PERFORM Log
June 1995
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Date: Fri, 9 Jun 1995 11:00:17 GMT
Reply-To: g.r.rastall@leeds.ac.uk
Sender: PERFORM - Medieval Performing Arts
From: Richard Rastall
Organization: University of Leeds
Subject: York plays event, 15 July 1995
Do not cross-post to REED-L, please.
Those who attended the Leeds Congress last year and then went on to the
York Early Music Festival will remember Rachel Semlyen's weekend package
based on the York Plays performance and other York delights. This is
just to say that Rachel has organised a day around the production of the
York Cycle in York, with the following (very brief!)timetable:
2 p.m. performance of the York Moses and Pharaoh at King's Manor
2.45 Presentation on last year's production by Jane Oakshott
(Director), myself (Musical Director) and Karen Hodder (University of
York, and responsible for the production of the video record of the
performance)
4.15 tea
4.45 panel discussion on the practicalities of mystery play production:
Pam King, Peter Meredith, John McKinnel, Meg Twycross.
Further details and tickets for the day can be obtained from Rachel on
01904 608355 or by FAX on 01904 608972
At 7.30 that evening in Dean's Park there will be a performance of
Anthony Minghella's _Two Planks and a Passion_. Details and tickets
from Rachel as above.
Richard Rastall
Department of Music,
University of Leeds,
Leeds LS6 9JT
UK
Tel: 0113 233 2581
Fax: 0113 233 2586
=========================================================================
Date: Tue, 13 Jun 1995 11:33:41 +0100
Reply-To: br@inwave.demon.co.uk
Sender: PERFORM - Medieval Performing Arts
From: Barry Russell
Organization: at home (Oxford UK)
Subject: New theatre history site
ANNOUNCEMENT
The WWW page, "Theatrales", is now accessible at:
http://www.er.uqam.ca/nobel/c2545/theatral.html.
The first two documents in the collection are:
(1) A study of early Canadian theatre development by Andre-G.
Bourassa.
(2) Notes on the origins of Parisian fairground theatre, including newly
discovered texts, by Barry Russell.
The collection's editors will be happy to host similar documents
coded as hypertext. For further details, please contact:
Andre G. Bourassa : bourassa.andre_g@uqam.ca
-or-
Barry Russell : Barry.Russell@brookes.ac.uk
=========================================================================
Date: Wed, 14 Jun 1995 13:16:57 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Mary Colvin,PC-D,St. Vincent - Library"
Subject: info
Hello,
Please send information re your list or subscription to your list.
Thank you
Mary
Colvin
Health Sciences Library
Providence St. Vincent Hospital & Medical Center
9205 S.W. Barnes Rd.
Portland, OR 97225
colvinm@ohsu.edu
=========================================================================
Date: Wed, 14 Jun 1995 19:53:27 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: RIGGIO@ADS.CC.TRINCOLL.EDU
Subject: Forwarding sad news
You will all be as saddened to learn of the death of David Parry this
past weekend as I have been. After bringing so many of the P.L.S.
productions to life in Toronto during the 70's and 80's, David had
gone on to work at the National Museum of Canada (title may be
wrong) in Ottawa, preparing dramatic presentations. He died suddenly
in his sleep of an apparent heart attack. You may write his wife
Caroline at 135 Britannia Rd., Ottawa K285X1, Canada. A special
fund is being set up in his name at REED, just announced on the
REED listserver. I cannot forward messages on this system, but
perhaps someone else will provide those details. David spent
a year at Trinity College working with us on a conference and
production of Persian Passion drama in 1987-88 where he took
Trinity undergraduates on a two-day retreat on which they entirely
wrote, learned, costumed, and staged an elaborate mumming. We
still remember the occasion - and for all he's done in so many
places, David will be difficult to replace, impossible to forget.
Milla Riggio
=========================================================================
Date: Thu, 15 Jun 1995 08:26:22 -0400
Reply-To: "A. Young"
Sender: PERFORM - Medieval Performing Arts
From: "A. Young"
Subject: Re: Forwarding sad news
In-Reply-To: <01HRPI11XMXE00412O@ads.cc.trincoll.edu>
On Wed, 14 Jun 1995 RIGGIO@ADS.CC.TRINCOLL.EDU wrote:
> You will all be as saddened to learn of the death of David Parry this
> past weekend as I have been. ... A special
> fund is being set up in his name at REED, just announced on the
> REED listserver. I cannot forward messages on this system, but
> perhaps someone else will provide those details.
