The Musicians In Ordinary, known to many in the CRRS community for their performances of solo song and chamber music from the Renaissance and Baroque periods, have produced a podcast! The first series of episodes (now available) features conversation and music first brought together in “Anne Boleyn’s Music Book and its Court Contexts,” a 2015 colloquium organized by Prof. Deanne Williams (York) and hosted by the CRRS.
The common focus of the colloquium and recent podcast is a manuscript of motets and chansons (Royal College of Music MS 1070) that appears to have belonged to Anne Boleyn, and must have come into her hands during her training as a courtier in France. Production of the podcast is supported by SSHRCC, the Spem in Alium Fund of The Toronto Foundation, and York University.
For those who were unable to attend the original colloquium but share an interest in this beautiful manuscript, a documentary has been made available featuring interviews with colloquium participants, illustrations from the Anne Boleyn Songbook and other images of period music and musicians, and excerpts from the Musicians In Ordinary concert which concluded the day: watch on YouTube.
The CRRS’s Director, Prof. Matt Kavaler, is featured as a guest on the seventh episode of the podcast, talking about the paintings of the Master of the Female Half-lengths and their shared context with Anne Boleyn’s songbook: listen on Apple Podcasts.
1. Deanne Williams — Gabrielem Archangelum
In the first podcast episode, Prof. Deanne Williams talks to John Edwards about Anne Boleyn’s Songbook.
This recording also includes the anonymous “Gabrielem Archangelum” sung by Julia Morson, Whitney O’Hearn, and Hallie Fishel.
Listen to the episode directly:
Additional episodes of The Musicians In Ordinary podcast are available via Apple Podcasts (listen here) and Podbean (listen or download here):
2. Gabrielem Archangelum (Anon.) from the Anne Boleyn Songbook
Performed by Julia Morson (sop.), Whitney O’Hearn (mezzo), led by Hallie Fishel (alto).
3. John Edwards — Alma Redemptoris Mater
John Edwards talks to Prof. Deanne Williams about performance practice questions thrown up by the Anne Boleyn Songbook. This episode includes the “Alma Redemptoris Mater” composed by Jacob Obrecht, performed by Julia Morson (sop.) Whitney O’Hearn (mezzo), Katherine Anderson (alto), Eleanor Verrette (vielle), John Edwards (lute), all led by Hallie Fishel (alto).
4. Alma Redemptoris Mater, Jacob Obrecht
Performed by Julia Morson (sop.), Whitney O’Hearn (mezzo), Katherine Anderson (singing the tenor), with Eleanor Verrette (vielle), and John Edwards (lute), led by Hallie Fishel (singing the tenor).
5. Lisa Wang — Sicut Lilium
The Rev. Dr Lisa Wang speaks to John Edwards about the adoration of the Virgin Mary and the Song of Solomon in the context of the Anne Boleyn Songbook. This episode includes “Sicut Lilium” composed by Antoine Brumel, performed by Julia Morson (sop.), Whitney O’Hearn (mezzo), Katherine Anderson (singing the bass), and John Edwards (lute), led by Hallie Fishel (singing the tenor).
6. Sicut Lilium, Antoine Brumel
Performed by Julia Morson (sop.), Whitney O’Hearn (mezzo), Katherine Anderson (singing the bass), and John Edwards (lute), led by Hallie Fishel (singing the tenor).
7. Matt Kavaler — La Magdalena
Profs. Matt Kavaler and Deanne Williams talk with John Edwards about the paintings of the Master of the Female Half-lengths and their shared context with Anne Boleyn’s songbook. This episode includes the Basse Danse La Magdalena by Pierre Blondeau, played by John Edwards (lute).
8. La Magdalena, Recoupe & Tourdion, Pierre Blondeau
The basse dance set La Magdalena, probably by Pierre Blondeau, published in Attaingnant’s “Dixhuit Basses Dances garnie de Recoupe et Tordions” of 1529, played by John Edwards (lute).
