Prisoner of Conscience

Something is terribly, terribly wrong here! I had hoped we could find a way to interview Jeanne of Domrémy (better known perhaps as Joan of Arc), perhaps even sit in on her trial as witnesses. But everything is stitched up so tight in the Castle of Rouen that not even the fleas can move without orders in triplicate, signed by John of Bedford himself, and escorted by armed men! And everywhere I look are black-robed lawyers - no wonder the common people here call them ravens, they look like ravens, they carry themselves like ravens and when the wind blows, their black robes flap, making the impression complete.
I was starting to wonder if we would be able to see Joan at all, but Madame Coole is the wife of the controller of the town, and she thinks her husband, Richard, may be able to arrange a visit. The grubby young boy who arrived at the door of the house a few minutes ago with the message about the barrel of apples to be collected was our signal to get moving.
The barrel of apples is real enough, and a good excuse to get inside the castle, but I'm thankful we have the cart to move it; this thing is heavy! And moving barrels of apples is beneath the dignity of the wife of a government official, but for the two of us, it makes a perfect cover.
Perhaps my expectations were unduly high. I think not though. When we reach the castle gate the sentry on duty seems to think we may be allowed inside, but just to be certain, he calls the sergeant on guard and no amount of pleading, cajoling, or bribery will get us past the sergeant and into the castle.
While we were waiting for the sergeant, did you get a good look at the group that crossed the keep in the direction of the bailey? I'm pretty sure (without my spectacles) that the bareheaded man in the dark blue cloak was our previous acquaintance, John Dunstaple, here as part of the retinue of the Duke of Bedford. And I would say it's a fair bet that the man in the scarlet capuchon was the Duke, himself.
As we are turned away, I am heartbroken. There are very few times in my time-travelling experience when we have been so completely thwarted.
On returning to the town, it doesn't take very long to find people who are willing not only to discuss the situation of the Savior of France, but to find that all over the town, support groups are assembling, mostly in churches, a few in private dwellings, to pray for Jeanne, and it is through one of these support groups that I begin to build a clearer, and very disturbing picture of what is happening in the castle.
The reason we visited Fort Nieulay was to get some of the backstory to Jeanne's triumph, and capture:

• 1337, the Hundred Years War begins with a dispute about succession to the French Throne. An English King? or a French King?
• 1412, generally accepted date of Jeanne's birth (nobody seems to be entirely sure when she was born).
• 1424, at twelve or thirteen years old, Jeanne has her first vision of Saint Michael, who admonished her to be pure, holy and religious.
• 1415, the battle of Agincourt marks a new offensive in the Hundred Years War.
• 1428, Sixteen year old Jeanne begins to seek audience with officials of the French government. She is eventually summoned to Poitiers by the Dauphin, where she is interviewed by doctors of the church and government lawyers who are convinced of her sincerity. The archbishop of Rheims advised the Dauphin, Charles, to accept her offer of help.
• 1429, Jeanne joins the army of relief at the siege of Orléans. This is the first battle since Agincourt that will be a major victory for the French forces as they free the city from the besieging English.
• 1430, Jeanne is finally captured by the Burgundians. Since her family cannot afford the cost of ransom, the Burgundians sell their prisoner to the English.

There are so many things wrong with Jeanne's imprisonment and trial it is difficult even to understand why such a travesty of justice is allowed. But the King of England controls the army that almost conquered all of France. For the common people to rise against such power would require a stronger spirit than is present now, and moreover, many of the English nobles, however unhappy they might be with the proceedings, would certainly lose their titles and lands, and probably their lives if they joined any revolt.

• Despite being held on charges of offences against the church, Jeanne is being held in a secular jail
• She has no access to spiritual guidance, priests, or church teachers who would normally be made available in these circumstances, to try to correct a misguided belief.
• Convention dictates that a female prisoner like Jeanne should be guarded by women of the church. Nuns if possible. But instead she is guarded by English soldiers. Some of whom, I have heard, sleep inside the cell.
• A key element in the charges against her is that she refuses to wear a woman's dress, but wears instead, the jerkin, hose and armour (when allowed) of a man.

The rumours I have heard say that a dress has been placed in Jeanne's cell, but that it is out of reach as long as she is in chains. However, her masculine clothing has been placed within reach. It sounds as though she has to either go naked, in the cold stone cell, under the eyes of her English guardsmen, or wear the clothes of a man.
Even though this cross-dressing, if it were for its own sake, would constitute cause for prosecution by the church laws of the day, the church has determined that when a woman wears masculine clothing for reasons, for example, of protecting her virtue, it is permissible. Since the hose that Jeanne has been wearing are unusually complicated, with additional lacings, and not something that could be removed quickly, it seems likely that she was taking advantage of the latter provision.
Something happened, late on Thursday evening, that disturbed me so that I was uncomfortable about remaining here, even though I would have liked to continue our observations: when I asked you to wait for me back at the tavern, I sought out one of the vigils in the Église St.Maclou. There were only four women, on their knees quietly praying the rosary when I entered, but I hadn't been there more than five minutes when a young woman, she can't have been much older than Jeanne herself, began singing, in a quiet voice at first, then louder as the others joined her.
I don't know whether she understood the latin of the song she was chanting, but even with my uncertain latin, it shook me to my core, particularly since we have hindsight of what, for the others was the future.

X:52
T:For the Burial of the Dead % title
C: % composer
O:Chants of the Church % origin.
M:C % meter
L:1/8 % length of shortest note
Q:50 % tempo
K:F % key
V:1 % voice 1
%%MIDI nobarlines
D FD EF/ F3 F F FE EGFED ED EF GAG AB
w:Ub-ve--ni--te sanc-te De-i.______ Oc--cu---ri-
A2 A3 A2 GF FGA/ BG AG E2 EGF/ F2 FE FEFG
w:-te an-ge--li______ do-mi---ni._ Sus-ci-pi-en
F GFF FED FD EF E3 C DF F C2 DCB,CC B,3
w:tes a-ni-mam E---jus____ of-fer--ren-tes e---am__
C DF FED EG G3 FGA BG AG E EGFF FE
w:in con--spec---tu_ ac--------ti-ssi----mi._
AAA GA GFGAG AGG EF E2 G GF GA
w:sus-ci-pi-at_ te__________ Chris-tus_ qui_
GF E EFGF FE FEFGF GFF
w:vo--ca-vit___ te_ sus-ci-pi-en-tes ani-mam_
FED FD EFE CDF F2 C DC B, CCB,
w:e---jus____ of-fer--ren-tes e---am__
C DF FED EFG G2 FGA BGAG E EGFF FE
w:in con--spec---tu__ ac--------ti-ssi----mi_
A GA GF GAG AG G EF E2 G GA G G GF
w:re-qui----em.________ Ae-ter--nam do-na_
GA GF E E FGF FE F DF F EF F2 F3
w:E--i_ do-mi----ne_ et lux_ per-pe--tu-a
EF GFE G AG AGF EF GEF C DF F
w:lu-----ce-at____e--i.__ O-ffe--ren-
C2 DC CCB, C DF FED EFG G2 FGA BG AG E
w:tes e--am__ in con--spec---tu__ Al--------ti-
EGF F FE
w:ssi----mi._

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].
Although I've done my best to ensure that the above transcription is accurate, if anyone finds an error, please inform me, so that it can be corrected. Thank you.
I would like to acknowledge the following sites for helpful reference material in writing this article.

