The Renaissance Guitar: Frederick Noad (1-19)

The renaissance era in music was a heady time. Archaic church modes inexorably gave way to our more familiar concept of major and minor tonalities. Instrumental music forged new forms, untethered to vocal music. The printing press and burgeoning international trade challenged entrenched parochialism. Players who might never leave home could hear what others far afield were doing. There’s a vitality and freshness in renaissance music, as though musicians of the time reveled in the possibilities flowering before them.

Like many guitarists of my generation, Frederick Noad’s “The Renaissance Guitar” was to me an invaluable introduction to renaissance lute music. It’s no exaggeration to say this single book did more than any other to bring renaissance lute music to our attention. Noad had a knack for uncovering hidden gems of the repertoire. His impeccable taste, sound scholarship, and helpful performance tips make this anthology one of the best of its kind. Little wonder that this book, first released in 1974, has endured to this day.

In this recording, I perform the first 19 pieces of “The Renaissance Guitar.” These are the ones Noad grouped as relatively easy pieces. In the guitar duets I’m joined by Josie MacDougall. She’s also the cellist in the three songs you’ll hear, which mercifully spares you my caterwauling voice. As a bonus, I’ve composed a modest tribute to Frederick Noad, which you’ll hear in the opening and closing credits. (https://storage.googleapis.com/wzukus...)

Renaissance musicians often improvised, and ornamentation was an integral part of their playing. Lutenist Jean-Baptiste Besard wrote in 1603: “You should have some rules for the sweet relishes and shakes if they could be expressed here, as they are on the Lute: but seeing they cannot by speech or writing be expressed, thou wert best to imitate some cunning player, or get them by thine owne practise, onely take heed, least in making too many shakes thou hinder the perfection of the Notes.” Taking his advice as a challenge, I offer here samples of how one might go beyond the printed page. Whether my alterations qualify as “cunning” is for you to decide. But at the very least, they can spur your own creative imagination.

These pieces are old friends of mine, and I love them dearly. I hope you enjoy them as well.

Sincerely,
Tom Poore

0) Opening Credits—00:00
Spagnoletta—00:36
Tanz—02:29
Branle Gay—03:44
Toy—04:57
Wilson’s Wilde—05:53
Lesson for Two Lutes—08:16
Shall I Come Sweet Love to Thee—09:31
Branle de Bourgogne—12:10
The Parlement—13:22
If My Complaints Could Passions Move—14:26
Volt—18:36
Recercate Concertante—20:04
Sonnet—21:52
Pavan—24:56
Fantasia—26:24
The Round Battle Galliard—28:06
Never Weather Beaten Sail—29:48
La Rossignol—32:21
Tarleton’s Resurrection—34:47
The Right Honourable Frederick Noad, His Almain—37:54