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Without a song, or a dance, what are we?

Enough is ENOUGH!

YAHOO! take note!

After editing, and re-editing today, I am giving up on my Y! 360 blog.

I will continue to blog at Multiply. Along with so many of my friends who have also given up on Yahoo! because Yahoo! gave up on us.

360 was a good site. It was working. But the CEO decided it was time to move on and development on 360 would stop.

I believe it was a mistake. No matter.

Tags: goodbye Friday November 2, 2007 - 08:20pm (EDT) Permanent Link | 0 Comments

Notes from the Silver City of the Holy Roman Empire

During this trip we have an opportunity to visit the studio of one of the great artists of the German renaissance; Albrecht Dürer. Early on a cool July morning in 1494 we have reached the Tiergärtner Platz.
Standard Operating Procedures dictate that anachronistic technology may not be used, so I am inserting a 21st century photograph of Dürer's house. It is encouraging to note that this part of the town has changed very little despite some devastating attacks by the Allied Forces during the Second World War.
The red-timbered house is a double focus of interest for this trip since Dürer bought it from the heirs of the noted astronomer, Bernhard Walther.

The picture to the left is Albrecht's new wife, Agnes, daughter of Herr Frey, a craftsman in copper and brass (materials which Dürer himself often uses for engravings). With the benefit of a historical perspective, I can tell you now that Agnes' arranged marriage was, for want of a better word lacklustre. For Albrecht, marriage was a prerequisite imposed by the Burghers of the city if he wished to open his own workshop. For Agnes, if she does not have a particularly romantic relationship with Albrecht, and will never have children, at least she has the prestige of being the mistress of the household of a respected merchant and internationally famous artist.
Sadly, Albrecht is already busy with new commissions, and cannot spare the time to entertain the "idle curiosity of casual guests, however esteemed". However, Agnes is much more approachable and suggests that later in the day we might pay a visit to her father's workshop.
It turns out that her father is not only a skilled craftsman, but also a harper of some renown in the city. Not a mastersinger himself, but sometimes called upon to accompany contestants in the singing contests of the guild of mastersingers for which the city is famed.
At around 3pm, Herr Frey has excused himself from his workshop and escorted us back to his house where he is keen to perform for us a song by Heinrich Isaaks for which he recently obtained written music from a travelling ballad-seller. At this time, Isaaks has relatively recently been forced to find alternative employment as a result of the banishment of the Medici family from Florence following the French invasion, and it seems that he is making full use of his connections with the woodblock printing craftsmen of his native land to disseminate his music, and thereby earn an honest Florin.
The song which has Agnes' father so excited is Ne piu bella di queste, performed at the celebrations for the marriage of Emperor Maximilian I to Bianca Maria Sforza in Innsbruck in March, and he is keen to perform this song for us on his chamber harp, an instrument slightly larger than the bardic harp favoured by the celts.