>
> Milla Riggio
>
The fund to which Milla refers will be used to establish a prize in
David's name here in Toronto. If you wish to contribute, please send a
cheque made out to The University of Toronto (NOT to REED) to
Professor Alexandra F Johnston
c/o Records of Early English Drama
150 Charles Street West
Toronto, Ontario, Canada
M5S 1K9
Abigail
=========================================================================
Date: Thu, 22 Jun 1995 12:04:07 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Joel Cohen
Subject: Carmina Burana at Tanglewood
This material is (c), so if you want to reuse any of it, please query us =
for
permission.
Trobador
_________________________
Carmina Burana
medieval songs
from the Benediktbeuren manuscript (ca. 1230)
Tanglewood Festival
July 6, 1995
Program
authors' names are given, when known; all others anonymous
I. Right and wrong go walking
Fas et nefas ambulant Gauthier de Chatillon (?)
Right and wrong go walking, almost in step together, and virtue must take=
care to stay halfway between two vices. As Cato says, "Walk with the good=
,"
and consider who is worthy of your gifts. Be friendly and smooth towards
everyone, but be careful to discern the grain among the chaff; misplaced
charity is no virtue. You can give properly only when you know who I real=
ly
am, from the inside. If you wisely sift the wheat from the chaff, your
donation will buy fame. I glory in you, for you are loaded with wealth!
O varium fortune
O slippery unconstancy of Fortune! You hold unstable court, and you rewar=
d
those whom you favour immoderately. You make uncertain the one who has
climbed to the top of the wheel, and you raise the pauper from the dunghe=
ap.
Fortune has built, and demolished, abandoning those she previously pamper=
ed.
Her gifts are fleeting; she ennobles and enriches the weak, and brings do=
wn
the noble. Nothing is more welcome than Fortune's grace; among all that i=
s
sweet, nothing is sweeter than fame. If only it lasted longer! but it fal=
ls
apart, like a withered field. Thus, it is not unfitting that I sing: O
slippery inconstancy of Fortune!
O fortuna, velut luna
O Fortune! You are as changeable and inconstant as the moon, ever waxing=
and
waning. This hateful life first oppresses, then assuages, as fancy dictat=
es,
melting poverty and power like ice. Fate, monstrous and empty, you are a
malevolent, whirling wheel. Vain wellbeing always dissolves; veiled in th=
e
shadows, you pursue me. Now I bring to you my bare backside. Fate is agai=
nst
me in matters of health and virtue. I am driven on, weighed down, enslave=
d.
At this time, pluck the vibrating string, and may all weep with me!
II. The crooked path
Ad cor tuum revertere Philippe le Chancellier
Return to your heart, you man of miserable state. Why do you spurn life? =
Why
do you dedicate yourself to sin? Why do you indulge in evil?... Consider =
how
hard this life is, like another death. Why do you not rid yourself of sin=
,
since the hour of your death is unknown to you? If you come to the Brideg=
room
with an empty lamp, you are like a foolish virgin. Therefore, sleep not, =
but
keep a vigil for the Lord when he knocks!
Vita perdite Pierre de Blois
Formerly, I gave myself over to depravity, breaking my vows. Now, in the
evening of life, I choose to correct the errors of my youth. To correctly=
distinguish good from evil, I must not deceive myself. I cannot reap
virtue's prize while I am doing wrong. I am not a dupe of the crooked pat=
h; I
am not addicted to unnatural acts. Get yourself a floozy, so that you don=
't
go in for perverted sex! The swill of pigs could not assuage my hunger. B=
ut
the Scriptures advised me to choose the way of goodness. I deserve no bet=
ter
than death if (like a dog) I return to my own vomit. I shall deserve
reprimand if I serve the filth of evil. I shall leave the old path, refus=
ing
to tread the devious byways of Venus. It's better to take the royal road;=
he
who cedes to another sinks in mud. Therefore may I find, through God's me=
rcy,
pardon for my sins. Since Thou alone can spare me, Lord, have pity on me!=
Bonum est confidere Philippe le Chancellier
It is good to trust in the Lord of Lords; it is good to place our trust i=
n
the object of our hope. They deceive themselves, who trust in the power o=
f
kings, and they exclude themselves from the court of the Most High. Follo=
w
the ways of righteousness, study improvement, earn your bread through the=
sweat of your brow.
