Strathpeffer Pavillion, 28 September 2007

Musick Fyne and Coronach

CELEBRATING a golden age of poetry, music and dance during the reign of Elizabeth I the combined voices of Musick Fyne, Coronach early music ensemble and Danse Ecosse brought the era vividly to life. A candlelit banquet table overflowing with offerings set the scene for a feast of music and movement performed in the centre of Strathpeffer Pavillion.

Published in 1601, Thomas Morley’s collection of 25 madrigal texts “The Triumphs of Oriana” created the basis of the performance with compositions selected fromcomposers such as Morley, Ellis Gibbons, Michael East, and Thomas Weelkes.

Performances of the madrigals by the choral group Musick Fyne alternated with dance and performances of instrumental Quintets by Anthony Holbourne from the Coronach ensemble, using reconstructed early wind, string and keyboard instruments under the direction of James Ross.

The unique blend of sound of this array of authentic instruments transported the audience to another age. I especially enjoyed “Fantasia” from the Third Set of Holbourne’s Quintets, arranged for two harps and lute and performed by Roger Niven (lute), Catharine Niven and Bill Taylor (harps)

Woven in a warm, rich tapestry of polyphony the voices of Musick Fyne excelled in “Hence stars, too dim of light” by Michael East” , “As Vesta was from Latmos Hill” by Thomas Weelkes and Ellis Gibbons “Long live fair Oriana” (a reference to the then aged virgin Queen) which comprised the impressive opening and closing sections.

Queen Elizabeth I played by Alison Edgar also made an appearance as the evening concluded leaving a lasting impression of the cultural legacy of this extraordinary woman and monarch, a patron of all the arts who actively encouraged music and dancing at court.

Reconstructing steps from 16th century dance manuals, Danse Ecosse perform in authentic costumes which contribute to the posture and poise of their movement. In beautifully constructed and detailed period costume they glided effortlessly over the floor.

Whilst their intricate steps were invisible beneath their clothing this is perfectly in keeping with the conventions of the time. Every movement contributes to our sense of the manners and artifice of the Elizabethan court.

The dances themselves are fascinating and sometimes unexpected in terms of rhythm. The “Canaries” is an excellent example, danced by Joanne Burgess and Susan Warren with superb accompaniment by Bill Taylor on harp. The tryst between harp and dancers is played out in a series of steps which to modern eyes and ears echo Spanish flamenco.

Courtiers travelled widely in Europe during the period and amongst the upper classes steps from Spain, Italy and France became part of the repertoire. Dance forms such as the stately, processional Pavane and lively Galliard as part of the performance revealed the sophistication and subtle nuances of Elizabethan society.

The performance left me wanting to know more about the dances and their origins and I hope that further collaborative work between the three groups particularly in the setting of historic properties or perhaps as part of a local early music festival will emerge in the future.

As a region we are indeed fortunate to have the expertise of early music specialists such as Dr James Ross (director of Musick Fyne and Coronach), Bill Taylor (researcher and performer of ancient and traditional music of Scotland, Ireland and Wales) and Susan Warren and Louise Marshall (researchers of historical dance) based in the area.

Our knowledge of early music is still expanding and this body of understanding is of national and international importance.Over 400 years after her reign the arts created in Oriana’s name are still triumphant.

© Georgina Coburn, 2007

Links

• Musick Fyne & Coronach
• Danse Ecosse