X:13 % number T:Ne piu bella di queste % title C:Heinrich Isaaks % composer O:Florence, Biblioteca Nazionale Centrale, MS Pal. 1178 % origin. M:4/2 % meter L:1/4 % length of shortest note Q:160 % tempo K:F % key V:1 name="Superius" sname="S." % voice 1 V:2 name="Tenorius" sname="T." V:3 name="Altus" sname="A." V:4 name="Bassus" sname="B." % %== V:1 F4 | F2 F2 G2 G2 | A4 G4 | c4 c2 B2-|B2 A3 G/F/ G2 | w:Ne piu bel-la di que-ste, ne piu de_____ w:lu-non ve-de-te che nel ciel su re_____ V:2 c4 | A3 B c2 c2 | c4 c4 | G4 c2 B2-|B2 f2 d2 e2 | w:Ne piu bel-la di que-ste, ne piu de_____ w:lu-non ve-de-te che nel ciel su re_____ V:3 f4 | c2 d2 e2 e2 | f4 e4 | c4 c2 d2-|d G c2 B4 | w:Ne Piu bel-la di que-ste, ne piu de____ w:lu-non ve-de-te che nel ciel su re____ V:4 F,4 | F,2 F,2 C,2 C,2 | F,4 C,4 | C,4 C,2 G,2-|G,2 F,2 G,4 | w:Ne piu bel-la di que-ste, ne piu de___ w:lu-non ve-de-te che nel ciel su re___ % %==== V:1 A4 | z2 A2 A2 A2 | B3 A G2 F2 | E4 :| w:gnia si truo-va'al-cu-na'i-de--a: w:gnia ve-de-te Ci-the--re-a, V:2 d4 | z2 f2 f2 f2 | f3 f _e2 d2 | c4 :| w:gnia si truo-va'al-cu-na'i-de-a: w:gnia ve-de-te Ci-the-re--a, V:3 A4 | z2 c2 c2 c2 | d3 c B2 A2 | G4 :| w:gnia si truo-va'al-cu-na'i-de--a: w:gnia ve-de-te Ci-the-re--a, V:4 D,4 | z2 F,2 F,2 F,2 | B,,2 B,,2 _E,2 F,2 | C,4 :| w:gnia si truo-va'al-cu-na'i-de--a: w:gnia ve-de-te Ci-the-re--a, % %==== V:1 z4 z4 | z4 z4 | z4 A2 A A | B2 A G2 F2 E | F4 z4 | w:ve-de-te qui Mi-ner---va; V:2 z4 e2 e e | f2 e d2 c2 =B | c2 z2 f2 f f | f2 _e>d c d c2 | c2 z2 A2 A A | w:ma-dre dol-ze d'a-mo---re; ve-de-te qui Mi-ner----va; che gl'in-ge- V:3 z4 z4 | z4 z4 | z4 c2 c c | d2 c B A B G2 | F2 z2 c2 c c | w:ve-de-te qui Mi--ner---va; che gl'in-ge- V:4 z4 G,2 G, G, | A,2 G, F, E, F, D,2 | C,2 z2 F,2 F, F, | B,,2 C, _E, F, B,, C,2 | F,4 z4 | w:ma-dre dol-ze d'a--mo---re; ve-de-te qui Mi--ner---va; % %==== V:1 z4 z4 | z4 G2 G G | A2 G A G c2 =B | c4 | w:e'l mar-ti-al fu--ro---re V:2 B2 A c B/A/G/F/ G2 | F4 z4 | z4 z4 | z4 | w:gni con--ser-----va, V:3 d2 c>d e f2 e | f2 z2 e2 e e | f2 e f e c d2 | c4 | w:gni con--ser---va, e'l mar-ti-al fu--ro---re V:4 z4 z4 | z4 C,2 C C | F,2 C, F, G, A, G,2 | C,4 | w:e'l mar-ti-al fu--ro---re % %==== V:1 [M:6/2] A2 A2 A2 | B4 B2 A4 A2 | G2 F2 G2 A2 F4 | E4 z4 z4| w:do-ma coll' ar-te'et col-la sa----pien-za: V:2 [M:6/2] F2 F2 F2 | B3 c d e f4 f2 | e2 f2 e2 c2 d4 | G4 z4 z4 | w:do-ma coll' ar--te'et- col-la sa-----pien-za: V:3 [M:6/2] c2 c2 c2 | d4 B2 c4 d2 | e2 d3 c c4 =B2 | c4 z4 z4| w:do-ma coll' ar-te'et col-la sa---pien--za: V:4 [M:6/2] A,2 A,2 A,2 | G,4 G,2 F,4 F,2 | C,2 D,2 E,2 F,2 D,4 | C,4 z4 z4 | w:do-ma coll' ar-te'et col-la sa----pien-za: % %==== V:1 [M:4/2] E2 E E | D2 D2 C>D E F | G B A G2 F2 E | F4 F4 |] w:ve-nu-ti'in-sie-me'ad a-bi-tar Fio-ren------za._ V:2 [M:4/2] G2 G G | F2 F2 f2 e d | c G A c2 B c2 | c4 c4 |] w:ve-nu-ti'in-sie-me'ad a--bi-tar Fio-ren----za._ V:3 [M:4/2] c2 c c | B2 B2 A c2 B/A/ | G2 F E F2 G2 | F4 F4 |] w:ve-nu-ti'in-sie-me'ad a--bi--tar_ Fio-ren--za._ V:4 [M:4/2] C,2 C, C, | D,2 B,,2 F,2 C, D, | E,2 F, C, D,2 C,2 | F,4 F,4 |] w:ve-nu-ti'in-sie-me'ad a--bi-tar_ Fio-ren--za._

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Tags: durer, nuremberg, music, song, silversmithing Friday November 2, 2007 - 07:37pm (EDT) Permanent Link | 0 Comments

A woman of no importance.

Take a good look at this family portrait. You could be forgiven for thinking that this is a typical well-heeled family of the early renaissance era; doting Dad, ever-patient Mum and four perfectly-behaved children and grandchildren.

OK. Here's the backstory. Dad will become the Holy Roman Emperor, Maximilian I. Mum is Mary of Burgundy, daughter of the Duke of Burgundy. By marrying Mary (aka Mary the Rich), Maximilian could expect to inherit the dukedom of Burgundy when Mary's father died. The children are variously, the son Philip "the handsome", and grandsons Charles, Ferdinand and Louis (adopted, again in hope of adding more land to the family empire), heir to the kingdoms of Hungary and Bohemia.

