’Apollo inspiri
del mio novo cammin calpesti l’orme.
Vostro regina sia cotanto alloro
qual forse anco non colse Atene, o Roma,
fregio non vil fu l’onorata chioma
fronda febea fra due corone d’oro.
Tal per voi torno, e con sereno aspetto
ne’ reali imenei, m’adorno anch’io,
e su corde più liete il canto mio
tempro al nobile cor dolce diletto.
Mentre Senna real prepara intanto
alto diadema, onde il bel crin si fregi,
e i manti, e seggi degl’antichi regi
del tracio Orfeo date l’orecchia al canto
I, who eager for loud sighs and tears, My face now filled with sorrow, now with threats, Once made the faces of the crowd in great theaters Turn pale with Pity
No longer of blood shed by innocent veins, Nor of eyes put out by the insane Tyrant, Unhappy spectacle to human sight, Do I sing now on a gloomy and tear-filled stage
Away, away from this royal house, Funereal images, shades of sorrow! Behold, I change my gloomy buskins and dark robes to awaken in the heart sweeter emotions
Should it now come to pass that the world admire, with great amazement, these changed forms, So that every gentle spirit that Apollo inspires will treat in the tracks of my new path
Yours, Queen, will be so much laurel, That perhaps not even Athens or Rome gathered more, an ornament worth of those honored tresses A frond of Phoebus between two crowns of gold.
Thus changed, I return; serenely, I, too, adorn myself for the Royal wedding, And temper my song with happier notes, Sweet delight to the noble heart
While the royal Seine prepares A noble crown to decorate the beautiful hair, and the mantle and throne of the ancient Kings, Listen to the singing of Orpheus of Thrace.
2)
This is from Arianna (1608), Arianna’s Lament, the only aria surviving from this opera, with text by Rinuccini. The manuscript survives in two copies: Manuscript Mus. G239, Biblioteca Estense, Modena, Italy and (in the handwriting of composer Luigi Rossi) as British Library Ad. 30491.
Ariadne’s sadness is a prime example of the effects of a man’s false words. In the myth of Theseus, her lover, he promised her a marriage in exchange for her aiding his journey to kill the Minotaur. However, Theseus soon abandons his bride-to-be, leaving her all alone to bathe herself in grief. She then became inspiration to many painters, sculptors, artists and musicians, mainly depicted weeping and in obvious despair.
Lasciatemi morire,
Lasciatemi morire;
E che volete voi che mi conforte
In così dura sorte,
In così gran martire?
Lasciatemi morire.
Let me die,
Let me die;
And what you would think could comfort me
In such a harsh fate,
In such a great martyrdom?
Let me die.
A te qual tu ti, Euridice, Jacopo Peri
A te qual tu ti sia de gl’alti numi
ch’al nobile pastor recasti aita
mentre avran queste membra, e spirto, e vita
canterem lodi ogn’or tra incensi, e fumi.
Se de’ boschi i verdi onori
raggirar su nudi campi
fa stridor d’orrido verno
sorgono anco, e frond’e fiori
appressando i dolci lampi
della luce il carro eterno.
S’al soffiar d’Austro nemboso
crolla in mar gli scogli alteri
l’onda torbida spumante,
dolce increspa il tergo ondoso
sciolti i nembi oscuri, e feri
aura tremula, e vagante.
Al rotar del ciel superno
non pur l’aer, e ‘l foco intorno
ma si volve il tutto in giro,
non è il ben nel pianto eterno.
Come or sorge, or cade il giorno,
regna qui gioia, o martiro.
Poi che dal bel sereno
in queste piagge umil tra noi mortali
scendan li dèi pietosi a’ nostri mali
pria che Febo nasconda a Teti in seno
i rai lucenti, e chiari
al tempio ai sacri altari
andiam devoti, e con celeste zelo
alziam le voci e il cor cantando al cielo.