Curritur ad vocem
Everyone is running towards the voice of Money, a pleasing sound indeed.
Everyone goes after that which is forbidden. That's how to live! The way =
the
priests do! They will judge a case for a small fee. If you let down your =
net,
you can fish up up your reward, and with interest. If anyone in this busi=
ness
doesn't know how the world works, let him choose, or disappear: Get what =
you
need, by whatever means necessary. law is no deterrent; the judiciary doe=
sn't
matter. Where virtue is crime, God has no place!
III. Lords of misrule
Dum iuventus floruit
While youth flowered, I could do whatever pleased me, to run about at wil=
l
and give myself to the pleasures of the flesh. But the state of manhood d=
oes
not allow one to lead such a life; those familiar ways are anulled. The
spirit of the age said, "Nothing is to be ruled out;" and it has given me=
everything for my pleasures. I want to be prudent, to abstain from what I=
have done in the past, to dedicate myself to serious things, and to redee=
m
with my virtues my former sins.
from the "Officium Lusorum" (Gambler's Mass):
Introitus
Mourn we all in Decius, for the pain of all those who gamble. The gods of=
the
dice rejoice in their nakedness, and praise the son of Bacchus. They shou=
ld
forsake the Dice, now and forever. Firmly shall this fraud speak from my
mouth.
Sequence =
(melody: Victimae paschali laudes)
To the new victim of Five and Six shall the dice swear alliegance. Five a=
nd
Six take the clothing, robbing the victim of coats, vests, and horses. An=
extraordinary battle rages between winning and losing; now he cries, "O
Fortune, what have you done to me? How quickly have you forsaken me, leav=
ing
me helpless!" Five and Six, in you lies my hope. Ah, if you would only ap=
pear
on the gaming table. Old man Seven, come down from heaven!
Alte clamat epicurus
Loudly brags the bon vivant: "Happiness is a full belly; the stomach shal=
l be
my God; the kitchen, from which come divine odors, shall be his temple."
Quite a convenient deity, never long on a fast; the gourmet throws up his=
wine to make room for his breakfast. His sacral objects are the dinner ta=
ble
and the wine vessal. He's always full up, skin a-swollen. His cheeks glow=
red, and his member stands erect, strong as a chain. Still, practicing th=
is
religion upsets the stomach. The belly aches when you mix wine and beer. =
Tis
a good life when the tummy works hard! The stomach says: "I care for noon=
e
but myself, and so, gently taking care of my well-being, acting on food a=
nd
drink, I sleep and I rest." =
Olim lacus colueram =
(melody: Dies irae)
Once I lived on lakes, once I was beautiful, when I was a swan. Pity, pit=
y,
black roasted lump! Once I was whiter, and more beautiful; now I am all
blackened. Pity, pity, black roasted lump! Now I am roasting the steward
turns me over and again on the spit, and sprinkles me with pepper. Pity,
pity, black roasted lump! Now I lie on a plate, and cannot fly away. Bare=
d
teeth do I see! Pity, pity, black roasted lump!
Dic Christe veritas
Tell me, truth of Christ, rarest thing, rare Charity, where do you now li=
ve?
In the valley of visions, or on Pharaoh's throne, or on high with Nero? I=
n
the bullrushes, with weeping Moses? Or rather, in the palace of Rome, whe=
n
the Pope's bull roars?