Maximilian is nothing if not an empire-builder.

But for now, our concern is not with Maximilian, but with his second wife (Mary of Burgundy died in March of 1482).

In 1494 Maximilian took Bianca Maria Sforza, daughter of the Duke of Milan, as his wife. Bianca's life up to that point hadn't been easy; when she was only four years old, her father had been murdered while attending church. Traditionally a woman was of more importance than an animal, but less importance than a man. In all probability she had no say in choosing her husband, but negotiations were carried out by the Duchy court of Milan. She was only 18 years old.

The purpose of our visit to Innsbruck, 1410, is sadly to bid farewell to Bianca Maria. Such contributions as she has made historically are easily outshone by the magnificence of her husband, Maximilian, who had inherited the title of Holy Roman Emperor in 1493 when his father Frederick III died.

The title of Holy Roman Emperor made the Maximilian the official Protector of the Catholic Church, and a subdeacon. For this reason, there could be no Empress of the Holy Roman Empire.

Maximilian's magnificent court has employed the greatest artists and musicians of the age, among them Albrecht Durer, whose portrait of the Emperor below, was painted after Maximilian's death, and Heinrich Isaak. The pomegranate which the Emperor holds is cut open to show the many seeds, symbolic of his wealth and power. Also, take a look at that lower lip. Although it is less obvious in this generation, Maximilian is the founder of the powerful Habsburg dynasty who would later rule from Spain, as well as creating the internationally famous riding school where Lippizaner horses are bred and trained.

Isaak created two settings of a popular song of the time, in much the same way that Elton John adapted his "Candle in the Wind" as "Goodbye, England's Rose" for the memorial service for Princess Diana of England. The first version is better known: "Innsbruck, ich muss dich lassen", or Innsbruck, I must leave thee.

The second version, "Welt, ich muss dich lassen" might have been written as a farewell to Bianca Maria although at the time of her death Isaak had accepted a post in Fiorenza, Italy, after leaving the Imperial court.

Welt, ich muss dich lassen

X:11 % number

T:Welt, ich muss dich lassen % title C:Heinrich Isaak % composer O:Transcribed by Moriwaki Michio for the Choral Public Domain Library (www.cpdl.org) % origin. M:C| % meter L:1/4 % length of shortest note Q: % tempo K:F % key V:1 name="Superius" sname="Sup." clef="Treble" % voice 1 V:2 name="Contratenor" sname="Ct." clef="Treble" V:3 name="Tenor" sname="T." clef="Treble" V:4 name="Bassus" sname="B" clef="Bass" %================================================= V:1 z2 F2 | F G A2 | c2 B2 | A2 z A | c>B G2 | w:O Welt, ich muss dich las-sen, ich fahr da-hin V:2 c4 | d e f2 | c f2 e | f2 z c | A A B2 | w:O Welt, ich muss dich las--sen, ich fahr da-hin V:3 z2 F2 | A B c2 | A2 B2 | c2 z c | c>d _e2 | w:O Welt, ich muss dich las-sen, ich fahr da-hin V:4 F,4 | D, G, F, A, | A, G,/F,/ G,2 | F,2 z F, | F, F, _E,2 | w:O Welt, ich muss dich las---sen, ich fahr da-hin %== 6 == V:1 A2 F2 | E2 z F | G F E F | G2 z G | F G A2 | c2 B2 | w:mein Stras-sen ins e-wig Va-ter-land. Mein Geist will ich auf-ge- V:2 A A2 G/F/ | G2 z d | d d c d | B2 z d | d e f2 | c f2 e | w:mein Stras-sen ins e-wig Va-ter-land. Mein Geist will ich auf-ge- V:3 d c2 =B | c2 z A | B A G A | G2 z G | A B c2 | A2 B2 | w:mein Stras-sen ins e-wig Va-ter-land. Mein Geist will ich auf-ge- V:4 F,2 D,2 | C,2 z D, | G,, D, E, D, | G,,2 z G, | D, G, F, A, | A, G,/F,/ G,2 | w:mein Stras-sen ins e-wig Va-ter-land. Mein Geist will ich auf-ge- %==12== V:1 A2 z A | c>B G2 | A2 F2 | E2 z E | F G A2 | [L:1/8] B3 AGF G2-| w:ben, da-zu mein Leib und Le-ben set-zen in Got- V:2 f2 z c | A A B2 | A A2 G/F/ | G2 z g | f e f2 | [L:1/8] f3 edc d2 | w:ben, da-zu men Leib und Le---ben set-zen_ in Got- V:3 c2 z c | c>d _e2 | d c2 =B | c2 z c | A B c2 | [L:1/8] d2 B3 AGF | w:ben, da-zu mein Leib und Le--ben set-zen in Got- V:4 F,2 z F, | F, F, _E,2 | F,2 D,2 | C,2 z C, | D, G, F,2 | B,,2 z B,, | %== 18 == V:1 [L:1/4] G/F/ F2 E | F2 z E | F G A2 | [L:1/8] B3 AG F G2 | [L:1/4/] G/F/ F2 E | F4 |] w:-tes gnad-ge Hand, set-zen in Got-------tes gnad-ge Hand. V:2 [L:1/4] c B c c | c2 z g | f e f2 | [L:1/8] f3 edc d2 | [L:1/4] c B c c | A4 |] w:-tes gnad-ge Hand, set-zen in_ Got------tes gnad-ge Hand. V:3 [L:1/4] E F G G | F2 z c | A B c2 | [L:1/8] d2 B3 A/G/F/ | [L:1/4] E F G G | F4 |] w:-tes gnad-ge Hand, set-zen in Got-------tes gnad-ge Hand. V:4 [L:1/4] C, D, C, C, | F,,2 z C, | D, G, F,2 | B,,2 z B,, | C, D, C, C, | F,,4 |] w:Got-tes gnad-ge Hand, set-zen in Got-tes, in Got-tes gnad-ge Hand.