• Primary Sources
• Trial Issues

Prisoner of Conscience

Something is terribly, terribly wrong here! I had hoped we could find a way to interview Jeanne of Domrémy (better known perhaps as Joan of Arc), perhaps even sit in on her trial as witnesses. But everything is stitched up so tight in the Castle of Rouen that not even the fleas can move without orders in triplicate, signed by John of Bedford himself, and escorted by armed men! And everywhere I look are black-robed lawyers - no wonder the common people here call them ravens, they look like ravens, they carry themselves like ravens and when the wind blows, their black robes flap, making the impression complete.
I was starting to wonder if we would be able to see Joan at all, but Madame Coole is the wife of the controller of the town, and she thinks her husband, Richard, may be able to arrange a visit. The grubby young boy who arrived at the door of the house a few minutes ago with the message about the barrel of apples to be collected was our signal to get moving.
The barrel of apples is real enough, and a good excuse to get inside the castle, but I'm thankful we have the cart to move it; this thing is heavy! And moving barrels of apples is beneath the dignity of the wife of a government official, but for the two of us, it makes a perfect cover.
Perhaps my expectations were unduly high. I think not though. When we reach the castle gate the sentry on duty seems to think we may be allowed inside, but just to be certain, he calls the sergeant on guard and no amount of pleading, cajoling, or bribery will get us past the sergeant and into the castle.
While we were waiting for the sergeant, did you get a good look at the group that crossed the keep in the direction of the bailey? I'm pretty sure (without my spectacles) that the bareheaded man in the dark blue cloak was our previous acquaintance, John Dunstaple, here as part of the retinue of the Duke of Bedford. And I would say it's a fair bet that the man in the scarlet capuchon was the Duke, himself.
As we are turned away, I am heartbroken. There are very few times in my time-travelling experience when we have been so completely thwarted.
On returning to the town, it doesn't take very long to find people who are willing not only to discuss the situation of the Savior of France, but to find that all over the town, support groups are assembling, mostly in churches, a few in private dwellings, to pray for Jeanne, and it is through one of these support groups that I begin to build a clearer, and very disturbing picture of what is happening in the castle.
The reason we visited Fort Nieulay was to get some of the backstory to Jeanne's triumph, and capture:

• 1337, the Hundred Years War begins with a dispute about succession to the French Throne. An English King? or a French King?
• 1412, generally accepted date of Jeanne's birth (nobody seems to be entirely sure when she was born).
• 1424, at twelve or thirteen years old, Jeanne has her first vision of Saint Michael, who admonished her to be pure, holy and religious.
• 1415, the battle of Agincourt marks a new offensive in the Hundred Years War.
• 1428, Sixteen year old Jeanne begins to seek audience with officials of the French government. She is eventually summoned to Poitiers by the Dauphin, where she is interviewed by doctors of the church and government lawyers who are convinced of her sincerity. The archbishop of Rheims advised the Dauphin, Charles, to accept her offer of help.
• 1429, Jeanne joins the army of relief at the siege of Orléans. This is the first battle since Agincourt that will be a major victory for the French forces as they free the city from the besieging English.
• 1430, Jeanne is finally captured by the Burgundians. Since her family cannot afford the cost of ransom, the Burgundians sell their prisoner to the English.

There are so many things wrong with Jeanne's imprisonment and trial it is difficult even to understand why such a travesty of justice is allowed. But the King of England controls the army that almost conquered all of France. For the common people to rise against such power would require a stronger spirit than is present now, and moreover, many of the English nobles, however unhappy they might be with the proceedings, would certainly lose their titles and lands, and probably their lives if they joined any revolt.

• Despite being held on charges of offences against the church, Jeanne is being held in a secular jail
• She has no access to spiritual guidance, priests, or church teachers who would normally be made available in these circumstances, to try to correct a misguided belief.
• Convention dictates that a female prisoner like Jeanne should be guarded by women of the church. Nuns if possible. But instead she is guarded by English soldiers. Some of whom, I have heard, sleep inside the cell.
• A key element in the charges against her is that she refuses to wear a woman's dress, but wears instead, the jerkin, hose and armour (when allowed) of a man.

The rumours I have heard say that a dress has been placed in Jeanne's cell, but that it is out of reach as long as she is in chains. However, her masculine clothing has been placed within reach. It sounds as though she has to either go naked, in the cold stone cell, under the eyes of her English guardsmen, or wear the clothes of a man.
Even though this cross-dressing, if it were for its own sake, would constitute cause for prosecution by the church laws of the day, the church has determined that when a woman wears masculine clothing for reasons, for example, of protecting her virtue, it is permissible. Since the hose that Jeanne has been wearing are unusually complicated, with additional lacings, and not something that could be removed quickly, it seems likely that she was taking advantage of the latter provision.
Something happened, late on Thursday evening, that disturbed me so that I was uncomfortable about remaining here, even though I would have liked to continue our observations: when I asked you to wait for me back at the tavern, I sought out one of the vigils in the Église St.Maclou. There were only four women, on their knees quietly praying the rosary when I entered, but I hadn't been there more than five minutes when a young woman, she can't have been much older than Jeanne herself, began singing, in a quiet voice at first, then louder as the others joined her.
I don't know whether she understood the latin of the song she was chanting, but even with my uncertain latin, it shook me to my core, particularly since we have hindsight of what, for the others was the future.

X:52
T:For the Burial of the Dead % title
C:                           % composer
O:Chants of the Church       % origin.
M:C                          % meter
L:1/8                        % length of shortest note
Q:50                         % tempo
K:F                          % key
V:1                          % voice 1
%%MIDI nobarlines
D FD EF/ F3 F F FE EGFED ED  EF GAG AB
w:Ub-ve--ni--te sanc-te De-i.______ Oc--cu---ri-
A2 A3 A2 GF FGA/ BG AG E2 EGF/ F2 FE FEFG
w:-te an-ge--li______ do-mi---ni._ Sus-ci-pi-en
F GFF FED FD EF E3 C DF F C2 DCB,CC B,3
w:tes a-ni-mam E---jus____ of-fer--ren-tes e---am__
C DF FED EG G3 FGA BG AG E EGFF FE
w:in con--spec---tu_ ac--------ti-ssi----mi._
AAA GA GFGAG AGG EF E2 G GF GA
w:sus-ci-pi-at_ te__________ Chris-tus_ qui_
GF E EFGF FE FEFGF GFF
w:vo--ca-vit___ te_ sus-ci-pi-en-tes ani-mam_
FED FD EFE CDF F2 C DC B, CCB,
w:e---jus____ of-fer--ren-tes e---am__
C DF FED EFG G2 FGA BGAG E EGFF FE
w:in con--spec---tu__ ac--------ti-ssi----mi_
A GA GF GAG AG G EF E2 G GA G G GF
w:re-qui----em.________ Ae-ter--nam do-na_
GA GF E E FGF FE F DF F EF F2 F3
w:E--i_ do-mi----ne_ et lux_ per-pe--tu-a
EF GFE G AG AGF EF GEF C DF F
w:lu-----ce-at____e--i.__ O-ffe--ren-
C2 DC CCB, C DF FED EFG G2 FGA BG AG E
w:tes e--am__ in con--spec---tu__ Al--------ti-
EGF F FE
w:ssi----mi._

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].
Although I've done my best to ensure that the above transcription is accurate, if anyone finds an error, please inform me, so that it can be corrected. Thank you.
I would like to acknowledge the following sites for helpful reference material in writing this article.

• Primary Sources
• Trial Issues

Saint Crispin's Day remembered

Have you ever been inside a castle? we're going to help the wife and daughter of Robert Cluzeaux herding geese and ducks up to the castle today. The chatelaine has contracted the Cluzeaux farm to provide geese and ducks to the castle, and manage their keep. The geese are a noisy lot, honking and hissing, and look out for the little green puddles of half-digested grass. I stepped in one a minute ago and nearly lost my footing. I can't imagine how Giselle and Francine manage to maintain order just by waving their hands and flicking their willow switches now and then. All I seem to do is scatter the birds every which way. Which is why I am not really doing anything, just tagging along and trying to prevent stragglers.

