Musicians In Ordinary Podcast

Louise Hung plays Orlando Gibbons' Galiardo Fantasia of Foure Parts from 'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. Audio production by Matthew Antal. 

'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613 probably as part of the celebrations for a royal wedding. MIO's Artistic Director John Edwards talks to keyboardist Louise Hung about pitch and temperament - how early keyboards were not tuned the same way a modern piano is. We then hear Louise Hung perform Gibbons' Fantazia in Four Parts. 

Louise Hung plays John Bull's Pavana and Orlando Gibbons' Galiardo and The Queenes Command from 'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. Audio production by Matthew Antal. 

'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613 probably as part of the celebrations for a royal wedding. MIO's Artistic Director John Edwards talks to Prof. Deanne Williams about the plays by Shakespeare, Beaumont and Fletcher and others, and masque performances during the run up to the marriage of Frederick, Count Palatine and Elizabeth Stuart. We then hear Louise Hung perform music by Bull and Gibbons from the book. 

Louise Hung plays William Byrd's Earl of Salisbury's Pavan and Galiardo Secundo from 'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. Audio production by Matthew Antal. 

'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. As the chief counsellor in the last years of Queen Elizabeth I's reign and the first years of James I's, Robert Cecil, the Earl of Salisbury was at the centre of a web of political patronage, artistic patronage, and a web of spies that seems to have included musicians. John Edwards and Louise Hung talk about Salisbury's patronage of the arts, especially the art of music, his musical instrument collection and his collection of musicians. At the end of the chat you'll hear Louise play William Byrd's Pavana Earl of Salisbury and Galiardo secundo from Parthenia. Further reading: Patronage, Culture and Power: The Early Cecils ed. Pauline Croft and John Dowland by Diana Poulton.

Louise Hung plays William Byrd's Preludium and Galiardo Mrs. Mary Brownlo from 'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. Audio production by Matthew Antal. Virginal made by Matthew Redsell after an instrument by Johannes Perticis in the Royal Ontario Museum. 

'Parthenia or the Maydenhead of the first musicke that ever was printed for the Virginalls (in England at least), composed by three famous masters: William Byrd, Dr. John Bull and Orlando Gibbons' was probably printed in 1613. MIO's Artistic Director John Edwards talks to harpsichordist Louise Hung about the terminology of plucked string keyboard instruments in the Elizabethan and Jacobean period, how they make their sound, the association of the virginals with young women in our period and the techniques and fingering which they used and which Louise deploys to get the characteristic sprightly articulation in Mary Brownlow's Galliard and the spectacular passage work in the prelude by Byrd, both of which you'll hear at the end of our chat. 

Deanne Williams is professor in English at York University, a Fellow of the Centre for Renaissance and Reformation Studies and a member of the College of New Scholars, Artists, and Scientists of the Royal Society of Canada. She was dramaturge for our production of Comus, has written extensively on girl performers in the Early Modern Period and dedicates a chapter to Milton's character of The Lady in her book Shakespeare and the Performance of Girlhood published by Palgrave. In this episode she discusses what she learned about Milton, Comus, The Lady and the Brothers in preparing our performance. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

Director Heather Davies and theorbo player and artistic director John Edwards chat about the music in John Milton's masque Comus and especially about the dance music of masques in general, and the dances of William Lawes which we used in our production. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

Director Heather Davies and theorbo player and artistic director John Edwards chat about the music in John Milton's masque Comus and especially about the original songs by Henry Lawes. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

Actor Bethany Jillard chats about  playing the part of The Lady, a role first played by Alice Egerton, the teenaged daughter of  the Earl of Bridgewater, and the similarities and differences between preparing for this role from John Milton's Comus and her experience playing Shakespeare's women.  Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist. As a company member with the Stratford Festival in Canada for five seasons, Bethany's credits include A Midsummer Night's Dream, The Beaux' Stratagem, Othello, The Three Musketeers, Henry V, Much Ado About Nothing, Richard III, The Little Years, Dangerous Liaisons and Peter Pan. Regional credits include Othello (Chicago Shakespeare Theater); The Seagull, After Miss Julie and the world premiere of Gone with the Wind (Royal Manitoba Theatre Centre); How It Works, The Little Years and Cake and Dirt (Tarragon Theatre); My Name Is Rachel Corrie (Theatre PANIK); A Man of No Importance (Acting Up Stage Company); That Face (Canadian Stage Company/Nightwood Theatre) and Tough! (Factory Theatre). Her film and television credits include If I Were You with Marcia Gay Harden (Paragraph Pictures), Murdoch Mysteries (Shaftesbury Films), Bloodletting & Miraculous Cures (The Movie Network), Rookie Blue (ABC) and I Love You ... But I Lied (Lifetime). She is a graduate of the University of Toronto and The Birmingham Conservatory for classical theatre training. Ms. Jillard moonlights as a singer in the band Notes from Underground alongside her husband, Aaron, who is her rock, her inspiration and her joy.

