Pavilion, Strathpeffer, 30 September 2006

Danse Ecosse

A STANDING ovation was the instinctive response by the large audience at Strathpeffer Pavilion when the combined forces of The Florians, Musick Fyne, Coronach, and Danse Ecosse reached the end of their wholly inspiring re-enactment of the marriage celebrations of Mary, Queen of Scots and Henry Stewart in 1565.

“This is the largest project we have ever undertaken” remarked the director of the event, James Ross, an acknowledged authority on early Scottish music and director of Coronach and Musick Fyne, at the end of the performance

The whole production, which bore the title “The Entry of the Gods”, was the result of considerable research into what little had been documented in those days on what was sung, danced, and said at the celebrations so long ago, the rest being thought appropriate, fitting, and apposite.

Much of the research into many dusty tomes was done by James Ross and Dr Jim Reid Baxter, to dig out as much authenticity as could be applied to the Masque. It is entirely likely, James pointed out, that many of the words used originally had not seen the light of day since 1565.

There were around fifty performers from the four groups involved, each having rehearsed to as near perfection the intricate dances, and the wonderful variety of sacred and secular choral and solo songs.

The dancing by Danse Ecosse, directed by Louise Marshall, was of the highest order. With the dancers in long costumes to the ground, the dances had a dignity and grace which must have been very demanding of physical strength, especially by legs and feet.

Each dance was in several sections linked by the music. In the last section of each dance, the five dancers enlivened their movements to almost a jog on the spot and a considerable amount of bounce. The audience was totally absorbed by the excellence of this part of the presentation.

The costumes by John Claudius worn by the Florians, those worn by Danse Ecosse (designed and made by costumier Suzi Clarke, based on the research of the late Janet Arnold), the wigs by Ann Harvey, and the assorted props by Bill Blackhall, were breathtakingly beautiful, colourful, and above all, convincing.

The singing was first class, as always with Coronach, and the playing by Coronach on authentic instruments with names like Rebec, Crumhorn, Viol, Lute, Fanfare Trumpet, organ and the rest, was outstanding. The singers, using authentic pronunciations in “Renaissance Scots” sang music selected from 16th century motets, plainchant, Protestant part-music of the composer David Peebles, and anonymous Scottish partsongs of the time ending with the vigour and passion of “O Lustie May”.

The attention to fine detail in the bowing, curtseying, smiling, and other dignified movements in the area of the hall floor chosen to perform the Masque, added charm and magic to the whole event.

This was an inspired realisation of a fascinating event from Scottish history, about which a most enlightening account was given by James Ross in the excellent programme.

The audience were drawn into the event in a minor but essential role as a crowd of observers by responding several times to the conductor’s gestures with “Peace and prosperity to the King and Queen” and cheering loudly. We felt rather proud of our contribution.

One or two minor modifications to the relative positions of the instrumentalists need to be made to avoid one section occasionally becoming musically detached from the other.

The standing ovation was the reaction of a highly knowledgeable and appreciative audience who recognised the sheer artistic quality of this production. The proceeds of these performances go to the Riding for the Disabled Association.

I hear a whisper that the whole cast may be performing this Masque in the Great Hall in Stirling Castle in the not too distant future. We all wish them every success.

(James Ross reports that two performances of “Entry of the Gods” raised £4415 for the Riding for the Disabled charity).

© Arthur Brocklebank, 2006

Links

• Coronach