Fort Nieulay may not be as impressive as a big castle like Caernarfon in Wales, but it certainly looks formidable: the stone walls are buttressed on the outside, and I'm told the fort can muster fifty-five cannon in time of war. The first thing that strikes me as we enter (and the ducks scatter yet again) is the scarcity of soldiers in evidence. I've been told previously that a castle like this can be defended quite effectively by a much smaller force than that needed to overpower it, and evidently it's true. Inside the stone walls of the keep roughly two thirds of the space is taken up by wooden construction, although the walls themselves are quite thick enough to enclose corridors wide enough for two armed men to walk abreast, and still at least eighteen inches thick at the arrow slits. (The picture is actually Castle Rising Castle in Norfolk, England, but it gives a fair idea)

I have to admit that I wasn't sure how this was going to work when we first set out: obviously, the castle doesn't have a duckpond within the keep, but the ducks and geese seem to be quite happy about being herded into the loft over the barn. Although she was quite nice about it, Giselle has suggested that I should make myself busy elsewhere until it's time to return to the farm, which is fine with me, as it gives me a chance to ask a few questions.

Roger Bateman, the sentry at the gate who let us pass is a taciturn fellow at first, but once I start asking about the practical details of his armour he opens up a little more. Chainmail isn't particularly heavy, but it can be a regular "nuisance" (not Roger's words) to keep clean, particularly in bad weather, and he recommends the wearing of a padded leather jerkin as additional protection. He is particularly proud to retell his own part in the battle of Azincourt (he pronounces it "Agincourt") a few years ago, in the October of 1415.

"I came over back in August of '15 when the King laid siege to Harfleur port. I don't remember as anybody said why we had to take Harfleur. Not for me to bother anyways. I get paid for fighting His Majesty's battles, and as long as I get paid, who cares? Well the town held strong until September but I don't suppose they was expecting a siege so His Majesty left a garrison to occupy the town, and we started the march north to Calais which was already English territory and we could spend the winter training and re-equipping. See, if you don't look after your armour, it en't going to look after you.

What we didn't know, but you'd be a fool not to guess at it, was the French had been mustering an army. They didn't like having King Henry leaving his English footprints all over French soil and claiming he was the rightful King of France, but it didn't exactly help them that Burgundy was ready to side with whoever looked stronger, and if they'd had the gold to buy mercenaries in, they would have declared their own state and told King Charles where he could plant his vines.

We'd had to detour south after the French blocked our route across the Somme river. We were tired, half of us were sick and we'd got as far as the village of Maisoncelles when the column was halted again. Turns out we'd practically walked into an ambush, and if it hadn't been that it was almost dark, who knows but we might have?

Well, the order was given for us to pitch camp. So after we stuck sharpened wooden palings in the ground, we pretty much flopped where we was. Too swynking tired even to care about the rain. Sentries was posted 'cos even in the sopping black night you didn't know what the Frenchies might get up to, and before first light, His Majesty King Henry sent word through the ranks to address us. He told us that the French way was to take our noblemen commanders prisoner to be ransomed, but us ordinary pongoes had better fight for our lives 'cos in all likelihood, the French wouldn't have any use for us.

I di'n't know when I came, but I learned since; the French for ransom money is franc-or; means "Gold for freedom" that does.

As a battlefield we wasn't too badly placed. 'Twixt us and the Frenchies was mostly ploughed fields and thick woods on both flanks, so we was formed up with men-at-arms four lines deep, and shoulder to shoulder, ready with pikes and halberds, and the woods were sort of like a funnel, narrowing down towards our lines.

For the first watch of the day or so, the Frenchies didn't move, so His Majesty had us move our lines forward a little, with the archers at the front moving the palings as they went. Dunno whose idea the palings was. I'd not seen 'em used afore, but they made sense once you saw 'em in the ground. Not something you'd really want to charge at if you could see a better way.

Well, once the archers were in the best position, they let loose and the French cavalry fell apart! My guess is some of those arrows must have come down on the horses flanks. The French armoured men had hard going to get across the boggy ground but they finally made it, and started hacking away at our front lines. We had to fall back some but with more men pressing forward from behind, and our lines trying to drive them back into the mud we finally got the better of them.

Late in the day, though, while we was still fighting, word got to His Majesty that our supply train was being attacked. Well I think he took that kind of hard, 'cos I heard after, he ordered all the French prisoners killed. But it just goes to show, it don't do to be a boil on the King's bum!

We was proud, that day. And since then, I learned this song from a jongleur that spent a few days in the town. I'll sing it for you, and for the glory of His Majesty, God bless 'im."

X:49
T:Agincourt Carol
C:Anonymous
O:English
M:3/4
L:1/4
Q:
P:AB
K:C
P:A
D | D2 | D E>D | D C/B,/D/C/ |
w:De-o gra-ci-as_ Ang-li-
A, z A, | C/D/ E>D | D E/G/ F/D/ | (3D/C/D/ E/B,/ ^C |
w:a Re-de___ pro___ victo------ri-
D2
w:a
P:B
|: D | F2 E | D A _B | A2 G | A z F |
w:Our King went forth_ to Nor-man-dy, with
D F>E | G F D/E/ | D>^C C/B,/ | D z F |
w:grace and_ might_ of_ chi--val--ry. There
E/F/ G A | F G/_B/ A/F/ | E/F/ G/D/ E | F z F |
w:God__ for him__ wrought_ marv---lous--ly where-
F E C | E/F/G/F/ E/F/ | D2 C | D z F/G/ |
w:fore_ Eng-land___ may_ call and cree. Deo_
G F/ A G/ | G/ A F E/ | G2 D | D2 D |
w:----gra--ci--as. De-o gra-
E F2 | F E/F/G/A/ | F/C/ F/ E D/ | F z E |
w:ci-as An-gli---------a Re-
G F/C/ E/F/ | D E2 | D>C C/B,/ | D2 :|
w:---de_ pro vic-to--ri--a.

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].

Of course, centuries later, William Shakespeare put some of his most stirring words into the mouth of King Henry V.

• Audio recording
• Video
  

Rather proclaim it, Westmoreland, through my host,
That he which hath no stomach to this fight,
Let him depart; his passport shall be made,
And crowns for convoy put into his purse;
We would not die in that man's company
That fears his fellowship to die with us.
This day is call'd the feast of Crispian.
He that outlives this day, and comes safe home,
Will stand a tip-toe when this day is nam'd,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian.'
Then will he strip his sleeve and show his scars,
And say 'These wounds I had on Crispian's day.'
Old men forget; yet all shall be forgot,
But he'll remember, with advantages,
What feats he did that day. Then shall our names,
Familiar in his mouth as household words-
Harry the King, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester-
Be in their flowing cups freshly rememb'red.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remembered-
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition;
And gentlemen in England now-a-bed
Shall think themselves accurs'd they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

Oh NO she ISN'T! Oh YES she IS!

For those of us who spend our time flitting from year to year and place to place examining the tangles and puzzles of history, this has been a busy year, so I suggest it's time we took a break. Since we have the facility at our disposal, I would like to take you to the Drury Lane Theatre

in London, in the early 1920s to enjoy a traditional British pantomime.

Unlike the mummenschanz or mime theater of performers like Marcel Marceau, pantomime became firmly established in England as a children's theater during the later years of Queen Victoria. An annual treat for the youngsters whose parents could afford it. Often taking well-known children's tales as the substance of the drama, and throwing in a few double entendres for the amusement of the adults (who, after all, were the paying patrons).

By 1921 Britain is starting to recover from the awful hardships of the Great War, and the 'flu epidemic that ravaged Europe in 1918 and the mood is decidedly upbeat. But just to be on the safe side, I recommend that we both get "Spanish" 'flu innoculations before we depart.

Principal boy (Vanessa Redgrave)	Dame (Les Dawson)	The Good Fairy	The Demon King
	Two clowns	Pantomime Horse (Dobbin)

While there have been some surprising departures from the typical children's story, such as James Bond, the Pantomime, the typical pantomime storylines have included:

• Aladdin
• Mother Goose
• Jack and the Beanstalk
• Babes in the Wood
• Dick Whittington
• Cinderella
  

While it isn't quite 1921 material (the song first appeared in 1934), the song below should give you a fair idea of the kind of entertainment I have in mind. The sheet music for the song can be downloaded in a PDF file.