Bulla fulminante Philippe le Chancellier
Where the bull roars, under thundering justice, the defendant appeals, an=
d
fails. Truth is suppressed, Justice is a whore. Run to and fro at the Cur=
ia,
but you'll get nothing until you are stripped of your last penny. If you=
seek a position, you will point to your record in vain. Do not pretend t=
o
virtue; you might offend your judge. You'll wait months, unless your brib=
e is
sufficiently large. The doorkeepers of the Pope are deafer than Cerberus.=
Even if you were Orpheus, you would plead in vain. Rap instead with a
silver hammer. Jupiter pleaded in vain with Danae; but he got her maiden=
head
anyway, when he colored himself in gold. Gold is all-powerful; it speaks =
more
eloquently than Cicero...that's why Crassus swallowed it, boiling hot.
Bacche, bene venies
Bacchus, be welcome, for you make our spirits happy. This wine, good wine=
makes every drinker brave and bold. Bacchus, once you have come int=
o a
man's breast, you ignite his spirit for love. This wine, good wine makes
every drinker brave and bold. Bacchus goes out looking for the sex of wom=
an;
he subjects them all to you, o Venus. This wine, good wine... Bacchus can=
flatteringly entice womens' hearts, and make them willing to give themsel=
ves
to a man. This wine, good wine... Beloved God Bacchus, here we are assemb=
led,
drinking happily to your generosity. This wine, good wine... Water preven=
ts
sexual intercourse; (but) Bacchus makes doing it easy. This wine, good w=
ine
makes every drinker brave and bold.
Intermission
IV. Hail, bountiful Venus!
Tempus transit gelidum
The cold times pass, the world is renewed, the flowers and spring return.=
The
birds rejoice with pleasure, and the air is cheerful. Decorous maidens pl=
ay
on the grass, singing new songs from their sweet mouths, and joyfully the=
birds join in. The heart is touched by love, as girls and birds make musi=
c.
Now the boy with the quiver spreads his nets -- by him was I conquered an=
d
wounded. At first, I fought and resisted, but the boy once again made me =
a
subject of Venus. And, so injured, I fell in love. She has bound me with =
a
strong bond, and to her I am devoted. How sweet are her kisses, sweeter t=
han
cinammon, or honey from the comb.
Doleo, quod nimium
How I mourn, and I shall perish, if I see no more la joie que j'avais. Yo=
ur
sweet face makes me cry mille fois, and your heart is as ice; yet a baise=
r
would cure me. Alas, what shall I do? What news from France? Shall I lose=
l'amour de ma belle? Friends, now counsel me, pour votre honneur. Sweet
friend, pour votre amour do I weep and moan; friends, laissez-moi!
Ecce chorus virginum
Here are the maids dancing in the springtime, with the sun's rays lancing=
=2E
Now soften your rejoicing, and lay boughs at the altar of Beauty. In this=
flowery vale, sweet and fragrant, is a place of flowers and violets, wher=
e
the birds sing sweetly. Lay boughs at the altar of Beauty! Here come the
flower-garlanded maidens; Who will tell them the old tales, yet avoiding =
the
sad story of Dido? Lay boughs at the altar of Beauty!
Exiit diluculo
At the break of day, the shepherdess went out, with herd, staff, and spri=
ng
lambs; in the little flock are a sheep and a donkey, a cow and a calf, a
young buck and a she-goat. She saw a student sitting on the grass. "What =
are
you doing, Milord? Come play with me!"
Axe Pheobus aureo
Phoebus, on his golden chariot, lights up the heavens with rose-colored r=
ays.
Cybele grows lovelier, her face glows, and Semele gives her sun the flowe=
r of
Phoebus' favor. The sweet zephyrs make the woods sound, and the birds sin=
g.
Philomena quarrels with Tereus, her song merging with that of the blackbi=
rd.
The happy dance of Venus mixes in with these songs; Venus now consoles, n=
ow
torments, the hearts that are hers. She robs me of sleep; for love's sake=
, I
lie awake. Cupid's arrows burn my heart with fire. What is given me.
frightens me; what is refused to me, I welcome. She who gives herself to =
me,
I avoid; she who will not obey me, I adore...If fear invades me, if my fa=
ce
is covered with tears, and pallid, it is because I am a victim of love.