Director Heather Davies discusses the special challenges of the masque form, Milton's verse and the rehearsal process in the time of covid with John Edwards. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist. Heather Davies was born in Winnipeg, Manitoba and grew up in Toronto, Ontario. She's trained as a dancer, singer, actor and musician and has worked professionally since her teens. Heather moved to the UK to continue her actor training; she lived and worked in theatre there for 18 years. In 2001 she began focusing on directing full-time when she joined the Royal Shakespeare Company as a resident director, working there for nearly three years. She returned to Canada in 2007 to attend the MFA- Theatre program at York University, graduating in April 2009. From September 2009 to February 2011 she was the Artistic Associate at The Grand Theatre in London Ontario. She continues to enjoy directing, writing, teaching and adapting in the UK and across Canada. In 2017 Heather became the first Artistic Director of The Ryga Festival, (inspired by renowned Canadian writer, George Ryga) in Summerland, BC and directing Colours in the Storm at the Grand Theatre in London, Ontario. In 2018, as well as returning to Summerland, Heather's stage adaptation, Judith: memories of a Lady Pig Farmer, (based on the original novel, Judith, by Alberta writer Ardith Van Herk), will premiere at the Blyth Festival. Other projects in development include Silverfish (an original play about economic migration) and the stage adaptation of Night Desk, (novel by George Ryga).

The second Corant in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  The saraband was a fast vigourous dance when first introduced to the dance suite from the guitar repertoire. We used the Set in F for the dances of the Egerton children in our performance of John Milton's masque Comus. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

The second Corant in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  
Another Corant from the suite we used for the dances of the Egerton children in our performance of John Milton's masque Comus. 
Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

The third Alman in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  
We used Lawes' Royal Consort Set 9, a dance suite heavy in Almans, the favourite dance of court masque, as the dances for the Egerton children for our performance of John Milton's domestic masque Comus. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

The first Corant in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  
We used Lawes' Royal Consort Set 9 as the dances for the Egerton children  for our performance of John Milton's masque Comus. An Alman type dance is usually followed by a faster triple time dance in Jacobean court masques. By Lawes' time the French influence of the courante can be heard in such dances. 
Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

The second Alman in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  We used Lawes' Royal Consort Set 9 as the dances for the Egerton children  for our performance of John Milton's masque Comus. The Alman or Allemande was the staple dance for Stuart court masques. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

The first Alman in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  We used Lawes' Royal Consort Set 9 as the dances for the Egerton children  for our performance of John Milton's masque Comus. The Alman or Allemande was the staple dance for Stuart court masques. This alman is labelled 'Aire' in some sources. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.

A Pavan in F from Royal Consorts Set 9 by by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  The stately Pavan was used as an entrance dance in the 16th and 17th century and we used this as an 'overture' for our performance of John Milton's Comus. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist. 

Two Morris Dances from William Lawes' Royal Consorts (Sets No. 5 & 6 in D maj.) that we used for the 'Country Dances &c' in our performance of John Milton's Comus. Visit https://musiciansinordinary.ca/episodes to click through the series and download mp3s to add to your music playlist.  The Musicians In Ordinary string band is led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo. 

The Antic dances of a masque were performed by professional dancers using preposterous gestures in the guise of some sort of subhuman species such as witches, apes or, in the case of John Milton's Comus, the entourage of the god of revelry 'a rout of monsters like men and women but headed like wild beasts their apparel glistering'. An orphaned piece labelled 'Antic' by William Lawes (1602-1645) exists in a manuscript in two parts, treble and bass - here it is played with inner parts for 2nd violin and bass viol by Christopher Verrette. You will then hear a corant from Lawes' Royal Consort Set No. 5 in D maj. which has held notes in all parts at the beginning calling to mind The Witches' Dance from Macbeth and the Masque of Queens by Robert Johnson of the previous generation of masque music. The Musicians In Ordinary string band is led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo. 

A Pavan by William Lawes (1602-1645) is played by The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  This pavan quotes John Dowland's 'Lachrimae' theme, which had become a musical emblem for melancholy, at the beginning and alludes to Dowland's earlier pavan throughout. Check back to our 'Board Lutebook' episodes to hear a performance of Dowland's lute model.  Lawes' piece exists in a version in c minor for viols and organ. 

John Milton's Comus (Bridgewater manuscript version), with the original songs set by Henry Lawes and dance music by William Lawes, directed by Heather Davies, performed by Roger Honeywell - Attendant Spirit, Paul Hopkins - Comus, Bethany Jillard - The Lady, Tracy Ryan - Elder Brother, Beryl Bain - Second Brother, with The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  (Sc. 1) The scene changes to a stately palace set out with all manner of deliciousness, soft music, tables spread with all dainties. Comus appears with his rabble, and the Lady set in an enchanted chair, to whom he offers his glass; which she puts by, and goes about to rise.  (Sc.2) The scene changes, then is presented Ludlow town and the President's castle, then come in country dances, and the like etc. Towards the end of these sports the Dæmon with the 2 brothers and the Lady come in. 

