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All's Well That Ends Reasonably Well . . .

A Renaissance Madrigal Dinner and Silent Auction
Presented by The Chamber Singers

Mary Evelyn Root, Director
Leanne Elmer Herrmann, Accompanist
Dr. Kristen McDermott, Author

Saturday, April 19, 1997
Eastminster Presbyterian Church
Marietta, Georgia

Dramatis Personae:

William Plunkett, our Host Larry Roddam
Lucy Plunkett, our Hostess Kristen McDermott
The "Greek chorus":
Mistress Peggy Debra Gallo
Mistress Meg Jeanette Gowen
Mistress Maggie Judy Thompson
Roxana Fitzsimmons, a Lusty widow Janet Crist
John Draper, a Wealthy Merchant Jorges Blanco
Mary Draper, his Wife Michaelene Gorney
Felicity Draper, their Daughter Malie Umbach
Constance Dawkins, Mary Draper's Aunt Carole Barker
Harry Fisher, a Wealthy Merchant Joel Hansel
Elizabeth Fisher, his Wife Faye Goolrick
Robert Fisher, their Son David Mayersky
Benjamin Fisher, Harry Fisher's Father Charles Gabriel
Reverend Allworthy, the Obliging Clergyman Barry Geesey

The Setting: The Pig 'N' Thistle Tavern, situated in a remote hamlet, somewhere between London and Bath. The locals are contemplating the arrival of their guests, the Drapers and the Fishers, who are coming to marry their children to one another.

Program Notes

by Michaelene Gorney

The Madrigal

The word "madrigal" typically refers to Italian vocal music of the 16th century. The derivation of the word, though unclear, indicates several possible origins: "pastoral song"; secular song (as opposed to spiritual); a song "in the mother tongue"; or one "belonging to Mother Church" (in which case the lusty spirit of many a madrigal strays far from its original purpose!). Through the madrigal, artists of the 16th century sought to develop a more refined poetry than previously in use, and to enhance its meaning with music. By the end of the 16th century, the music itself became exaggerated and mannered, employing musical "word-painting," dramatic effects, and vocal virtuosity. The madrigal was readily adopted in England, where composers adapted it to the peculiarities of the English language and imbued it with the English penchant for merriment and melancholy.

My Heart With Love Is Springing by Hans Leo Hassler
The Germans were moved to write madrigals in both German and Italian, with Hassler writing some of the best. This tune owes some of its charm to changing rhythms, from groupings of three beats to four beats to three beats to four beats, etc.

Fa una Canzona (Sing Me a Song) by Orazio Vecchi
This lilting commentary on love and song is an example of the light Italian "canzonetta."

Au Joli Jeu (The Loving Game) by Clement Jannequin
Lest the French be left out of this discourse on love, we offer a piece by a Frenchman. "The loving game, what fun to play!"

When Home From Work My Husband Comes by Orlando di Lasso
Written in French by an Italian in Germany - we'll sing it for you in English!

Fire! Fire! My Heart by Thomas Morley
The English, too, are no strangers to passion. Our "good friend," Thomas, captures the urgency, then the pathos, of a fire that needs . . . er . . . something!

The Silver Swan by Orlando Gibbons
Gibbons was one of Queen Elizabeth's favorites. This song is a serious, poetic piece with a satirical comment on society: "more geese than swans now live, more fools than wise."

O Eyes Of My Beloved by Orlando di Lasso
Lasso, again. This time he wrote in his native tongue, but, as before, we'll translate it for you.

Sing We and Chant It by Thomas Morley
This most popular of English madrigals is a variant on the theme, "Carpe diem," or "Seize the day!" The composer bids us to "spare no treasure to live in pleasure." A fitting theme, and a fitting end, for this evening's festivities. Fa, la, la, la, fa, la, la, la!!

Rules of Etiquette

Though the Pig 'N' Thistle be a humble tavern, we pray thee, heed well these rules to maintain goodlie order and propriety for the evening:

Have clean nails or ye shall disgust thy table companions.

Avoid quarreling, dueling or making grimaees at other guests.

Belch near no mans face with a corrupt fumosity.

Stuff not thy mouth nor the mouths of thy neighbors; for the glutton who eats with haste rarely answers thee when addressed.

Eat small morsels of meat; eat softly and drink mannerly.

Corrupt not thy lips with eating, as a pig doth.

Pick not thy teeth at the table with neither knife, nor straw, nor rapier.

Retain a rapier; else ye shall be forced to scavenge with thy finger.

Dip not thy meat in the salt cellar, but take it with a knife.

Scratch not thy head with thy fingers, nor spit you over the table.

If thy teeth be putrified, it is not right to touch meat that others eat.

Blow not thy nose in the napkin where thee wipe thy hand.

Wipe thy mouth when thou shalt drink ale or wine on thy napkin only, not on the tablecloth.

Wipe not thy greasy fingers on thy beard nor thy bosom -- nor the bosom of a lady.

Lean not on thy table with thy elbow nor dip thy thumbs in thy drink.

Throw not thy bones on the floor, neither under the table.

We pray thee: commit these to memory; else, thy table companions may pray a pox upon thy household if ye disgust them!