Sic mea fata
Like the swan at the hour of its death, I sing to console my sorrow. The =
rosy
color quits my cheeks, the pain grows, I die, I die, for I must love, and=
not
be loved. I would be happier than Jupiter if the one whom I desire would =
pity
me, if just once I could kiss her lips, if for just one night I could sle=
ep
with her. I could undergo death for such joy, I could, I could. When I sa=
w
her breasts, I wanted to cup them in my hands, and play with each nipple =
in
turn; thus I imagined the pleasures of love. The flush of shame covered m=
y
face; desire urged me to lick her mouth, to lick, lick, lick, and to leav=
e a
love-mark on her!
O mi dilectissime
O my most delightful one, with the most serene face! Mandaliet, my belove=
d
comes not! Your face shows how much nobility is in you, mixed with your
blood. Mandaliet, my beloved comes not! Who is this beautiful girl? I bur=
n
for her love. Mandaliet, my beloved comes not! In my heart, there are man=
y
sighs for your beauty, that wounds me sorely. Mandaliet, my beloved comes=
not! Your eyes shine like the rays of the sun, like the flashing of
lightning. Mandaliet, my beloved comes not! May the gods grant what I hav=
e in
mind -- that I may untie her virgin knot! Mandaliet, my beloved comes not=
!
Veni veni venias/Chume chume geselle min
(Latin text:) Come, come, do not make me die. Too-whit-too whoo, chirrup!=
Beatuful is your face, your eyes, your hair; what a fine specimen! Redder=
than rose, whiter than the lily, I revel in you!
(German text:) Come, come, my beloved, I beg you. Sweet rose-red mouth, c=
ome
and make me healthy!
Ich was ein chint
Once I was the purest of virgins; all praised my innocence. Alas, alas,
cursed be that linden tree by the wayside! I went to the meadow to pick s=
ome
flowers, and there I met a jacknape who wanted my flower. He took me by m=
y
white hand, not immodestly; he led me to a ditch, deceitfully. Cursed be =
that
linden tree!... He clutched at my white dress, most indecently; he drew m=
e
towards him, roughly. Cursed be that linden tree! He said, "Lady, let's g=
o to
some secluded place. Cursed be the path he took; now I lament it. Cursed =
be
that linden tree! Not far from the road, there stands a linden tree, and
there I placed my harp, my tambourine, and my lyre. Cursed be that linde=
n
tree! As he came to the linden tree he said, "Let's sit down" -- he was
under passion's spell -- "let's play a game." Cursed be that linden tree!=
He
grasped my white body, despite my shyness; he said "I shall make you my w=
ife
-- how sweet is your mouth." Cursed be that linden tree! He took off my
dress, baring my body; he besieged my little castle, with his stiff lance=
=2E
Cursed be that linden tree! He picked up his quiver and bow (A fine hunt=
!);
having betrayed me, he said, "Game's over." Cursed be that linden tree!
Ecce gratum et optatum
Behold, the pleasant spring brings back rejoicing. The fields are full of=
violets, the sun brightens everything, sadness recedes. Now the snow melt=
s
and disappears, and the Spring sucks at the breast of Summer. Unhappy he =
who
neither lives nor lusts under Summer's rule. At Venus' command, let us gl=
ory
and rejoice, since we are the equals of Paris.
Tempus est jocundum
Hear is the joyful time, o maidens; rejoice with them, o young men! Oh, o=
h, I
am in flower, I burn -- it's a new, new love that I'm dying of....In wint=
er
time, man waits, in the breath of spring he becomes passionate. Oh, oh, I=
am
in flower... My virginity makes me play games with myself, my innocence h=
olds
me back. Oh, oh, I am in flower... Come, sweet girl, with joy, come,
beautiful one, for now I perish. Oh, oh, I am in flower...
Tempus adest floridum
The greening season is here, and the flowers appear; the heat repairs the=
misfortune of the cold. The fields are full of flowers; maidens and young=
men
go walking together. Let us play, for the love of Venus. "O sweet maid, w=
hy
are you cruel to me? If you are Helen, I would be your Paris!" Hail, most=
beautiful one, precious jewel! Hail, glorious maiden, light of lights,
Blanchefleur and Helen, bountiful Venus!