Aurelio et Ludovico Osanna, Mantua, 1608. Publication of the text included in Federico Follini’s report of the 1608 performance
G. F. Gundulić, Ancona, 1633. Croatian translation, prepared for possible performance in Dubrovnik c. 1620. (5 scenes version)
L’Arianna (English: Ariadne) (SV 291), composed in 1607–1608, was the (now lost) second opera by Italian composer Claudio Monteverdi. One of the earliest operas in general, it was first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as “Lamento d’Arianna” (“Ariadne’s Lament”). The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid’s Heroides and other classical sources to relate the story of Ariadne’s abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus.
The opera was composed under severe pressure of time; the composer later said that the effort of creating it almost killed him. The initial performance, produced with lavish and innovative special effects, was highly praised, and the work was equally well received in Venice when it was revived under the composer’s direction in 1640 as the inaugural work for the Teatro San Moisè.
Rinuccini’s libretto is available in a number of editions. The music of the “Lamento” survives because it was published by Monteverdi, in several different versions, independently from the opera. This fragment became a highly influential musical work and was widely imitated; the “expressive lament” became an integral feature of Italian opera for much of the 17th century. In recent years the “Lamento” has become popular as a concert and recital piece and has been frequently recorded.
Scene 3
Arcetro recounts that while Orfeo lay weeping, Venus, goddess of love, carries him off in her chariot.
To you, what are you of the high ,
That to the noble pastor recasts
While these members have the spirit and life
Singing praises each between incense and fumes.
If of woods the green honors
Brawl on bare fields
Make gasps of horrid
Battle still, and frond’e flowers
Prepare with sweet flashes
Of light the eternal cart.
Seal and blow of Austro nervously
collapses into the sea, the rocks alter
the murky wave sparkling
Sweetly purse back wave
Melting the dark clouds and wounded
Aura flickers, and rambling.
At the top of the sky excees
Not just the air, and the fire around
But it all turns around
It’s not the way, in the eternal cry
How the day or the day falls
Reigns here joy and martyr.
We raise the voices and the heart singing to Heaven
A few months ago I was asked by the resurgence of the East Kingdom College of Performers to teach a class online. As I have been serving as the Deputy Chatelaine, I feel very connected to this group and it’s successes. I agreed but had to think of what I could teach. Very much, like the iconic Taoist bear, Winnie, I sat and thought and I thought and I thought. Then in struck me, like a a sack of bricks… or something more gentle I suppose, as my face and body are intact. As a modern medievalist, I spend a large amount of time attached to social media. I use it to make connections in our modern world and I use to to connect to better resources. Living in the more Northern Part of the East Kingdom and being separated from our vast populace, there are only so many places I can travel. The internet is for more than porn and kittens… and memes. (By the way, my Partner has just given me a huge lecture on the actual teachings of Taoism)
One if the largest issues about being a performing artist is how to get your work out there and how to get noticed. Below is an outline of my class. If you’d like more in depth information regarding what I talked about, please feel free to contact me.
First and Foremost, your online appearance:
Good/Yes!
Bad/No!!!
Be neat, clean and groomed. It doesn’t matter your personal style, but no one wants to see you fresh out of bed.
1) Getting noticed
Bards/Performers are a 1 off performance (fleeting performance)
How do we get seen outside of competitions and bardic circles
We are not all composers (and don’t need to be)
2) Platforms for getting noticed
Competition
A and S
Word of mouth
Campfires/Events
But…. is this effective? Let’s talk digital!
Social Media Platforms
WordPress
Can maintain images/texts/videos
Simple to use
Easy cross platform posting
Free, but Can pay to upgrade for additional features
Maintenance heavy
Free
Livejournal
Text only
image/video embedding is not as simple
Older Platform
Not as well trafficked
Nominal customization
Free
Reddit
Home of trolls
Very well trafficked
Not well respected in documentation society
Simple to use
Easy Embedding
Easy search engine to use
Posts are easy to discovered if you are looking for them.
Minimal customization
Free
Facebook
Well Trafficked
Well integrated
Easy embedding
Videos can be downloaded and uploaded
Images are easy to upload/download
Algorithms are wonky
Missing data
Timeline only (Scrolling text and no customization)
Easy to maintain. If you don’t have one or don’t know how, we can connect to make sure you have one
Should have who you are, awards, affiliations, interests and events you’ve staffed. If you have any other focuses, those can be listed as well. Should really be just short reference and quick so people writing you in, people reviewing you for the order and scribes and do you proud.