Approximate translations
O world I must leave thee, I my road leads there, into my eternal home. My spirit fails me, and so do my life and health I offer myself into the hand of God.	Innsbruck, I must leave thee, my road leads there, into a foreign country. My beloved has gone there before me, My countenance is pale in my misery.

Compare that, with the original song:

Innsbruck, ich muss dich lassen

X:12 % number T:Innsbruck, ich muss dich lassen % title C:Heinrich Isaak % composer O:Choral Public Domain Library O:Http://www.cpdl.org % origin. M:C| % meter L:1/4 % length of shortest note Q: % tempo K:F % key V:1 name="Soprano" sname="S." % voice 1 V:2 name="Alto" sname="A." V:3 name="Tenor" sname="T." V:4 name="Bass" sname="B." clef="bass" % V:1 z2 F2 | F G A2 | c2 B2 | A2 z A | c>B G2 | w:Inns-bruck, ich muss dich las-sen, ich fahr da-hin V:2 C4 | D E F2 | C F2-E | F2 z C | A, A, B,2 | w:Inns-bruck, ich muss dich las-sen, ich fahr da-hin V:3 z2 F2 | A B c2 | A2 B2 | c2 z c | c>d _e2 | w:Inns-bruck, ich muss dich las-sen, ich fahr da-hin V:4 F,4 | D, G, F, A, | A, G,/F,/ G,2 | F,2 z F, | F, F, _E,2 | w:Inns-bruck, ich muss dich las----sen, ich fahr da-hin %== 6 == V:1 A2 F2 | E2 z F | G F E F | G2 z G | F G A2 | c2 B2 | w:mein Stras-sen in Frem-de land da-hin. Mein Freud ist mir ge-nom- V:2 A, A,2 G,/F,/ | G,2 z D | D D C D | B,2 z D | D E F2 | C F2-E | w:mein Stras----sen in frem-de land da-hin. Mein Freud ist mir ge-nom- V:3 d c2 =B | c2 z A | B A G A | G2 z G | A B c2 |A2 B2 | w:mein Stras--sen in frem-de land da-hin. Mein Freud ist mir ge-nom- V:4 F,2 D,2 | C,2 z D, | G,, D, E, D, | G,,2 z G, | D, G, F, A, | A, G,/F,/ G,2 | w:mein Stras-sen in frem-de land da-hin. Mein Freud ist mir ge-nom- %== 12 == V:1 A2 z A | c>B G2 | A2 F2 | E2 z E | F G A2 | B>A G/F/ G-| w:men, die ich nit weiss be-kom-men, wo ich im E- V:2 F2 z C | A, A, B,2 | A, A,2 G,/F,/ | G,2 z G | F E F2-| F>E D/C/ D | w:men, die ich nit weiss be-kom---men, wo ich im E- V:3 c2 z c | c>d _e2 | d c2-=B | c2 z c | A B c2 | d B>A G/F/ | w:men, die ich nit weiss be-kom--men, wo ich im E- V:4 F,2 z F, | F, F, _E, | F,2 D,2 | C,2 z C, | D, G, F,2 | B,,2 z B,, | w:men, die ich nit weiss be-kom-men, wo ich im E-lend, im %== 18 == V:1 G/F/ F2 E | F2 z E | F G A2 | B>A G/F/ G-|G/F/ F2 E | F4 |] w:---lend bin, wo ich im E---------lend bin. V:2 C B, C2 | C2 z G | F E F2-|F>E D/C/ D | C B, C2 | A,4 |] w:--lend bin, wo ich im E--------lend bin. V:3 E F G2 | F2 z c | A B c2 | d B>A G/F/ | E F G2 | F4 |] w:--lend bin, wo ich im E--------lend bin. V:4 C,-D, C,2 | F,,2 z C, | D, G, F,2 | B,,2 z B,, | C,-D, C,2 | F,,4 |] w:E--lend bin, wo ich im E-lend, im E--lend bin. W: W:Gross Leid muss ich jetzt tragen, das ich allein W:tu klagen dem liebsten Buhlen mein. Ach Lieb, nun lass mich armen W:im Herzen dein Erbarmen, dass ich muss dannen sein, dass ich muss dannen sein. W: W:Mein Trost ob allen Weiben Dein tu ich ewig W:bleiben stet treu, der Ehren fromm. Nun muss dich Gott bewahren W:in aller Tugend sparen, bis dass ich wieder komm, bis dass ich weider komm!