THE BOSTON CAMERATA
Joel Cohen, music director
Anne Azema, soprano
Christi Catt, soprano
Catherine Jousselin, mezzo-soprano, vielle
Heather Knutson, soprano
John Fleagle, tenor, harp, hurdy-gurdy
Joel Frederiksen, bass-baritone
William Hite, tenor
John Holyoke, baritone
Mark Sprinkle, tenor
Joel Cohen, baritone, lutes, percussion
Robert Mealy, medieval fiddle
Margriet Tindemans, medieval fidde, rebec
Steven Lundahl, recorder, shawm, slide trumpet
Ben Harms, percussion
assisted by members of
The Harvard University Choir
Murray Forbes Somerville, director
transcriptions/editions/reconstructions of the melodies,
from the Carmina Burana manuscript and from other medieval sources by:
Thomas Binkley, Rene Clemencic, Joel Cohen, Walter Lipphardt, Miriam K.
Whaples
musical arrangements by Joel Cohen
language consultant: M.J. Connolly
production coordinator: Larry Hawes
Thanks for additional project support to Erato Records, Paris
This program is dedicated to the memory of Thomas Binkley (19xx-1995). =
Carmina Burana
program notes
The ages-old manuscript, that lay in the vaults of the Benediktbeuren
monastery in Bavaria, did not begin with the usual devotions. On the
contrary, the opening song -- meant as some satirical mime, or a dance
perhaps -- cast a cynical eye on worldly reality: "Right and wrong go
walking, almost in step together, and virtue must take care to stay halfw=
ay
between two vices.... Be friendly and smooth towards everyone, but be
careful.. misplaced charity is no virtue... If you wisely sift the wheat=
from the chaff, your donation will buy fame." The next song, on the same
page, was no prayer to the Virgin, but rather a hymn to Goddess Fortune:
"Fate, monstrous and empty, you are a malevolent, whirling wheel."
And the image on that opening page was not some pious one of a Nativity o=
r a
Crucifixion. Instead, a wheel of Fortune (framed by an eerie, inverted cr=
oss)
is presented as an allegory of life: A king on his throne at the top; on =
his
right, a poor schlemiel sliding down and away from power; another
unfortunate in the dumps at the bottom, and a third climbing back up on t=
he
left.
Though there are Christian prayers -- and even a passion play -- in this
manuscript, the one now called the Carmina Burana, the pagan spirit
inspiring most of the poems reminds us that the rough, intense world of
medieval Europe was anything but a Sunday School picnic. Did some wealthy=
ecclesiastic piece together this anthology of (mostly-Latin) songs becaus=
e of
their literary grace, or their musical interest? Or, despite his
ecclesiastical functions, was he seduced by the hard-nosed satire, the ra=
w
sensuality of so many of the poems?
In any case, we can only be grateful, for Carmina Burana is probably the =
most
important source of secular, medieval Latin poetry that we now have. The
songs were collected, somewhere in Germany, from many places and sources,=
most likely in the early decades of the thirteenth century. (Surprisingly=
,
perhaps, to those who already know the Carl Orff oratorio, with its 1930'=
s
German-nationalist subtext, the original compiler(s) had international,
"European" tastes. Most of the Carmina pieces with known authors are of
French origin-- and we have recovered a number of the tunes from French a=
nd
Proven=E7al manuscripts.)
Despite their markedly secular content, most of the songs were written in=
the
shadow of the Church. A number of them in fact deal with church politic=
s,
and corruption in the hierarchy. The Latin they generally employ (there a=
re
some in medieval German and even one, Doleo quod nimium, in a mixture of
Latin, French, and Proven=E7al) was an ecclesiastical language, learned b=
y all
in the church hierarchy, high -- refined poets like Philip the Chancellor=
--
and low -- the anonymous "wandering scholars" or goliards who presumably=
penned the many lusty songs to Bacchus and Venus. Much has been written a=
bout
these clerks, who entered the service of the Church to gain financial and=
material advancement; it was a good path to take for a bright, literate
young man from a modest background. Furthermore, once in orders, a schol=
ar
was exempt from civil law, and could only be tried by an ecclesiastical
court. This rule kept any number of tonsured troublemakers safely out of=
reach of the local police.