Word Press:
This is where you make the dream happen
Images!
Videos/Recordings
Blog entries
Compositions
All other social media can be linked to and from
What sort of things should I be blogging about?
What you are doing
Period pieces performing
Documentation
Videos and recordings of your performances
Stuff you have composed/wordsmith-ed (Images if they are avail) If there is documentation on that, include it too
Non musical stuff. People want to see that you are more rounded
Classes you are teaching and their documentation
Feedback and reflection
The major barrier of teaching online is engagement and response. Also, equipment levels from your audience.
Success!!! I got a bunch of information out from my house, I had a moderator and more people are blogging.
Time after time this proves to be my favorite event. This year was no different. I brought my S.O. Aegir with me. He got to experience his first “small” event since his first event was the Great North Eastern War. Little bit of a size difference. Fencing was first on the docket for the day. Stab stab all my friends. Nothing gets me in the mood to sing besides dancing (aka, fencing) with my friends. I didn’t come close to winning but boy did I have fun!
Later in the day I taught a class on stage presence and how to make your piece more interesting to the audience. I had 2 students show up and I was perfectly ok with this. They were two very different performers, but were able to utilize the same skills. The first young woman was a puppeteer and storyteller. She exclaimed her issues were volume and some stage fright. I proposed we use a counting up excersize where we would identify different volumes and then use different shapes of our mouth and words to bring her resonance forward. We also fixed different focal points by adjusting where here body and puppet were facing and worked on a few topics of tempo.
My second student had never been on stage before and had never performed in front of anyone before. We worked through a song he had prepared. We again talked about volume. In addition, we added movement to his body, keeping his eyes open and stage movement in general.
When the class was over, both advised they felt more confident in their skills and would add these into practice. The young woman put it into practice for the Warrior Bard competition that evening.
Feast was next! Probably one of the best feasts to date. The current Baronial Bard and Nexcellency, Keziah Planchette had requested some of the prior and present bards to come perform during the feast. Here is a clip of my performance. I think the liquid courage also made an appearance.
That evening it was time to compete for Warrior and Baronial Bard. The guidelines for Baronial Bard were Courtly love and Virtues. In addition, due to the recent loss of our Baron (who passed away about a month prior) it was requested that we not sing anything sad.
For Warrior Bard I whipped out a quick one of my favorites, Laciate Morire (which, is not exactly not a sad song… but it was in Italian so I fudged the poetric translation).
For Baronial Bard I sang a Ladino piece, La Prima Vez and We are the East (By Drake Oranwood). I may not have won Baronial Bard, but I did truly win because there were very few dry eyes at the end of We are the East. #lifetimegoalsachieved.
The next day in court, I assisted with Heralding because hey, i’m loud! I can haz shouty voice! However, not too long after I had sat down, I heard my name requested in court. I was asked to join the order of the Lamp of Apollo. This is a Baronial Arts and Science award especially for encouraging others to do their art as well. The scroll was done by Keziah Planchett and the words lovingly composed by Amalie von Hohensee and Gerhardt von Hohensee. I was in tears as there was no better gift. (If you remember back to Birka, I had done the words for their scrolls)
Where to begin with such a gigantic milestone for the East Kingdom. My home. This is the place where it felt safe to sing in public again. What else could I do for the Kingdom I love besides give it back the gift it gave to me?
I decided I would give everything I had to singing this weekend. It was too hot to do anything else. I think the heat this year was as bad as Pennsic 2 years ago where the heat won more bouts than the fighters. I’m glad no one was too seriously injured from heat.
With that being said, although I had transitioned to late period garb, the heat beat me in that battle for the weekend. Saari not Saari. Thats right, I ran around … well, walked around as a proper Indian woman should. It was a new feeling for me as I, in general, don’t show off this much skin. I’m a pretty modest dresser.