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Tags: maximilian, holy, roman, emperor, renaissance, music, innsbruck, heinrichisaak Friday October 26, 2007 - 11:31am (EDT) Permanent Link | 0 Comments

Time to pay the piper...

I cannot begin to express how saddened I am to hear the news that Yahoo! 360 will be closed "early in 2008". Many of my online friends are 360 members, and it has been a delight, a challenge, and I hope, a service to share the music I love through my blog.

Learn more about the changes which are coming and leave a comment for CEO Jerry Yang.

Until the changes come into force, I am duplicating the new postings on "Thank you for the music" at Blogger.

Now, ready? step through.

To October 19th, 1781, Yorktown, Virginia, the rear of the British encampment.

One of the greatest hazards facing the time traveller venturing into a war zone is that which the soldiers themselves accept as a part of their duty; the possibility of death or serious injury in the fighting. Thankfully, since we are here to witness the surrender of Lord Cornwallis, General of the British Army and representative of His Britannic Majesty, King George III we will not have to share that risk. There is a ceasefire in force since yesterday and the troops seem to be in good spirits.

It's worth mentioning at this point that General Charles Cornwallis is the descendant of the same gentleman in whose patronage John Wilbye began his musical career.

I thought we might get a better view of proceedings by adopting the dress and manners of a couple of redcoat Lieutenants (at this time, the term still retains vestiges of its original meaning - someone who stands in place for another, i.e. a senior officer) returning from leave of absence. Given the circumstances it is unlikely that we will be assigned any duties that might interfere with our observations.

The question we are trying to answer is this; was the popular ballad "The World Turned Upside Down" played in fact, at the British surrender? For centuries it has been widely believed that it was, and it certainly would have been appropriate. But careful searches of archival material have not found any solid evidence that would prove the case. Even if it is played, it would help if we know which version was played; there are several, each with different tunes and lyrics.

Across the field it is possible to hear a few snatches of fife and drum as well as speech, although I can't make out words. I think the music is coming from the French regiment present if I am any judge of the accents. The time is almost two o'clock and the sergeants are mustering the men to march out. I see no sign of General Cornwallis however. It seems General O'Hara has been entrusted with the ignominious duty of offering the British surrender.

From a tent to the rear I hear the incongruous chiming of a carriage clock striking two o'clock, and the British troops march out toward the center of the field. While the mood is not exactly despondent, and most of the troops seem happy to see an end to the fighting, they march with arms shouldered and colors furled.

As the British march to surrender, only the drummer beats a march, keeping the troops in step. It seems the question is answered. And then from the crowd of civilian spectators gathered to witness the victory, an anonymous musician strikes up the tune of "The World Turned Upside Down" in time to the drummer's march beat!

X:32 T:The World Turned Upside Down C:Traditional M:C N:Posted by Dan Mozell 12/97. Tradition says that this tune was played at the British N:surrender to theAmerican Continental Army at Yorktown on October 19th, 1781. F:http://otterlimits.org/fiddling/tunes/longlist.txt 2005-10-29 17:20:15 UT K:G D2 D2 G2 G2 | ABcd B2 AB | c2 E2 F2 G2 | A3 G G2 D2 | D2 D2 G2 G2 | ABcd B2 AB | c2 E2 F2 G2 | A6 A2 |: A2 FG A3 B | AGFG A3 B | AGFG A2 B2 | E3 D D2 D2 | d2 dc B2 AG | ABcd B2 AB | c2 E2 F2 G2 |[1 A6 A2 :|[2 A3 G G2 A2 |]

I would like to acknowledge Dennis Montgomery's article for helpful background information.

