#The Newberry Consort

[lesser-known-composers]

Johannes Cornago ( c. 1400 – c. 1475) - Morte merce, gentile aquill' altera ·

The Newberry Consort ·

Judith Malafronte · Mary Springfels

[turangalila]

Juan Pérez de Gijón (ca. 1460–ca. 1500)

Al dolor de mi cuydado

Al dolor de mi cuydado / siempre le cresce tristura; / mas no por eso mudado, / por mal que diga ventura. // Ell esperanza perdida / y el pensamiento dudoso / con un venir congojoso/ me da muerte conocida. // Esfuerza con la cordura, / que mueres desesperado, / mas no por eso mudado, / por mal que diga ventura. //

Juan de Urrede (fl. 1451-ca. 1482)

Nunca fue pena mayor

Nunca fué pena mayor / nin tormento tan extraño / que yguale con el dolor / que rescibo del engaño. // Y este conocimiento / face mis días tan tristes / en pensar el pensamiento / que por amores me distes / y me face por mejor / la muerte con menor daño / que el tormento y el dolor / que rescibo del engaño. /

CORNAGO: – Missa de la Mapa Mundi. Soloists and mebers of His Majestie’s Clerkes, Paul Hillier. – Secular music of 15th-century Spain. The Newberry Consort, Mary Springfels, dir. ( 1999, Harmonia Mundi – HMT 7907083 HM 76)

[tiny-librarian]

A ring, called the “Newberry Ring”, which is one of the only pieces of evidence confirming a marriage between Tutankhamun’s widow, Ankhesenamun, and his successor, Ay. It is inscribed with cartouches containing both their names.

It was not a marriage that Ankhesenamun wanted, in fact there is evidence to indicate she was deeply concerned with what would happen to her if she married him. The King of the Hittites received a letter than the majority of scholars agree came from Ankhesenamun saying:

“My husband has died and I have no son. They say about you that you have many sons. You might give me one of your sons to become my husband. I would not wish to take one of my subjects as a husband… I am afraid.“

The Hittite people and the Egyptians were enemies, and this letter surprised the King, Suppiluliuma I , who said:

“Nothing like this has happened to me in my entire life!”

Despite his skepticism, he sent one of his sons to Egypt, but the prince was murdered en-route. Ay had been pressuring Ankhesenamun to marry him in order to help legitimize his claim to the throne, and with the prince’s death she had little choice. Ay was decades older than her and it’s thought by some scholars that he may have been her grandfather.

Shortly after the marriage, Ankhesenamun disappears from the historical record. None of Ay’s monuments show her as consort, and it is his other wife, Tey, who is depicted with him in his tomb. No burial for Ankhesenamun, or her tomb, has ever been found and no one knows precisely how she died.

Two badly damaged female mummies recovered from Tomb KV21 in the Valley of the Kings have been shown to be a part of the 18th Dynasty through DNA testing. It is thought very likely one of them is Ankhesenamun, as DNA analysis suggests this mummy is the mother of the two mummified baby girls in Tut’s tomb. They were definitively proven to be his children, and Ankhesenamun was his only known wife.

[myclutteredstudy]

I made a playlist for my "first and last" true Hakuoki love Sanan. (Just the faintest breath of why he is, I tried to evoke here.) I don't, right now anyway, make much content of my own, or focus on any one fandom or interest here because this blog is What It Says On The Tin. So I'm tagging this a bunch for people to find if they like without needing to follow me. But the Hakuoki fandom is just full of the most kind, hilarious, encouraging people and they have been so welcoming to me even though I came very late to the party, so at their encouragement, I'm sharing this for anyone else who cares about him and the Hakuoki story. <3 Sharing with as few notes as possible, so you can make your own associations/connect your own dots. But I do feel like you will be able to trace his route story through Kyoto Winds to Edo Blossoms, in your own way. :3 "Blood I Bled" -The Staves "Hana no Atosaki" -Mao* "My Body Is A Cage" -Arcade Fire "In Darkness Let Me Dwell" -John Dowland** "The Man With The Child In His Eyes" -Kate Bush “Apply” -Glasser "Ghost" -Run River North "Trouble Me" -10,000 Maniacs "Burn The Witch" -Radiohead "Out of the Woods" -Nickel Creek "She Is Free" -Jeff Buckley and Gary Lucas "Howl" -Florence + The Machine "Lofa Mér" -Helgi Jonsson "Everlasting Light" -Diamond Thug "Arms of the Infinite" -Kentaur "Come In Close" -Joseph "Never Look Away" -Vienna Teng *(This is my most favorite of the songs from the anime material, and just the outright link to Hakuoki. There's something about the soft music and wistful lyrics that I imagine would make anyone feel very tender and thinking of their favorite, whoever and wherever they were in the story.  So of course I'm thinking of mine.) **(This is a very old song from around Shakespeare's time. It endured and the lyrics are kind of heartbreakingly electrifyingly perfect for his story. There are a ton of really great recordings of it but for this playlist I recommend either The Newberry Consort's or Andreas Scholl's versions.)

[artmutt]

The Newberry Consort

When I win the Morning Program contest on WFMT in Chicago, I feel like it’s paying me back for all the hours spent in Music History class. As a result of one of these lucky moments, I attended the Newberry Consort’s program on January 13 at Galvin Recital Hall at Northwestern University in Evanston. The program was called “What’s Old is New: The Leuven Chansonnier” and was based on songs from a 15th-century songbook, or chansonnier, rediscovered in 2016, and now housed at a university in Leuven. For this program, members of the Newberry Consort worked with the ensemble Les Délices, whose director, Debra Nagy, gave a pre-concert talk about the project.