I bring this up because it has a lot to do with how I perform. Confidence is key in your performance. If you are not confident, your performance will suffer. Another point being is that when you practice to perform, you should, for all intents and purposes, rehearse in garb and shoes similar to what you will wear in performance. This was not the case for my 3 concerts I did over the weekend.
I was, however, blessed to be surrounded by performers and family of whom I respect immensely as performers.
In the first concert,Bards Ease, I collaborated with my good friends Bird the Bard and Sáerlaith íngean úi Duinnshléibhe (with Guest performances by Mistress Sabine and Mistress Margreatta) We would sing solo, group performances and some off mix of whatever we felt like was a good for the audience. Typically, I’d plan a concert one one genre. However, the 3 of us are so eclectic of performers, I really wanted to showcase that.
The next day we did a showcase of the Sing for the the East CD (which if you purchase this CD to support the East Kingdom Travel Fund, you can hear the track of Ceder San Barefoot and I performing that track. The rest of the concert was the original vocalists performing and the rest of us harmonizing.
The final concert was a sneak preview for the upcoming performance in April, The Decameron. We will be performing a a day of stories and music all from the 14th Century Italian literature. This happy little quartet was again, Myself, Bird, Sáerlaith and Margreatta.
If this wasn’t enough singing, we had our own camp of Bards who withered the night away with song till the wee hours of the morning.
I gave up an arm and a leg — or should I say an eye — to obtain more knowledge, or at least the pursuit there of. The Shire of Mountain Freehold, though small, is mighty. Especially with quenching their thirst for knowledge. This is the second year this event has been running, after many years of hiatus.
The previous year, from what I have been told, had an attendance of 30-40. This year had 87 if I remember correctly. This beautiful church was filled with banners, arts and science projects, a scrumptious day board, and duh, classes. I decided that I would enter an A&S project that was not bardic related. My secondary pastime in the SCA is fencing. Under the tutelage of Don Connor Scamus O’Neil, I was able to craft my own rapier, sans the blade.
This sword is affectionately named Stevie Nicks, because of how many times I nicked her on the belt sander. I left my baby in the anachronistic category, to be judged — I had separation anxiety all day. It was like my baby was in another nest.
I was teaching two classes today: the first would be campfire rounds and the second would be on improving storytelling, a master class.
Before it was my time to teach, I got to attend a class on The Fools. I learned everything from Jongleurs, to the natural fool. I had never thought about the prospective of the fool as a bardic art until I attended this class. Lady Ailiniore shared her vast amounts of knowledge and had in depth discussion, inviting each of us to take part in the class.
Shortly after it was my turn to lead my own class. I did not know how many bodies to expect, because it had been explained to me that there were not many singers in the shire. However, to my gleeful surprise, we had 13 attendees! Holy smokes, Batman! Or, something bardlike.
We sang in English, French, Hebrew, and Cockney. That’s like English, right?
I had mixed levels of skill in the room, and those who I knew were stronger singers were sitting beside those who could use some assistance. We sang songs in two, three, four, and even five parts. I had even done my own individual creation of a combination of Rose, Rose, Hey Ho! and Ah! Poor Bird. See the video below. When the class had completed, I had a few of the Quebecois ask me to come teach this class at their event next January. It was delightful to be able to work with individuals who were not English as a first language speakers, and switching to their native language.
After dayboard, which was delicious, it was time for my master class. This is my first time teaching this class; my heart was racing as I am just beginning to find myself as a storyteller, and guiding others to do so was a new adventure for me. I once again prayed that no one would show up, but that was not to be the case.
I had four excited students of varying levels; I had one that went to school professionally for musical theater, one woman who was an experienced storyteller, one who was a viscount, and champion storyteller, and a young lady who was just getting her feet wet.
I went over four basic points of storytelling, and then went through each point, discussing each in depth and how they enhance your skills. Next I had each student tell me about a time they were excited about something. The story did not have to be true, but it was helpful.
The first student told a story in persona about how he got his dog. We worked on body language, vocal variances, and levels. Upon second performance, he agreed he felt more engaged with his piece and the audience was likewise more engaged. The audience and myself provided feedback both positive as well as areas of improvement.