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Tags: yorktown, british, surrender, 1781 Friday October 19, 2007 - 09:26am (EDT) Permanent Link | 0 Comments

Breadcrumbs or Gunpowder?

Somebody left a trail. For whom? And why?

Remember, remember, the Fifth of November,
Gunpowder treason and Plot,
For I know no reason why gunpowder treason
should ever be forgot.

Since King James came to power in '03, there have been several plots aimed at changing the political picture, but this looks like it might actually succeed. One of the conspirators, Robert Winter, is a member of Parliament who is using his position and influence to allow his brother to come and go freely to the Houses of Parliament in London.

At Hengrave Hall in Suffolk, Sir Thomas Kytson has received word from a network of catholic conspirators that a plot is in hand to remove King James from the throne to clear the way for a catholic monarch. After Queen Elizabeth died leaving no heir, the throne was open to King James the sixth of Scotland to become James the first of England. While James may be king, Robert Cecil, one of Elizabeth's most trusted advisors wields the real power and the prospect of any law promoting religious tolerance seems scant.

Sir Thomas Kytson

Lady Kytson

Sir Thomas's house musician is John Wilbye who learned his craft in the patronage of Sir William Cornwallis, in his home town of Brome in Norfolk. Why should we suspect Wilbye? When he first entered the household of Cornwallis he was only fourteen. The Spanish Armada was on its way to reclaim protestant England for the true catholic faith after the excommunication of Elizabeth for refusing to obey Papal authority. Wilbye, like Cornwallis, is catholic and presumably awaited the restoration of the true faith as eagerly as his patron.

The Earl of Salisbury and head of King James's intelligence service, Robert Cecil, has hinted that Wilbye may be using a code that conceals information in songs; look carefully at the way he divides the song between different voices overlapping, which voices are silent, which singing, how the melody moves. We need to either confirm, or deny that this is how the messages are being transmitted¹. We have no sound evidence on which to base the next suggestion, but Sir Francis Walsingham operated an extensive intelligence network during the reign of Queen Elizabeth. Is it possible that Wilbye was initially trained as one of Walsingham's operatives? It seems unlikely, given that Walsingham was committed to supporting the English crown, but we cannot discount the possibility entirely.

Hengrave Hall, rear prospect

Hengrave Hall, front prospect

As cover for this investigation, you will be joining a group of musicians hired to play for the All Saints Day festivities at Hengrave. Keep your eyes and ears open, even while rehearsing and playing: we already know that Wilbye is corresponding on a regular basis with George Kirbye, house musician for Sir Robert Jermyn at Rushbrooke Hall, about five miles across Bury St. Edmunds as the crow flies. You should make yourself familiar with the song presented; the Musicians Gallery at Hengrave is well-equipped with several cornetts, viols, violins, a sackbut, hautbois, chest of recorders and a cithern.