X:65 % number
T:Nobody loves a Fairy % title
C:Arthur Le Clerq % composer
O:http://www.raspberrytarts.com/fairyfifty.shtml % origin.
P:ABABAB
M:4/4 % meter
L:1/4 % length of shortest note
Q:120 % tempo
%%staves 1 { (2 3) 4 }
V:1 clef=treble name="Voice" sname="Vc." % voice 1
V:2 clef=treble name="Piano" sname="Pno."
V:3 clef=treble
V:4 clef=bass
K:C % key
[P:A verse]
[Q: "allegro " 1/4=120]
[V:1] Z5 |
[V:2] G {B}c G {B} c | [L:1/8] B>^ABd g4 | _A>_e A2 _A>_e A2 | [L:1/4] G {^c}d {^f}g z | z [ECG,] z [ECG,] |
[V:4] C, [ECG,] G,, [ECG,] | D, [FB,G,] G,, [FB,G,] | [_E2C2_G,2] [E2C2G,2] | [D3B,3F,3] (3G,,/A,,/B,,/ | C, z G,, z |
%============================================================================================================================
[V:1] z2 z E | "C" G G "C6" A A | "Cmaj7" B B "C6" A2 | "C" z4 | "G7" z2 z D |
w:1.For years a Fair-y Queen I've bin', For
w:2.For years I reigned in Fair-y Dell, I
[V:2] z [ECG,] z [ECG,] | [GEC] [GEC] [AGEC] [AGEC] | [BGEC] [BGEC] z [CEG] | G {d}e G {d}e |
[f/d/][e/c/][d/B/][c/A/] [BG] D |
[V:3] Z7 | z2 A2 | z4 | z4 |
[V:4] C, z G, z | [C,C,,] z G,, z | [C,C,,] z G,, z | C, [ECG,] G,, [ECG,] | D, [FB,G,] [FB,G,] z |
%=====================================================================================================================================
[V:1] F F G G | "Dm7" A A "G7" G2 | z4 | "C" z2 "C6" z2 | "E7" E ^F ^G E |
w:years I foiled the De-mon king, But a-las I'm
w:waved my wand, and waved it well, If I can't do
[V:2] [FDB,] [FDB,] [GFDB,] [GFDB,] | [AFDC] [AFDC] z [FDB,] | G {c}d G {c}d | [e/c/][d/B/][c/A/][B/G/] [AE] z | [ED] [^FD] [^GD] [ED] |
[V:3] Z | z2 G2 | Z3 |
[V:4][D,D,,] z [G,,] z | [D,D,,] z [G,,] z | D, [DB,G,] G,, [DB,G,] | C, [ECG,] [ECG,] z | B,, E, E,, E, |
%=========================================================================================================
[V:1] "Am" A B c A | "E7" E ^F ^G E | "Am" A2-A z {E} | "D7" D E ^F D | "G" G A "E7" B B |
w:get-ting on, the years have flown some-how,_ And I feel that Fair-y Snow-drop
w:all I did, I'm sat-is-fied be-cos'-I'd soon-er be a "has-been" than I
[V:2] [AC] [BD] [cE] [AC] | [DE] [D^F] [D^G] [DE] |z [EC] [EC] [EC] | [DC] [EC] [^FC] [DC] | [GB,] [AC] [B^GD] [BGD] |
[V:3] Z2 | A4 | Z2 |
[V:4] A,, E, E,, E, | B, E, E,, E, | A,, E, A, =G, | ^F, G, A, F, | G, D, E, E,, |
%=========================================================================================================
[V:1] "Cm" c c "D7" B A | "G" A2-A z | "G7" Z | Z | [L:1/8] "Ab7" Z |[L:1/4] "G7" z2 z |
w:isn'-t want-ed now._
w:would a "nev-er was."_
[V:2] [c=G_E] [cGE] [B^FD] [AFC] | G2-G G | [fcA]/[eBG]/[DAF]/[CGE]/ [BFD] [AEC] | [GDB,] [DAF] [gdB] z | [L:1/8] (3_a_ba g>a _e'>ae'>a |[L:1/4] g z z |
[V:3] Z | z [DB,] [DB,] z | Z2 | [L:1/8] [_ec_G]6 [ecG]2 |[L:1/4] [dBF] z z |
[V:4] A,,2 D, D, | G, {^C,}D, G,, z | Z2 | [L:1/8] Z |[L:1/4] z {^C,}D, G,, |
%=========================================================================================================
P:B chorus
[V:1] [Q: "allegretto " 1/4=240] E |: "C" G E "G7" F D | "C" E G A c | "Fm6" d2 d2-| "G7" d3 e | "C" d c B c |
w:No-bo-dy loves a fair-y when she's for-ty,_ No-bo-dy loves a
[V:2] E |: [GE] [EC] [FB,] [DB,] | [EC] [GEC] [AEC] [cEC] | d2 d2-| d2 d z | [dGD] [cGC] [BGB,] [cGC] |
[V:3] z |: z4 | z4 | z [_AFD] z [AFD] | z [BF] z [eBe] | Z |
[V:4] z |: C, G, G,, G, | C, G, G,, G, | F, C C, C | G, z G,, G, | E, G, G,, G, |
%=========================================================================================================
[V:1] d c G "D#" ^F | "Dm" F4-| "A7" F3 E | "Dm" F F F F | "A7" A A A A |
w:fair-y when she's old._ She may still have a ma-gic power, but
[V:2] [dGD] [cGC] [GC] [^FCA,] | F4-|F3 E | [FDA,] [FDA,] [FDA,] [FDA,] | [AG^CA,] [AGCA] [AGCA] [AGCA] |
[V:3] Z | z [DA,] z [DA,] | z [A,G,] z [^CA,G,] | Z2 |
[V:4] E, G, E, ^D, | D,2 A,,2 | ^C,2 A,,2 | D, z A,, z | E, z A,, z |
%=========================================================================================================
[V:1] "Dm" F F F F | "A7" A3 G | "D7" ^F ^E F G | A ^G A c | "G" B B "F#" A A |
w:that is not e-nough, They like their bit of ma-gic from a young-er bit of
[V:2] [FDA,] [FDA,] [FDA,] [FDA,] | A3 G | [^FC] [^EC] [FC] [GC] | [A^FC] [^GFC] [AFC] [cFC] | [BGD] [BGD] [A_EC] [AEC] |
[V:3] Z | z [^CA] [CA] z | Z3 |
[V:4] D, z A,, z | E, G, G, z | A,, D, D,, D, | A,, D, D,, D, | G,2 ^F,2 |
%=========================================================================================================
[V:1] "G7" G3 E | "C" G E "G7" F D | "C" E G A c | "Fm6" d2 d2-| "G7" d2 d e |
w:stuff, When once your sil-ver star has lost its glit-ter._ And your
[V:2] G3 E | [GE] [EC] [FB,] [DB,] | [EC] [GEC] [AEC] [cEC] | d2 d2-|d2 [dBF] [eBG] |
[V:3] [DB,]3 z | Z2 | z [_AFD] z [_AFD] | z [BF] z2 |
[V:4] F, D, G,, z | C, G, G,, G, | C, G, G,, G, | F, C C, C | G, z G,, G, |
%=========================================================================================================
[V:1] "C" d c B c | "C7" d c G "C7+" ^G | "F" A4-"A7"| "Dm" A3 e | d c "Dm7" A F |
w:tin-sel looks like rust in-stead of gold._ Your fair-y days are
[V:2] [dGE] [cGE] [BGE] [cGE] | d c G ^G | A4-|A3 [ecAF] | d c A F |
[V:3] Z | [GE]2 [EC]2 | z [FC] z [GC] | z [FD] z [FD] | [AF]2 D2 |
[V:4] C, G, G,, G, | [_B,C,]2 [B,C,]2 | [F,F,,]2 [E,E,,]2 | [D,D,,] A,, D,, z | D,, z [CA,D,]2 |
%=========================================================================================================
[V:1] "G7" E D E F | "C" G G "D#" ^F G | "Ab7" _B _A2 z | "D7" A A ^G A |
w:end-ing when your wand has start-ed bend-ing. No-one loves a
[V:2] E D E F | [GC] [GC] [^FC] [GC] | [_B_AC] [_AGC]2 z | [A^FC] [AFC] [^GFC] [AFC] |
[V:3] B,2 B,2 | Z3 |
[V:4] G, F, G, F, | E, E, ^D, E, | [_A,_E,] [A,E,]2 z | [D,D,,] z [D,D,,] z |
%=========================================================================================================
[V:1] "G7" e d G d |[1 "C" c4-|c z z E :|[2 [L:1/16] "C" c16-|[L:1/4]c2-c z |]
w:fair-y when she's old._ No-
[V:2] [eBF] [dBF] [GF] [dGF] |[1 [cGE] {^f}g {^d}e {b}c | {^F}G z z E :|[2 [L:1/16] c16-|[L:1/4]c2 [c'gec] z |]
[V:3] Z3 :|[2 [L:1/16] [GE]4 [GE]3c [^F^D]3c [=F=D]3c |[L:1/4] [EC]2 z2 |]
[V:4] G,, z G,, z |[1 [C,C,,] z3 | z G,, G,2 :|[2 [L:1/16] C,16-|[L:1/4] [G,C,] [G,G,,] [C,C,,] !D.C.!z |]
%=========================================================================================================
W:Nobody loves a fairy when she's forty,
W:Nobody loves a fairy when she's old,
W:The face of this immortal one to many has appealed,
W:But gone is the illusion once you've had it soled and heeled¹.
W:When you have lost your little fairy dimples,
W:And the moth-holes in your dress let in the cold,
W:The goblins and the pixies turn their backs and say "Hi Nixey,"
W:No-one loves a fairy when she's old.
W:
W:Nobody loves a fairy when she's forty,
W:Nobody loves a fairy when she's old.
W:As far as I can see they try to push you off the map,
W:When once your wand has withered and your wings refuse to flap.
W:When you can't cast a spell without it spilling,
W:And a fairy tale for years you haven't told,
W:You stand there shouting "What-ho!" but they all pass by your grotto.
W:No-one loves a fairy when she's old.
W:
W:Nobody loves a fairy when she's forty,
W:Nobody loves a fairy when she's old.
W:They don't give you an earthly chance to make a livelihood,
W:They're building council houses² now in my enchanted wood.
W:When you are past the age for television,
W:And the air you use is government controlled,
W:It seems that they would sooner listen to a blinkin' crooner!³
W:No-one loves a fairy when she's old.