How were these brilliant, scabrous, touching, vivacious songs sung? Most =
of
them appear in the manuscript source without music -- and the ones that d=
o
have an accompanying tune use a notation system so maddeningly imprecise =
that
scholars have been fighting about the "correct" solutions for generation=
s.
Carl Orff wrote his own tunes. We, more modestly, attempt to reconstruct=
the
original melodies whenever possibe, or to reconstruct/borrow plausible tu=
nes
from other medieval sources. But then, what style of performance would be=
appropriate? We can, of course, never know for sure. All of the songs, e=
ven
the ones with the most scurillous subject matter, show considerable lear=
ning
-- they are not simply folksongs. And yet, the refined and courtly manner=
of
the troubadours many not be appropriate for texts that describe the best =
way
to bribe an official, or a stomach upset, or adolescent dating behavior.=
Perhaps a mix of musical approaches may be most appropriate: just as the
manuscript itself contains elements of both "high" and "low" art, our
performances seek to draw out the different expressive possibilities inhe=
rent
in, and suggested by, the original material.
The first, pioneering attempt to reconstruct original Carmina Burana melo=
dies
in modern performance was made by the Studio der Fr=FChen Musik in the mi=
d
1960's. The ensemble's leader, a renegade young American expatriate named=
Thomas Binkley, created a mini-revolution in the musical world. Along wit=
h
the Studio's main singer, mezzo-soprano Andrea von Ramm, Binkley forged a=
daring new approach to the interpretation of medieval song, literally
re-inventing a convincing performance style for important, long-forgotte=
n
works. Everyone who has played and sung medieval music since then is inde=
bted
to those wonderful, audacious experiments. We dedicate tonight's performa=
nce
to Tom Binkley's memory.
Joel Cohen
=========================================================================
Date: Thu, 22 Jun 1995 11:24:55 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: sharon cinnamon
I'm sorry to bother the list, but my efforts to remove my name from this
list have been in vain. Listowner, please contact me to remove my name.
Thank you.
sharon cinnamon
cinnamon@eagle.mit.edu
cinnamon@mit.edu
=========================================================================
Date: Fri, 30 Jun 1995 12:33:41 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: russell barry
Subject: marionnette opera:Paris 1676
Now available on WWW sites in Montreal and Oxford, for
the first time in more than 300 years, are the texts
of two marionette operas, as published in Paris in 1676.
I have included background documentation and speculated
on who might have been responsible for the productions.
This material forms part of a growing hypertext archive
of primary sources on the Parisian fairground theatres that
also includes three previously unknown texts of acrobats'
plays from the 1678 season.
(Montreal) http://www.er.uqam.ca/nobel/c2545/index.html
(Oxford ) http://www.brookes.ac.uk/sol/index.html
Barry.Russell@brookes.ac.uk
=========================================================================
Date: Fri, 30 Jun 1995 18:36:07 EDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: cleary@OUVAXA.CATS.OHIOU.EDU
Subject: electric candles
Ohio University Electronic Communication
Date: 30-Jun-1995 06:32pm EST
To: See Below
From: Don Cleary Dept: Fine Arts
CLEARY Tel No: (614) 453-0762 ext.
399
Subject: electric candles
Ohio Valley Summer Theater is in desperate need of about 21 hand-held
electric candles (as authentic looking as possible) for their summer
production of Fiddler on the Roof. The fire code won't allow real ones
in the isle. If you would loan them or rent them, please email me
ASAP.
Thanks
Don Cleary, Managing Director
Cleary@ouvaxa.cats.ohiou.edu
Distribution:
To: Remote Addressee ( _MX%"ASTR-L@UIUCVMD.BITNET" )
Remote Addressee ( _MX%"CANDRAMA@UNB.CA" )
Remote Addressee ( R_MX%"COMEDIA-L@ARIZVMI.BITNET"
)
Remote Addressee (
_MX%"PERFORM@IUBVM.UCS.INDIANA.EDU" )
Remote Addressee (
_MX%"REED-L@VM.UTCC.UTORONTO.CA" )
Remote Addressee (
_MX%"RENAIS-L@ULKYVM.LOUISVILLE.EDU" )
Remote Addressee (
_MX%"THEATRE@PUCC.PRINCETON.EDU" )
=========================================================================
Date: Fri, 30 Jun 1995 17:52:26 EWT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Angela Mariani
Subject: Re: electric candles
you big bunch of pansies
you make me sick
I can't believe I was so blind
I can't believe that this crap is what I let happen to my life.