X:1                          % number
T:Lady, your words do spite me % title
C:John Wilbye                % composer
O:http://www.xprt.net/%7Evox/Music/101.nwc % origin.
M:C                           % meter
L:1/4                        % length of shortest note
Q:                           % tempo
V:1 name="Cantus"
V:2 name="Quintus"
V:3 name="Altus"
V:4 name="Tenor"
V:5 name="Bassus" clef=bass
K:A                           % key
%
%==2====3=========4=========5=======6=======7============8==========9===========10
%
V:1                          % voice 1
A4 | e4 | z e c e | B3 E    | z3  e-|e c2 A | c3 c       | e2 z2    | z f f e    |
w:La-dy, your words do spite me, your_ words do spite_ me, your words do
V:2
z4 | z4 | z4      | z4      | z4    | A4    | e2 z2      | z2 d2    | c B>A    A-|
w:                                    La-dy, your words do_ spite
V:3
z4 | E4 | A4      | z B G B |    A4-|A2 E2  | E2 E A     | =G2 F2   | z F F A    |
w:La-dy, your words do spite_ me, your words do spite me, your words do
V:4
z4 | z4 | A4      | e4      | z ece | c2 A2 | z A G A    | B c d2   | A F A E    |
w:La-dy, your words do spite me, your words do spite__ me, your words do
V:5
z4 | z4 | z4      | z4      |   F,4 | A,4   | z A, E, F, | E,2 B,,2 | z D, D, C, |
w:La-dy, your words do spite me, your words do
%
%========11=========12============13============14========15============16=======17=======18
V:1
d4        | c e c>d  | e f e2      | z e>e E     | B4      | G B>B A     | G A2 G | A2 z e-|
w:spite me, yet your sweet lips, so soft, kiss and de-light me, kiss and de-light__ me, your
V:2
A G/F/ G2 | A3 e     | c>d e c     | B B>B B     | F4      | E e>d c     | B A B2 | c4     |
w:____ me, yet your sweet lips, so soft, kiss and de-light me, kiss and de-light__ me
V:3
D4        | E2 E2    | A>A A A     | F G>G E     | ^D E2 D | E E>E E     | E4     | E E2 C-|
w:spite me, yet your sweet lips, so soft, kiss and de-light__ me, kiss and de-light me, your deeds_
V:4
B4        | E c c A  | e>d c2      | z B>B B     | B4      | B B>B c     | e c B2 | A2 A2  |
w:spite me, yet your sweet lips, so soft, kiss and de-light me, kiss and de-light, de-light me, your
V:5
B,,4      | A,,2 A,2 | A,>D, A, A, | B, E,>E, E, | B,,4    | E, G,>G, A, | E,4    | A,,4   |
w:spite me, yet your sweet lips, so soft, kiss and de-light me, kiss and de-light me,
%
%=======19=======20===============21==========22======23=========24=======25==========26============27
V:1
e c2 e   | A A d2-|d c B A         | B4        | c4    | z4       | z4     | z4        |z2 e2        |
w:_ deeds my heart sur-charg'd_ with o-ver-joy-ing, your
V:2
z4       | z4     | z4             | z4        | z3  e-|e c2 e    | f3 e   | d c B A   | B4          |
w:your_ deeds my heart sur-charg'd with o-ver-joy-
V:3
C A A>=G | F3 E    | F/=G/A/F/ G A-| A G/F/ G2 | A2 A2 | A2 A2    | A3 =G  | F>E D E   | E4          |
w:_ my heart sur-charg'd with o-ver-joy--------ing, Your deeds my heart sur-charg'd with o-ver-joy-
V:4
A2 A2    | d3 c    | B A e f       | e4        | e4    | z A A>G  | F F B2-|B A F/G/ A-|A G/F/ G2    |
w:deeds my heart sur-charg'd with o-ver-joy-ing, your deeds my heart sur-charg'd_ with o-ver-joy-----
V:5
z4       | z4      | z4            | z4        |   A,4-|A,2 F, C, | D,3 E, | B,, C, D, A,, | E,2 E,2 |
w:your_ deeds my heart sur-charg'd with o-ver-joy-ing,
%
%=====28========29==========30=============31===============32========33========34===35=======36
V:1
e2 e2  | c>d e2  | A4        | z4           | z e2         e-|e e d c  | B A B2  | A4 | z4     |
w:taunts my life des-troy-ing, your taunts_ my life des-troy---ing,
V:2 c4     | z3 e    | e d d c   | d4           | c4             | z e f f | e4      | e4 | A2 d2  |
w:ing, your taunts my life des-troy-ing, my life des-troy-ing, since both
V:3
E4     | z2 A2   | A2 A2     | F>G A2       | E2 E2          | C A, D2-| D C B,2 | C4 | E2 F2  |
w:ing, your taunts my life des-troy-ing, your taunts my life_ des-troy-ing, since both
V:4
A2 c2  | e2 c2   | f f e2    | d4           | z2 A2          | A2 F2   | G A2 G  | A4 | A2 F G |
w:ing, your taunts my life des-troy-ing, your taunts my life des-troy-ing, since both have
V:5
z2 A,2 | A,2 A,2 | F,>G, A,2 | D,>E, F, =G, | A, A,, A,, A,, | C,2 D,2 | E,4     | A,,4 | z4   |
w:your taunts my life des-troy-----ing, your taunts my life des-troy-ing,
%
%=====37========38==========39========40=========41=======42==========43========44=======45
V:1