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].



1."soled and heeled"; earlier generations could not afford to replace footwear for anything less than catastrophic damage, so would take shoes to a cobbler to have the sole and/or heel replaced.
2."council houses"; after World War II, with the institution of the Welfare State in Great Britain, local councils were ordered to build housing to be made available at a fair rent to people unable to afford the expense of a mortgage.
3."Crooning"; a style of singing rooted in the bel canto tradition of Italian opera.

Oh Tannenbaum

Even though no snow has fallen yet, it's a chilly December morning in 1849 and a couple of Bank of England wagons are preparing to depart from Garrard's of London, the Crown Jewellers by appointment to Her Majesty, Queen Victoria. It wasn't too difficult to reproduce some convincing credentials that will identify us as more-or-less legitimate officials of the Bank of England sent to accompany the Garrard's officers who will deliver the silverware, crystal and porcelain for a series of Royal Family Christmas banquets. We also have the requisite forms to account for each item unpacked.
The first stage of our journey from Garrards to Paddington Station is quite chilly, even with the warm mittens and a fur muff, and all the layers of my dress (one of the few visits when I don't have to do drag, and I end up wearing a corset and these frightful button-up boots!). At least by the time the train has reached Windsor station we have had a chance to warm up a little. It's worth noting that the Queen herself first travelled by rail in 1842 and has instituted a number of measures aimed at ensuring the welfare of the railway workers. The station we are going to was only opened last year, after the reservations of the teachers of Eton College were overcome. Apparently, they felt that the proximity of the school to the station would offer opportunities that might encourage the boys to explore undesirable possibilities, whatever that meant!
From Paddington we go by the London and Southwestern Railway to the Windsor and Eton station which will later be known as Royal Windsor, and thankfully it's not a long journey from there to Windsor Castle which has been modernised several times and is now a shining example of nineteenth century technology with "silent valveless toilets" (indeed, under the direction of the Prince Consort, the plumbing throughout the Royal apartments has been thoroughly modernised) and speaking tubes in some of the rooms, rather than bell pulls to summon the servants.
You can see that the Union flag is flying as we approach; indicating that Her Majesty is in residence.
The carters unload the crated porcelain while we, under the eagle eye of Mr.Ironmonger (yes! that really is his name) carefully unpack each crate and place each piece as directed by the senior kitchenmaid. When we get to the last two crates Mr.Ironmonger halts us; we are to convey the small table service to the great dining room to be laid out in preparation for the banquet tonight.
With the plates, dishes and silverware loaded onto serving trolleys and still in their innermost wrappings we are hustled through the castle to the great dining room where Mr.Bulstrode, the butler supervises the laying of the table, occasionally straightening a knife, or rubbing an invisibly tiny speck of grime with his white gloves. We, too, are required to wear gloves in order to handle the service.

X:66 % number
T:O Tannenbaum % title
C:Traditional % composer
O:Stefan Karpiniec (this arrangement) % origin.
S:http://home.iprimus.com.au/karpiniec
M:3/4 % meter
L:1/8 % length of shortest note
Q:120 % tempo
K:F % key
V:1 name="Soprano" sname="S." clef=treble % voice 1
V:2 name="Alto" sname="A." clef=treble
V:3 name="Tenor" sname="T." clef=treble
V:4 name="Bass" sname="B." clef=bass
%===================================
%=============2===============3=============4===============5=============6
[V:1] z z C2 | F>F F2 G2 | A>A A3 A | G A B2 E2 | G2 F2 C2 |
w:O Tan-nen-baum, O Tan-nen-baum, Wie treu sind dei-ne Blät-ter, Oh
w:O Tan-nen-baum, O Tan-nen-baum, Du kannst mir sehr ge-fal-len. Oh
w:O Tan-nen-baum, O Tan-nen-baum, Dein Kleid-will mich was leh-ren, Oh
[V:2] z z C2 | C>C C2 E2 | F>F F3 F | D F G2 C2 | C2 C2 C2 |
[V:3] z z c2 | A>A A2 c2 | c>c c3 c | B d c2 B2 | B2 A2 B2 |
[V:4] z z C,2 | F,>F, F,2 C,2 | F,>F F,3 D, | G, F, E,2 C,2 | E,2 F,2 C,2 |
%--------------------------------------------------------------------------
%==================7==============8===============9============10
[V:1] F>F F2 G2 | A>A A3 A | G A B2 E2 | G2 F2 z c |
w:O Tan-nen-baum, O Tan-nen-baum, Wie treu sind dei-ne Blät-ter. Du
w:O Tan-nen-baum, O Tan-nen-baum, Du kannst mir sehr ge-fal-len. Wie
w:O Tan-nen-baum, O Tan-nen-baum, Dein Kleid will mich was leh-ren. Die
[V:2] C>C C2 E2 | F>F F3 F | D F G2 C2 | C2 C2 z F |
[V:3] A>A A2 c2 | c>c c3 c | B d c2 B2 | B2 A2 z F |
[V:4] F,>F, F2 C,2 | F,>F, F,3 D, | G, F, E,2 C,2 | E,2 F,2 z F |
%--
%=================11============12==============13===============14
[V:1] c A d3 c | c>B B3 B | B G c3 B | B>A A2 C2 |
w:grünst nicht nur zur Som-mer-zeit, Nein auch im Win-ter, wenn es schneit. Oh
w:oft hat nicht zur Weih-nachts-zeit Ein Baum von dir mich hoch er-freut! Oh
w:Die Hoff-nung und Be-ständig-keit Gibt Trost und Kraft zu je-der Zeit. Oh
[V:2] A F B3 A | F>^F G3 G | G E A3 G | E>E F2 C2 |
[V:3] F F F2 F2 | D>D D3 D | CC C2 C2 | G>G F2 C2 |
[V:4] F, F, B,, F, | D,>D, G,3 G, | G, G, C,2 E,2 | C,>^C, D,2 C2 |
%--
%=============15============16============17============18
[V:1] F>F F3 G | A>A A3 A | GA B2 E2 | G2 F2 z2 |]
w:Tan-nen-baum, Oh Tan-nen-baum, wie treu sind dei-ne Blät-ter.
[V:2] F>F F3 E | F>F F3 F | D^F G2 C2 | E2 F2 z2 |]
[V:3] C>C C3 C | C>C C3 C | DD D2 C2 | B,2 A,2 z2 |]
[V:4] A>A A3 G | F,>F, F,3 F | B,A, G,2 C2 | C,2 F,2 z2 |]

