“…And Birds do Sing”
VOICES
Tutor: Martin Westhorp
Location: St Bartholomew’s Church, Westhoughton
Reviewer: Rhoda Bramhall
“Revoici Venir Du Printemps”
Do you know the above song by Claude le Jeune and dated 1603? If not, you really must get acquainted.. It is the most refreshing and delightful spring song I have discovered for a long time. Well, Martin Westhorp discovered it for us, for our “And Birds Do Sing” workshop cum AGM.
Our day was beautifully chaired by Mark Flinn, with just the right balance of friendliness and leadership (not an easy skill to exercise).
We had a wonderful turn-out of approx. 50, with a stunning contingent of 8? tenors. I was lucky enough to be immediately in front of them and hear them shimmering up and down the syncopated passages in the above named, and other tricky little numbers. Eg. “Il est Bel et Bon” (Passereau).
First came “Bon Jour Mon Coeur” (Lassus), then we sang “Come Blessed Bird” from the “Triumphs of Oriana”; and learned that “Bonny Boots”, referred to in this, is probably the Earl of Essex, who was renowned for his flamboyant dancing, and that “fetch it” refers to a certain daring leaping step (cf. double back-somersault in modern parlance!).
“All Creatures Now are Merry-Minded” (John Bennett) gave us further cause for speedy dexterity with diction and rhythm. Next, “Le Chant Oiseaux” (Clement Janequin) – fun for some, inane for others! Endless footing and tweeting; tiantianing, co-cuing and terr-terring. But “all part of life’s rich pageant” surely, and greatly assuaged by “Ego Sum Panis Vivus” (William Byrd), which was truly moving and beautiful, and for which we all mingled and moved around so that we could enjoy the illusion of being the only voice to our part – but also the pleasure of being surrounded by the harmonies. This one we sang from the organ loft, to Martin’s evident satisfaction!
Lunch and coffee breaks came up, but we were lost to the delights of singing; except for the AGM which occupied part of lunch time, and of which you will doubtless receive minutes in due course. All existing officers were re-elected unanimously, and the finances considered; and once again I felt so spoiled that people are caring and working and giving their time on our behalf, to enable the smooth running of NWEMF. At this point “Revoici” came in (see above) and Martin told us he has only encountered one other song that includes cranes; whereupon Elizabeth revealed that she too knew it! We then had a riotous time with the round “My Dame Hath a Lame Tame Crane”! @ 8! I did wonder about its “early” credentials, but surely Elizabeth would have demurred!?
Next came “The Three Ravens” (Trad. Arr. Thos. Ravenscroft 1582-1635) All the haunting mystery of it was beautifully expressed by our voices. Then “Contra punto Bestiale alla Mente” (“The animals improvise counterpoint”) by Adriano Bianchieri 1595-1684; another hooting and honking, but this time more attractive, and once again assuaged by two renderings of “The Silver Swan” – first the 1612 English version be Orlando Gibbons, and then the Italian “Il Bianco e Dolce Cigno” (Arcadelt 1505-1568): delightful! Then a mere taste of a plaintive Welsh folk song “Y Mwyalchen Ddu Bigfelen” (“The black thrush with the Yellow beak”) arranged by Llew Tegid. But now it was time for a sing-through of five favourites, finishing with “Revoici Venir Du Printemps”, so exhilarating and utterly apt for the start of spring.
Martin kept us on our toes; was merciless in setting tempo, and returning us to pitch with his unerring ear. I enjoyed so much the sense of moving on; and also the moving around that we did, often singing facing each other in two semicircles.
“Tan tro nesa”= till the next time in Welsh.
First published in April 2011 Newsletter
Photograph of St Bartholomew’s Church in Westhoughton