My second student, the experienced storyteller, had a unique outtake on her story. When discussing her piece, she said that she felt stuck, so we talked about development of her piece and how to create that vision and how to make her journey more tangible. She felt that her story grew in leaps and bounds and had a greater crescendo and ending due to this experiment.
The young lady who was just getting her feet wet was excited to go, but I noticed that within her performance that she would fidget and have no place for her hands. I realized that this young lady had some sort of neurological, or a-typical behavior. I had to think of how I could gently broach the topic without making her feel uncomfortable in a public setting such as this. She disclosed that she had a form of autism, and what the basis of that fidgeting was. We gave her focus, and choreography to her storytelling dance. She now knew what to do with her hands, so she would no longer pull at her dress or fingers, and she would have intention in her movements and focus with her audience.
We talked about varying gaze, and how to stare at her audience without staring them down. I felt like a proud Mama Bird — from a different nest this time — watching this young lady go from a scared chicklet to a swan proud to show her work, who even preened a little bit under the praise from her audience.
The final student was the well-established viscount. She, without knowing it, had shown every point that I had discussed before she had walked into class just a wee bit late. We finally as a group discussed improvisation, and how imperative it is to be able to do in any storytelling situation. My viscount student was given three words to build a story around, and made up an entire story on the spot with those words given.
At that point the class was over, but I was greeted by the newer students asking for my contact information. Every member of the class said this was immensely helpful and the best version of this class they had attended, so I guess I did okay.
The event was coming to a close, and the autocrats would be announcing the winners of each category for the Arts and Sciences Competition. I am once again proud to say that Stevie Nicks had taken home the Anachronistic category. That’s my baby!
I may have a minor addiction to going to classes. I swore, when I was done with college I would never set foot in a classroom again. This, coming from the education major. That didn’t last very long. The one things that beats my desire to learn is my desire to teach. An opportunity arose at the Giggleswick Garden of Arts and Sciences that there were no bardic classes, only one on instruments themselves. How could this be? Why would anyone ever let this happen? (It just so happened that after I submitted my classes, so did Lord Nicol) I couldn’t let this happen! When I found out this news, I made sure I would teach a new class and one I had taught before. Since this was a relatively small venue, it would be a safe avenue for testing out my new bardic class.
I arrived early on site as that’s the only way I know how to be. This is humorous as not only am I in the SCA, but my family is Jewish. Being on time is not really a thing. Being early? UNHEARD OF! I guess the musician in me lives by our golden rule: “To be early is to be on time. To be on time is to be late. To be late, fired!” I threw on my garb hastily and then greeted a friend who was attending his first SCA event.
The first class was one on medieval musical notation and church modes. This was one I have taught a few years prior. I was really impressed with the level of questions I received after the class ranging from why we didn’t have musical documentation, the evolution of documentation and why most of our earlier documented music was sacred versus secular. Where, these were not necessarily on topic, I was overjoyed to answer these questions and cultivate eager minds.
It was then time for food and the day board was terrific. Thank you Giggleswick for your delicious noms. I don’t think I remembered to pack feast gear or prepare food. I was so excited to teach, I had forgotten about my need to eat. You also had this for me too. Yay!
The final class I was stated to teach was a beginning class on ear training. Ear training is a methodology of creating a better sense of identifying the center of the pitch to be able to sing/play in tune, recognize intervals and be able to sing/play back passages. I had two students. One of my students I had worked with before and she had a balanced sense of the above, but was not professionally trained and was looking to better herself. The other was a gentleman who had never sang formally. He had a good ear but, as we all do, had things to work on.
This was a new and interesting experience for me. Where I have worked with groups before for minor adjustments, this was my first time doing individualized adult instruction which was not chorus based. Both of the students grew in skill tremendously fast. It was clear that they both were frustrated with their own mistakes. Knowing where to back off and move on is always finding the feel for it. I feel like I had a decent sense of this.
Would I teach this class again? Absolutely! I would change up some of the structure and skill level activities, but all in all, I feel like it went well.
Meddlings of the Minnesinger 