O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter! Du grünst nicht nur zur Sommerzeit, Nein auch im Winter, wenn es schneit. O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter! O Tannenbaum, o Tannenbaum! Du kannst mir sehr gefallen! Wie oft hat nicht zur Weihnachtszeit Ein Baum von dir mich hoch erfreut! O Tannenbaum, o Tannenbaum! Du kannst mir sehr gefallen! O Tannenbaum, o Tannenbaum! Dein Kleid will mich was lehren: Die Hoffnung und Beständigkeit Gibt Trost und Kraft zu jeder Zeit. O Tannenbaum, o Tannenbaum! Das soll dein Kleid mich lehren. Lyrics: Ernst Anschütz, 1824

O Christmas tree, o Christmas tree How loyal are your leaves/needles! You're green not only in the summertime, No, also in winter when it snows. O Christmas tree, o Christmas tree How loyal are your leaves/needles! O Christmas tree, o Christmas tree You can please me very much! How often has not at Christmastime A tree like you given me such joy! O Christmas tree, o Christmas tree, You can please me very much! O Christmas tree, o Christmas tree Your dress wants to teach me something: Your hope and durability Provide comfort and strength at any time. O Christmas tree, o Christmas tree, That's what your dress should teach me.

Ever since Her Majesty married the Prince Consort nine years ago, in 1840, England has embraced more and more Germanic traditions and characteristics, and here in the great dining room, the centerpiece of the table, which, in earlier years might have been one of the splendid silver sculptures that Garrard's excel in, is a small fir tree!
As soon as we have finished laying out the table, Mr.Ironmonger retrieves a small strongbox from one of the trollies, from which he proceeds to take and unwrap a number of small, brilliantly enamelled silver figurines, jewelled stars and miniature paintings. Still under his watchful eye we are encouraged to deck the boughs of the fir tree with these delightful ornaments, and Mr.Ironmonger steadies a library chair, evidently brought for the purpose, for Mr.Bulstrode to place the last decorations on the highest boughs. Although he doesn't say anything, I get a faint impression that Mr.Bulstrode regards the tree as quite out of place in a royal dining room.

Before Mr.Bulstrode can even dismount the chair, the Prince Consort himself enters the room, and everybody bows, or curtsies to his royal highness who surveys the table, and the arboreal centerpiece with a critical eye, a smile finally lighting his features.
When he speaks, it is with a slight German accent which seems to emphasise his straight aristocratic bearing.
"Excellent! Most delightful! I congratulate you, Mr.Ironmonger, I am sure our guests tonight will be most pleased." And with those encouraging words, he leaves the room once more.
Had we only been able to visit a couple of years earlier, we might have had an opportunity to meet Felix Mendelssohn, another of Queen Victoria's German friends, with whom she studied piano. But I notice, as we return to the servant's stairway, a portrait of the late Felix draped with black chiffon. Clearly, the people whom her majesty befriends, are counted as very dear to her.

X:23
T:Silent Night
C:Franz Gruber
M:6/8
L:1/8
R:carol
Q:60
K:Bb
"Bb"F>G F D3|F>G F D3|"F"c2 c A3|"Bb"B2 B F3|
w:Stil-l-e Nacht! Hei-li-ge Nacht! Al-les schläft; ein-sam wacht
"Eb"G2 G B>A G|"Bb"F>G F D3|"Eb"G2 G B>A G|"Bb"F>G F D3|
w:Nur das trau--te hei-li-ge Paar. Hol-der Knab_ im lock-ig-ten Haar,
"F7"c2 c e>c A|"Bb"B3 d3|BFD "F7"F>E C|"Bb"B,3 z3||
w:Schlafe in himm-lisch-er Ruh!_ Schl-afe in himm-li-scher Ruh!

Stille Nacht! Heilige Nacht! Alles schläft; einsam wacht Nur das traute heilige Paar. Holder Knab im lockigten Haar, Schlafe in himmlischer Ruh! Schlafe in himmlischer Ruh! Stille Nacht! Heilige Nacht! Gottes Sohn! O wie lacht Lieb´ aus deinem göttlichen Mund, Da schlägt uns die rettende Stund´. Jesus in deiner Geburt! Jesus in deiner Geburt! Stille Nacht! Heilige Nacht! Die der Welt Heil gebracht, Aus des Himmels goldenen Höhn Uns der Gnaden Fülle läßt seh´n Jesum in Menschengestalt, Jesum in Menschengestalt. Stille Nacht! Heilige Nacht! Wo sich heut alle Macht Väterlicher Liebe ergoß Und als Bruder huldvoll umschloß Jesus die Völker der Welt, Jesus die Völker der Welt. Stille Nacht! Heilige Nacht! Lange schon uns bedacht, Als der Herr vom Grimme befreit, In der Väter urgrauer Zeit Aller Welt Schonung verhieß, Aller Welt Schonung verhieß. Stille Nacht! Heilige Nacht! Hirten erst kundgemacht Durch der Engel Alleluja, Tönt es laut bei Ferne und Nah: Jesus der Retter ist da! Jesus der Retter ist da! Josef Mohr, cir­ca 1816-1818

Silent night, holy night, All is calm, all is bright Round yon virgin mother and Child. Holy Infant, so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace. Silent night, holy night, Shepherds quake at the sight; Glories stream from heaven afar, Heavenly hosts sing Alleluia! Christ the Savior is born, Christ the Savior is born! Silent night, holy night, Son of God, love’s pure light; Radiant beams from Thy holy face With the dawn of redeeming grace, Jesus, Lord, at Thy birth, Jesus, Lord, at Thy birth. Silent night, holy night Wondrous star, lend thy light; With the angels let us sing, Alleluia to our King; Christ the Savior is born, Christ the Savior is born!

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].

Ode by a Christmas Pudding at Sea

Sometimes, words are superfluous (except for the lyrics of course).

X:62 % number
T:Ode by a Christmas Pudding at Sea % title
C:Myscha Aiken % composer
O:Lyric by Arthur Lockyer % origin.
M:C % meter
L:1/4 % length of shortest note
Q: % tempo
K:G % key
V:1 % voice 1
"D7"z3 D | "G"G G "D7"F A | "G"G G "D7"D D | "G"G G "D7"F A | "G"G2 G D |
w:To all you pud-dings now on shore I write to give a no-tion of
"G"G G "D7"F A | "G"G G "D7"D D | "G"G G "D7"F A | "G"G2 G B/B/ |
w:what mis-haps there are in store for pud-dings born on O-cean; it_
"C"c c e c | "G"B B d B/B/ | "D7"A G F E | "D7"F E D D/D/ |
w:blew a gale from sou-sou-west but the skip-per's wife she did her best as she
"C"E E/E/ "D7"F F/F/ | "G"G G "C"c c/c/ | "G"B G "D7"A F | "G"G3 z |]
w:knea-ded the dough on her own sea-chest with a fal-lal-lal-lal-la!
W:
W:The vessel gave a lurch, a wave
W:right down the hatchway came;
W:the skipper's wife stood stout and brave,
W:I wish I'd done the same;
W:for I roll'd in a fright along the floor,
W:and the skipper coming in at the door
W:gave me a kick, which my jacket tore, with a fal-lal lal-lal la
W:
W:His good wife gathered up the bits
W:and put my limbs together;
W:says she "I must have lost my wits
W:to cook in such foul weather;
W:but sailor boys they love good cheer
W:and Christmas comes but once a year,
W:so I won't be beat, I'll persevere", with a fal-lal lal-lal la
W:
W:The galley fire burnt bright and clear
W:as she put me in the pot;
W:Thinks I "it suits me being here
W:I feel so jolly hot".
W:But a great green sea burst over the deck,
W:and I fancied myself a perfect wreck,
W:in cold salt water up to my neck! with a fal-lal lal-lal la
W:
W:Cries cook "The pudding's surely spoiled!"
W:"No! No!" says the skipper's wife,
W:"That Christmas pudding shall be boiled
W:if I sacrifice my life!"
W:With her own fair hands she lit the fire
W:and though the waes rose higher and higher
W:at last she accomplished her desire, with a fal-lal lal-lal la
W:
W:And here they are, these sailor boys,
W:all full of mirth and glee;
W:They sit in a ring with lots of noise
W:and they're going to eat poor Me!
W:When smash! there comes a roaring squall,
W:a lurch, and into the scuppers fall
W:sailor boys, Christmas pudding and all, with a fal-lal lal-lal la-

