Blood Treasure, Woven Fates:
Songs and Stories of Women in Medieval Nordic Legends
Moirai’s first project and debut program is dedicated to the Old Norse songs, which are transmitted to us through the Icelandic manuscript of the Codex Regius, written in the 13th century. The gripping stories of Sigurð, Brynhild, Guðrún and Atli tell of the killing of the dragon Fafnir, a cursed treasure of red gold, intrigues at the Burgundian court, a vengeful valkyrie, and of three kings meeting a terrible fate in the halls of Atli.
Moirai employs rarely heard instruments such as the six-stringed early medieval harp, bone flutes and the Scandinavian overtone flute, which were well known in northern Europe during the Middle Ages.
The program is performed in the Old Norse original text with overhead projections in the language depending on the locality of the performance.
A full program version (ca. 80 min) includes the following pieces:
Grípisspá – Grípir's prophecy
Sigrdrífumál – Sigrdrífa awakes
Instrumental piece: based on a traditional Icelandic Rímur-melody
Sigurðarkviða in skamma – The deaths of Sigurð and Brynhild
Guðrúnarkviða – The song of Guðrún
Instrumental piece on a seljefløyte, a Scandinavian overtone flute
Helreið Brynhildar – Brynhild's ride to Hel
Instrumental piece: based on various Icelandic Rímur-melodies
Atlakviða – The story of Atli
Oddrúnarkviða – Oddrún
Hanna Marti: voice, harp
Mara Winter: flute, voice
The King and His Saints : Carolingian Prayers and Songs of Praise
In order to ensure his power the Carolingian ruler Charlemagne (ca. 747-814) ordered to standardize and unify administrative practices as well as cultural elements in all of his large empire. The canon of liturgical songs was also subjected to this project. But ensuring that the same feast days were observed and the same liturgical chants sung on the same day, in the same manner, and over such a large territory proved to be a difficult, if not impossible task: Musical notation was not yet established and musical knowledge and skill was passed on in oral traditions, probably each with its own aesthetics and habits...
However, Charlemagne's attempts of cultural unification (and perhaps also the resistances to it) lead to several interesting developments in the music of the 8th to 10th centuries: New musical notations and musical forms (such as tropes and sequences) are developed while traditional forms like liturgical chant, hymns and litanies are kept and at times adapted. Some pieces in the vernacular languages (Old French, Old German) are written down and sometimes translated into Latin. A theory treatise and some early notated manuscripts transmit some of the earliest known European improvisational practices of diaphony.
Moirai's new concert program "The King and his Saints" includes a hypnotic litany, invoking all saints to protect the king and ensure his victory, a song in praise of Charlemange's court, and many sequences – mostly from the monastery of St. Gall (Switzerland), which was an important cultural center at the time. The legends of many saints are told in those songs, mainly in Latin, but also in Old French and Old German. The program unites pieces reconstructed from neumes with musical re-creations based on contextual materials. Early two-voice improvisatory practices as well as instrumental origins of sequences will be explored, presenting the cultural richness that is the "Carolingian Renaissance".
Concert duration: 50-80min, depending on choice of pieces. More information (German) (Download).
Manuela Coelho Lopes : Voice
Stef Conner : Voice
Mara Winter : Flutes, voice
Hanna Marti : Voice, harps