Only a short time before this I had been struggling to explain to a music history class I was teaching the significance of the Burgundian Court in the 15th century, and the crucial role the musicians and poets of Burgundy played in giving European music a new sound and character from that of the late 14th century. The music of the late 1300s still sounds “medieval” in terms of harmony and the way it shapes phrases and cadences. It favors the cool, open sound of fourths and fifths. But in the 15th century, thanks to influences from England, the music begins to add thirds, resulting in a “warmer” sonority, more in keep with the three-part “tonal” harmonies we’re accustomed to in later music. The songs that proliferated in the Burgundian courts have some of the same qualities that medieval songs did in terms of lyrics (lots and lots of songs about love, requited and un-), but the new warmer harmonies add a note of sensuality to the music that is very appealing. The program of a dozen songs and instrumental pieces was about an hour long, and made for a very pleasant afternoon. Shawn Keener put together a lovely collection of images, and translations of the songs, that was projected during the concert, and added immeasurably to the total experience.

[pargolettasworld]

https://www.youtube.com/watch?v=pJg-m4Kr4U4

The Newberry Consort is a small chamber ensemble based in Chicago.  They generally perform “early music,” which is a broad term that encompasses medieval, Renaissance, and early Baroque music.  The usual stomping grounds of an early music ensemble tend to be Christian liturgical music, early court music, madrigals, dance music, mostly European repertoire like that.  However, a couple of years ago, the Newberry Consort branched out into Sephardic music.  The tunes performed here are Moroccan and Andalusian, and probably evoke pre-expulsion Spain, which is bang in the middle of the time period that early music ensembles love.

So, yeah, there’s a bit of exoticization in their choice of repertoire, but you have to hand it to them on performance.  This is a really beautiful suite of pieces that play up the love between the Divine and the Jewish people.  And honestly, given the current cultural shorthand of “The God of the Old Testament is a God of vengeance, while the God of the New Testament is a God of love,” it’s not a bad idea to frame a presentation of Jewish liturgical music through the lens of “Sacred Love.”

The first tune is Shachar Avakeshcha, an optional addition to the Shabbat morning liturgy.  That’s followed by an instrumental Arab-Andalusian piece called "Nuba al-Maya B'tayhi," and then by our old Kabbalat Shabbat favorite, “Lecha Dodi.”

[chocolateheal]

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[a-peddler-of-things]

Chominciamento di Gioia (Italian, 14th century) on vielle, lute, and rebec

Performed by The Newberry Consort 

2001 Harmonia Mundi 

[lesser-known-composers]

Juan Cornago (c. 1400 – c. 1475) - "¿Qu'es mi vida, preguntays?"

Performers: The Newberry Consort

[lesser-known-composers]

Johannes De Stokem (c. 1445 – 1487 or 1501) - Je suis d'Alemagne ·

Newberry Consort · William Hite · Mary Springfels

[lesser-known-composers]

Neidhart von Reuental - Owê dirre nôt!

Musical Ensemble: Newberry Consort

Conductor: Mary Springfels

Counter Tenor: Drew Minter

[lesser-known-composers]

Juan Cornago  "¿Qu'es mi vida, preguntays?"

The Newberry Consort, Mary Springfels, Judith Malafronte

[lesser-known-composers]

Antoine de Févin - Il fait bon aimer l'oyselet  

The Newberry Consort - Mary Springfels, dir.  Villon to Rabelais, 16th Century Music of the Streets, Theatres, and Courts Mary Springfels (vielle, rebec, viol), David Douglass (vielle, rebec), William Hite (tenor), Drew Minter (countertenor, harp), Tom Zajac (baritone, harp, recorders, flutes, hurdy-gurdy, bagpipes, percussion)

[turangalila]

Johannes Cornago (c. 1400 – after 1475) Credo. Missa la mapa mundi apud Neapolim et la Missa nostra donna sancta Maria [(ff.279v-281) MS 1375 [88] “Trent 88” (Ca. 1460-5) Museo Provinciale d'Arte, Castello del Buonconsiglio, Trento, Italy (I-TRbc)]

CORNAGO: – Missa de la Mapa Mundi. soloists and mebers of His Majestie’s Clerkes, Paul Hillier. – Secular music of 15th-century Spain. The Newberry Consort, Mary Springfels,dir. (Harmonia Mundi, 1999)

[turangalila]

Johannes Cornago (c. 1400 – after 1475) Agnus Dei. Missa la mapa mundi apud Neapolim et la Missa nostra donna sancta Maria [(ff.283-284) MS 1375 [88] “Trent 88” (Ca. 1460-5) Museo Provinciale d'Arte, Castello del Buonconsiglio, Trento, Italy (I-TRbc)]

CORNAGO: – Missa de la Mapa Mundi. soloists and mebers of His Majestie’s Clerkes, Paul Hillier. – Secular music of 15th-century Spain. The Newberry Consort, Mary Springfels,dir. (Harmonia Mundi, 1999)

[turangalila]

Johannes Cornago (c. 1400 – after 1475) Sanctus. Missa la mapa mundi apud Neapolim et la Missa nostra donna sancta Maria [(ff.281v-282v) MS 1375 [88] “Trent 88” (Ca. 1460-5) Museo Provinciale d'Arte, Castello del Buonconsiglio, Trento, Italy (I-TRbc)]

CORNAGO: – Missa de la Mapa Mundi. soloists and mebers of His Majestie’s Clerkes, Paul Hillier. – Secular music of 15th-century Spain. The Newberry Consort, Mary Springfels,dir. (Harmonia Mundi, 1999)