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].

Music in the Starlight

Coming as we did, from an age of flashlights and central heating, I had serious doubts about being able to see properly with a candle-lantern but now that my eyes have adapted it's quite surprising how much light it provides. My fingers are still a little sore from touching the hot lid, that's one mistake I won't make again.
I would have preferred to visit the city of Strasbourg in daylight, we might have been able to visit the unfinished cathedral although Erwin von Steinbach, the architect, stonemason and engineer whose name has been credited with much of the work of building the cathedral died more than 90 years ago.
While we make our way through these narrow, dark (and sometimes astonishingly stinky) streets, stay alert for the possibility of footpads. In a later age they would be known as muggers, but their methods and motives are no different. The night is their turf and the city watchmen never seem to be around when the footpads strike. Our destination is the house of Doctor de Raeve, a flemish physician who rents rooms to students at the University of Strasbourg.
The door is opened to us by the doctor's manservant, a portly fellow with a ruddy complexion. Having explained to him that we come in search of the English student, Master Dunstaple, the servant leads us up the steep stairs through the doctor's house while explaining that Master Dunstaple is not like the typical students; when most young men spend their evenings carousing in the taverns or gambling away their inheritances, Master Dunstaple prefers the company of his books and instruments.
"At least", he says "he isn't the one that wakes up chilled to the bone on the front steps, demanding that the door be unlocked to him an hour before the sunrise".
At the top of the house, in an attic apartment, Master Dunstaple receives us with a slightly bewildered look. I explain that we are fellow students who have come to request some help with a latin translation that is proving particularly difficult. (I have a roll of parchment with an inscription partially translated, but the original text has been deliberately miscopied). Once inside Master Dunstaple's apartment it isn't hard to engage his enthusiasm by asking about the armillary sphere standing next to the desk. In an open chest there are rolls of parchment and two books, one leather-bound, the other held between stout wooden covers. On the shelves against the wall beside jars whose labels indicate that they contain various medicinal herbs and minerals are an astrolabe and an alidade, and on the desk is an ephemeris table, something that must have taken hours to copy out on parchment by hand. Clearly, John Dunstaple is a serious student of astronomy.
By this time Master Dunstaple has identified the transcription error, for which I thank him. Watching his face carefully I tell him that I requested the transcription from a fellow-student, Johann Gutenberg, to provide me with more practice in translation.
The same bewildered expression that we saw before clouds his face for a moment, then "Ah! Yes, Johann Gutenberg. The University would probably expel him if they knew that he is a skilled engraver, as well as a student of the Quadrivium!". Taking the alidade from the shelf, "He engraved the scale on this for me as a personal favour. Of all my fellow students, perhaps he is the one who best understands my fascination with the music of the heavens. The Greek Pythagorus wrote that 'There is geometry in the humming of the strings... there is music in the spacing of the spheres.' and though some might call it a heresy, I can imagine no greater beauty than that pure music ordained by God himself."
This seems like a good moment to ask him about the beautiful portative organ which stands on one of the shelves in an open leather case. The portative organ is not the instrument of a casual musician. Most students of the time might strum a gittern, or at least play the rebec or lute. The portative organ suggests to me a thoughtful solitary musician.
X:16                         % number
T:Descendi in ortum meum     % title
C:John Dunstaple             % composer
O:http://www.upv.es/coro/victoria/varios.html % origin.
M:3/2                        % meter
L:1/4                        % length of shortest note
Q:                           % tempO
K:C                          % key
V:De name="Descant" sname="D." % voice 1
V:Al name="Altus" sname="A."
V:Te name="Tenorius" sname="T."
V:Ba name="Bassus" sname="B." clef=bass
%=========2===========3============4============5=========6=============
[V:De] G6 | B3 c d2 | d e2 d B2 | A2 B d c e-|e d c>A c B | A G2 c>B c |
w:De-
[V:Al] G6 | G4 F2   | G6        | A2 G F E2  | G2 A A2 G  | F E C2 E2  |
w:De-
[V:Te] z6 | z6      | z6        | z6         | z6         | z6         |
w:
[V:Ba] z6 | z6      | z6        | z6         | z6         | z6         |
%-
%==============================8===============================9=========10==========11============12============
[V:De] [L:1/8] d2 e2 de f3 edc | [L:1/4] B c/e/ d/c/ c c/ B A/ | c6       | z6        | z6          | z6        |
w:-scen-
[V:Al]         F G2 F G2       |         G c2 E D2             | C2 z2 E2 | E2 F A2 A | G F A>G G E | D2 z2 E F |
w:--------scen-
[V:Te] z6                      | z4 z2                         | c6       | c2 d2 c A | _B2 A2 =B c | d2 B c2 A |
w:De-scen-
[V:Ba] z6                      | z6                            | z6       | z6        | z6          | z6        |
%-
%===============14========================15================16============17============18=============
[V:De] z6        | z6                      | z2 B2 B2        | c d2 c A2   | G c d e>d c | B G2 A B d-|
w:-
[V:Al] G2 F D2 F-| [L:1/8] FG A3 G G3 ^FFE | [L:1/4] G3 E2 D | F2 A2 F2    | E2 F G E2   | D6         |
w:-
[V:Te] G2 z2  d2-| d c2 B A2               | G6              | z6          | z6          | z6         |
w:-
[V:Ba] z6        | z6                      | z4 G,2          | F,6         | C,6         | G,3 F, G,2 |
w:De-scen-
%-
%===================20===============21==========22==========23======24==============
[V:De] -d A B G c>B  | G ^F/G/ A G2 F | G6        | z4 G2     | A4 B2 | c3 B/c/ A B |
w:------------di in or-
[V:Al] z6            | z6             | G4 G2     | G2 A G E2 | D6    | E4 E2       |
w:-di in or-----tum
[V:Te] z6            | z6             | z4 d2     | d3 B3     | A4 F2 | G2       c4-|
w:in or-
[V:Ba] D,2 G,2 F, G,-|G, B, C, G, A,2 |       G,6-| G,6       | D,6   | C,6         |