z4     | z4      | A2 d2     | c2 B  A-|A G/F/ G2 | A3 e   | f>f e A   | A>A A d | c B A2-|
w:since both have force to_ spill__ me, let kis-ses sweet, let kis-ses sweet, sweet, kill_ me,
V:2
c2 B A | G2 E2   | e2 f2     | e2 d c  | B4       | c3 A   | A>A A e   | f>f e A-|A G A2    |
w:have force to spill me, since both have force to spill me, let kis-ses sweet, let kis-ses sweet, sweet,_ kill me,
V:3
E2 D C | B,2 B,2 | C2 D B,   | E2 F2   | B,2 B,2  | z4     | z3 C      | D>D C D | E2    E2-|
w:have force to spill me, since both have force to spill me, let kis-ses sweet, sweet, kill me,
V:4
A2 D2  | E2 E2   | z A2 B    | c2 d A  | e4       | e3 c   | d>d c A   | F D A2  | z2    c2-|
w:force to spill me, since both have force to spill me, let kis-ses sweet, kis-ses sweet, let_
V:5
z4     | z4      | A,2 F, G, | A,2 D,2 | E,4      | A,3 A, | F, D, A,2 | z3 F,   | E,2 A,,2-|
w:since both have force to spill me, let kis-ses sweet, sweet, kill me,
%
%===========46========47=========48========49============50==========51
V:1
A A A>A      |A e f>f  | e A2 G   | A e e c | e f e/d/  d-|d c d d    |
w:_ let kis-ses sweet, let kis-ses sweet, sweet, kill me. Knights fight with swords and lan-----ces, fight
V:2
e2 f>f       | e A A>A | A d c B  | A3 A    | c A c d     | e2 d A    |
w:let kis-ses sweet, let kis-ses sweet, sweet, kill_ me. Knights fight with swords and lan-ces, fight
V:3
E2 z2        | z C D>D | C D E2   | E3 E    | E A, A F    | A2 A A    |
w:_ let kis-ses sweet, sweet, kill me. Knights fight with swords and lan-ces, fight
V:4
c2 d>d       | c A F D | A2 z B   | c2 A c  | c d c B     | e2 f d    |
w:_ kis-ses sweet, let kis-ses sweet, sweet, kill me. Knights fight with swords and lan-ces, fight
V:5
A,, A, F, D, | A,2 z2  | z F, E,2 | A,,3 A, | A, F, A, B, | A,2 D, D, |
w:_ let kis-ses sweet, sweet, kill me. Knights fight with swords and lan-ces, fight
%
%=========52================53===========54==========55==============56=========57======58
V:1
d B c/d/ e | e/e/ ^d e2      | z B2 d     | c B c2    | B A A c       | B A B2   | c4    |
w:you with smil----ing glan-ces, so, like swans of Lean-der, my ghost from hence shall wan-der,
V:2
B d c>B    | A/=G/ A G2      | z G2 B     | ^A B2 A   | B F F A       | G A2 G   | A4    |
w:you with smil-ing glan---ces, so, like swans of Lean-der, my ghost from hence shall wan-der,
V:3
=G G E   E-|E A, E2          | z E2 F     | F B, F2   | F D D E       | E A, E2  | E4    |
w:you with smil-ing_ glan-ces, so, like swans of Lean-der, my ghost from hence shall wan-der,
V:4
B B A A    | A2 B2           | z B2 B     | c e c2    | d A A2        | B d>c B  | A4    |
w:you with smil-ing glan-ces, so, like swans of Lean-der, my ghost from hence shall wan-der,
V:5
=G, G, A,>G, | F,/E,/ F, E,2 | z E,2 B,, | F, =G, F,2 | B,, D, D, A,, | E, F, E,2 | A,,4 |
w:you with smil-ing glan---ces, so, like swans of Lean-der, my ghost from hence shall wan-der,
%
%======================59=======60=======61========62========]
V:1
[M:3/2][L:1/2] c>c B    | A2 G   | F>G A  | c B2    | A-A-A |]
w:sing-ing and dy-ing, sing--ing, and dy-ing.__
V:2
[M:3/2][L:1/2] A>A G    | F2 E   | D2 F   | A A G   | A-A-A |]
w:sing-ing and dy-ing, sing-ing, and dy-ing.__
V:3
[M:3/2][L:1/2] E>E E    | C2 C   | A,2 A, | A, B,2  | C-C-C |]
w:sing-ing and dy-ing, sing-ing, and dy-ing.__
V:4
[M:3/2][L:1/2] c>c e    | A2 E   | F2 F   | E E2    | E-E-E |]
w:sing-ing and dy-ing, sing-ing, and dy-ing.__
V:5
[M:3/2][L:1/2] A,>A, E, | F,2 C, | D2 D   | A,, E,2 | A,,-A,,-A,, |]
w:sing-ing and dy-ing, sing-ing, and dy-ing.__

In an effort to better understand Master Wilbye, I have also consulted with Doctor Imbrius, of Montague Street. He provided me with an astrological chart with a summary of the influences acting on Wilbye.

¹ Perhaps the most important example of music used to encrypt information is the alchemical text "Atalanta Fugiens". For more recent examples of music being used to encrypt non-musical content, consider the use of Beethoven's Fifth Symphony by the BBC during World War II to represent the Morse code "V" for victory; the signal that the D-Day invasion was about to begin, and J.S.Bach's use of the letters of his own name as a theme.

To convert the code above to sheet music, or listen to the tunes, copy the code for a single song, then paste it here and [submit].

Tags: gunpowder, plot, jacobean, guyfawkes, wilbye, kytson Friday October 12, 2007 - 09:56am (EDT) Permanent Link | 0 Comments

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