I realize now that theatre is for people who can't stand real life.
all you posers in black
all you fat ugly women
I hae you all
I hope you die
I hope you die
I hope you die
drown in shit
=========================================================================
Date: Fri, 30 Jun 1995 19:09:03 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Ivan Michael-Scott
Subject: Re: electric candles
I'm relatively new to this list, so could someone illuminate me as to the
meaning of Angela Mariani's rather virulent response (quoted below) to a
request for electric hand-held candles for a production of Fiddler on the
Roof?
>you big bunch of pansies
>you make me sick
>I can't believe I was so blind
>I can't believe that this crap is what I let happen to my life.
>I realize now that theatre is for people who can't stand real life.
>all you posers in black
>all you fat ugly women
>I hae you all
>I hope you die
>I hope you die
>I hope you die
>
>drown in shit
=========================================================================
Date: Sat, 1 Jul 1995 00:15:11 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: russell barry
Subject: Re: electric candles
Er... what was that all about? I must have missed Act 1.
Barry.Russell@brookes.ac.uk
=========================================================================
Date: Fri, 30 Jun 1995 18:41:55 EWT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Angela Mariani
Subject: Re: electric candles
Angela Mariani's response:
If this is a joke, it is an extremely bad one.
Not only have I never seen the remarks that were attributed to me, but it
is beyond imagining that I would post such a thing to the net.
I am appalled. Who is spreading this misinformation?
My server does not indicate the source of that post--only the name of the
list shows up after the "from" line. If anyone can tell me the originatiion
of that post, I would really like to know.
I have not posted anything to "PERFORM" for some time. Certainly not the
garbage that was attributed to me.
I will contact the Postmaster at IU to try and clear this up. Meanwhile, if
anyone has any information, please let me know.
--Angela Mariani
asmith@ucs.indiana.edu
=========================================================================
Date: Fri, 30 Jun 1995 18:54:49 CDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Bruce Rawitch
Subject: Re: electric candles
>> I'm relatively new to this list, so could someone illuminate me as to the
>> meaning of Angela Mariani's rather virulent response (quoted below) to a
>> request for electric hand-held candles for a production of Fiddler on the
>> Roof?
>>
>> >you big bunch of pansies
>> >you make me sick
>> >I can't believe I was so blind
>> >I can't believe that this crap is what I let happen to my life.
>> >I realize now that theatre is for people who can't stand real life.
>> >all you posers in black
>> >all you fat ugly women
>> >I hae you all
>> >I hope you die
>> >I hope you die
>> >I hope you die
>> >
>> >drown in shit
>>
I guess some people just really don't *like* Fiddler very much.... :)
=========================================================================
Date: Fri, 30 Jun 1995 18:49:15 EWT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Angela Mariani
Subject: Re: electric candles
Please, please, people--I did not write that message. Someone is trying to
slander me, and I don't know why. They have posted similar obscene garbage
to the Early Music List as well. Anyone with any information about
this--please contact me.
Angela Mariani
asmith@ucs.indiana.edu
=========================================================================
Date: Fri, 30 Jun 1995 21:35:02 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Darrell Dukes
Subject: Re: electric candles
In-Reply-To: <950630190751_105802518@aol.com>
I'll give it a shot. Um. . .could it be that she's insane?
On Fri, 30 Jun 1995, Ivan Michael-Scott wrote:
> I'm relatively new to this list, so could someone illuminate me as to the
> meaning of Angela Mariani's rather virulent response (quoted below) to a
> request for electric hand-held candles for a production of Fiddler on the
> Roof?
>
> >you big bunch of pansies
> >you make me sick
> >I can't believe I was so blind
> >I can't believe that this crap is what I let happen to my life.
> >I realize now that theatre is for people who can't stand real life.
> >all you posers in black
> >all you fat ugly women
> >I hae you all
> >I hope you die
> >I hope you die
> >I hope you die
> >
> >drown in shit
>