w:---------di_ in or-
%-
%===============26===========27====================28=========29============30==========
[V:De] G A2 G2 c | B c d2 B c-|c/B/A/G/ G E ^F E/F/ | G6       | z4 G2       | B2 c3 B |
w:tum___ me--------------um, ut vi-
[V:Al] E3 C E F  | D E D G2 A-| A F D E C2          | D2 z2 G2 | G3 F/G/ E D | D2 E4   |
w:me-------------um, ut vi-
[V:Te] c4 A2     | G2 z B2 A  | F2 G C c2           | B4 G2    | C6          | z6      |
w:--tum______ um,__
[V:Ba] C,6       | G,4 G, F,  | A,2 B, C A,2        |      G,6-| G,6         | z6      |
w:tum me-------um,_
%-
%==============32============33============34===========35===================36========
[V:De] d3 B c d-| d B d c A B-| B e2 e d c  | e2 c d c A-| A/G/ A _B F G F/G/ | A6    |
w:de----------------------------rem
[V:Al] D4 E F   | G2 F A2 G   | E2 G E F2   | E2 z4      | z6                 | z4 A2 |
w:de------------rem
[V:Te] z6       | z6          | z6          | e3 c A2    | c2 d2 _B2          | A6    |
w:vi---de---rem
[V:Ba] z6       | z6          | z6          | z6         | z6                 | z6    |
%-
%===============38===========39==========40==========41==========42===========================
[V:De] z6        | z6         | z6        | z6        | z6        | z6                       |
w:-
[V:Al] A3 G G F  | A2 G F D E-| E C2 D2 C | C2 D F2 E | F A2 G2 F | [L:1/8] E2 G2  FE E3 DDC |
w:po----ma con---val-
[V:Te] A2 d2 _B2 | A2 B d2 c  | A2 F4     | A4 B c    | d2 c B A2 | G E2 G F2                |
w:_ po--ma con---val-
[V:Ba] z6        | z6         | z6        | z6        | z6        | z6                       |
%-
%================44=========45=========46===========47===========48==================
[V:De] z6         | G3 A B2  | c3 B G A | G B c A2 c | B2 G B A c-| c/B/ G2 A F E   |
w:con-val-li
[V:Al] [L:1/4] E6-| E4 G2    | E6       | E4 E F     | G F E D2 C-| C/D/ E C A, B,2 |
w:li-
[V:Te] E2 z2 G A  | B3 c B G | A2 G2 c2 | c6         | d2 B G A2  | G2 z2 F2        |
w:li-
[V:Ba]        E,6-| E,6      |      C,6-| C,6        | G,4 F,2    | C,2 D,4         |
w:con----val-li-um,_
%-
%===============50======51========52========53============54=============
[V:De] G6        | z6    | G4 G2   | c3 c c2 | c2 B d>c B  | A A2 G G F |
w:um,  Et in-spi-ce-rem si___ ru-is-
[V:Al] C4 z2     | E4 E2 | E3 E E2 | A4 A2   | F>E G F E D | D3 D B, A, |
w:um, Et in-spi-ce-rem si____ flo--ru-is-
[V:Te] E G2 A G2 |    C6-| C6      | z4 c2   | c2 d2 B G   | A d z2 G2  |
w:um,___ Et_ in-spi--ce--rem_ si
[V:Ba] C,6       |    C6-| C6      | F,6     | A,2 G,2 E,2 | F,2 E,4    |
w:_ Et__ in---spi-
%-
%================56===========57============58===========59=========60========
[V:De] A2 d3 c    | c2 B d2 c  | A3 G/A/ G F | F2 E E F D | F2 z2 c2 | c4 A2 |
w:sent___ vi--------ne-----e et ger-mi-
[V:Al] D2 F G  A2-| A F2 G E D | F4 z2       | z6         | z2 A3 G  | G2 E4-|
w:---------sent et_ ger-
[V:Te] F A2 _B A2 | c2 d2 B2   | c2 d2 e c   | c3 B B A   |       c6-| c6    |
w:flo---ru-is---sent_______ et_
[V:Ba] D,4 F,2    | A,2 G,4    | F,4 E,2     | F,2 G,4    | F,6      | C,6   |
w:_ ce-rem_ si flo-ru-
%-
%===============62===========63==============64=========65==========66==========67================
[V:De] G2 A c2 A | B c d2 B d | c A2 G G F/G/ | A2 z2 c2 | d f2 e d2 | c A2 G2 c-| c/B/ c d2 B A |
w:nas---------------sent ma-la___ pu---ni-
[V:Al] E2 F2 F E | G2 D E2 D  | F E E D2 C    | E4 z2    | A6        | E6        | D4 D2         |
w:__mi--nas---------sent ma-la pu-ni-
[V:Te] C2 F3 c   | d3 B2 G    | c2 G2 z2      | c4    A2-| A2 F4     | C6        | G6            |
w:ger-mi--nas__ ma--la___ pu-ni-
[V:Ba] C6        | G,6        | A,2 _B,4      | A,6      | F,4 F,2   | C6        | D6            |
w:is--sent_ et ger-mi-nas-
%-
%========68======69==========70===========71=========72==========73================
[V:De] c6 | z4 c2 | c2 c2 c2  | A6         | G4 G2    | A4 A2     | c2 d c B c/B/ |
w:ca; re-ver-te-re,_ su-na-mi-
[V:Al] E6 | G4 z2 | A2 A A A2 | E2 E3 E    | E2 E2 E2 | F3 E   C2-| C F2 D F G    |
w:ca_ re-ver-te-re, re-ver-te-re, su-na-mi-
[V:Te] C6-| C6    | z4 A2     | c3 c c2    | c4 c2    | c2 d c2 A | A2 F2 A B     |
w:ca;_ re-ver-te-re su-na-mi-
[V:Ba] C6-| C6    | z6        | z6         | z6       | F,4 F,2   | F,4 F,2       |
w:sent_ su-na-mi-
%-
%===========75======76=========77======78=========79======80============
[V:De] G2 G4 | A4 c2 | c2 B4    | A6    | z6       | z4 d2 | d3 ^c c B |
w:tis; re-ver-te---re, ut in-
[V:Al] E2 E4 | F6    | A3 A ^G2 | A6    | F2 E4    | D6    | z6        |
w:-tis; re-ver-te-re, re-ver-te-re,
[V:Te] c6    | z6    | z6       | z4 d2 | d2 ^c3 B | d4 d2 | d2 e4     |
w:tis; re-ver-te--re, ut in-
[V:Ba] C,6   | z6    | z6       | z6    | z6       | z6    | z6        |
w:
%-
%===============82===========83============84============85=======86==========87==============
[V:De] d3 c _B A | A2 G E F G | B c>B A>F E | F G>F F2 E  | F6     | z6        | z6          |
w:tu---------e-----------a-
[V:Al] z6        | z6         | z6          | z6          | z4 F2  | G2 E A2 G-| G F E C D E-|
w:ut in---tu-
[V:Te] d6        | c4 A B     | G>F G A2 G  | A _B c A G2 | F6     | z6        | z6          |
w:tu----e----------a-
[V:Ba] z6        | z6         | z6          | z6          | z4 F,2 |       C,6-| C,4 F, G,   |
w:ut in--tu-
%-
%===================90===============91==============92=========93==============94=========95==============
[V:De] z6            | z6             | z6            | z4 A2    | A3 B c2       | d3 c A B | A d2 ^c c B |
w:mur-
[V:Al]EF G2 F      G-| G/F/E/D/ C2 D2 | E F2 D2 ^C    | D6       | z6            | z6       | z6          |
w:------------a---mur-
[V:Te] z6            | z6             | z6            | z2 A2 A2-| A F2 G G F    | A4 A G   | A2 F2 E2    |
w:mur-
[V:Ba] A,2 B, G, A,2 | G, C,2 E, F,2  | G, D, F,2 E,2 | D,6      | F,2 A, G, E,2 | D,2 z4   | z6          |
w:----------a--mur-
%-
%==
[V:De] d4-d B | A A2 c d2 | e3 c d c | A G B c d2 |c A2 B   c2-|c B G G2 ^F     | G6  |]
w:-------------------------te.
[V:Al] z4 D2  | D3 E F2   | G2 A3 F  | F2 E3 D    | F3 E C D   | E3 C B, A,/B,/ | C6  |]
w:-------------------te.
[V:Te]     D6-| D2 A2 B2  | c4 A2    | c2 B3 G    | A B c2 A F | A G2 E F D     | G6  |]
w:-------------------te.
[V:Ba] z4 D,2 | D,6       | C,4  F,2-| F,2 G,4    | F,6        | C,2 E,2 D,2    | C,6 |]
w:----------te.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].


The song reproduced above, is Dunstaple's Descendi in Ortum Meum. I have an odd feeling that we will be meeting Master Dunstaple again.