John Milton's Comus (Bridgewater manuscript version), with the original songs set by Henry Lawes and dance music by William Lawes, directed by Heather Davies, performed by Roger Honeywell - Attendant Spirit, Paul Hopkins - Comus, Bethany Jillard - The Lady, Tracy Ryan - Elder Brother, Beryl Bain - Second Brother, with The Musicians In Ordinary string band led by Christopher Verrette, 1st vln. with Patricia Ahern, 2nd vln. Felix Deak and Laura Jones, violas da gamba and John Edwards, theorbo.  The first scene discovers a wild wood. Then a guardian spirit or Dæmon descends or enters. 

Lutenist John Edwards plays Dump Philli from the Marsh Lutebook. Pieces called 'Dump' are often memorial pieces and are often built on ground basses of as few as two notes, as is this one. In a much earlier, and much shorter version this piece is titled 'Arthur's Dump' and it has been suggested that this is a memorial piece for court lutenist Arthur Dewes by his colleague Philip van Wilder. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Tracy Ryan reads 'With how sad steps, O Moon, Sonnet 31 from Sir Philip Sidney's Astrophel and Stella, in original pronunciation of the time of Shakespeare and Sidney. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation. Pronunciation prepared by Hallie Fishel.

Lutenist John Edwards plays Anthony Holborne's sombre pavan 'The Countiss of pembruth fineralle' as it is called in Jane Pickeringe's Lutebook, from which this highly decorated version is taken. The Countess of Pembroke is Lady Mary Sidney, whose father and brother died the same year. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Tracy Ryan reads part of a lament by Lady Mary Sidney, on the death of her brother Sir Philip Sidney, author of Astrophel and Stella and The Countess of Pembroke’s Arcadia, in original pronunciation of the time of Shakespeare and Sidney. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation. Pronunciation prepared by Hallie Fishel.

Lutenist John Edwards plays Sir Phillip Sidneys Lamentacion from Matthew Holmes' Lute Book. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Tracy Ryan reads a description of the death of Phillip Sidney at Battle of Zutphen from Elizabethan historian John Stow's The Annals of England to 1603 in original pronunciation from the time of Sidney and Shakespeare. Pronunciation prepared by Hallie Fishel. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Lutenist John Edwards plays John Dowland's The Battell Galyerd, also known as The King of Denmark's Galliard, in a version from Jane Pickeringe's Lute Book. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Tracy Ryan reads a description of the Battle of Zutphen from Elizabethan historian John Stow's The Annals of England to 1603  in original pronunciation from the time of Sidney and Shakespeare. Pronunciation prepared by Hallie Fishel. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Lutenist John Edwards plays The Right Honourable the Lord Viscount Lisle his Galliard composed by John Dowland, based on Orlando di Lasso's Susanne un jour. Viscount Lisle is Robert Sidney, younger brother to Sir Philip and  Mary Sidney, the Countess of Pembroke. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Tracy Ryan reads a sonnet by Robert Sidney, the Viscount Lisle, found in manuscript, in original pronunciation from the time of Sidney and Shakespeare. Pronunciation prepared by Hallie Fishel. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Lutenist John Edwards plays William Byrd's setting of Will you Walk the Woods So Wild  anonymously arranged for the lute. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Tracy Ryan reads a poem from Sir Philip Sidney's romance The Countesss of Pembrokes Arcadia in original pronunciation from the time of Sidney and Shakespeare. Pronunciation prepared by Hallie Fishel. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation. 

Actor Tracy Ryan reads and excerpt from the First Eclogues Sir Philip Sidney's romance The Countesss of Pembrokes Arcadia in original pronunciation from the time of Sidney and Shakespeare. Lutenist John Edwards plays The Countess of Pembroke's Paradise by Anthony Holborne. The Countess of Pembroke was Mary Sidney Herbert, the sister of Philip. Pronunciation prepared by Hallie Fishel. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Actor Tracy Ryan reads the first poem from Sir Philip Sidney's sonnet cycle Astrophel and Stella in original pronunciation from the time of Sidney and Shakespeare. Lutenist John Edwards plays The Right Honourable the Lady Rich, her Galliard by John Dowland. Lady Rich is Penelope Devereux, the 'Stella' of Sidney's poems who never requited the love expressed therein. Pronunciation prepared by Hallie Fishel. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Professor Deanne Williams talks to John Edwards about Philip, Mary and Robert Sidney and their contribution to literature as inspirers and innovators, practitioners and patrons in the Elizabethan and Jacobean period. This episode is an introduction to a new series of readings, prepared in texts in original pronunciation by Hallie Fishel, read by Tracy Ryan, by and about the Sidneys as well as lute pieces dedicated to them, and programmatic of their lives. These podcasts are supported by the Social Sciences and Humanities Research Council of Canada and the Spem in Alium Fund of the Toronto Foundation.

Christopher Verrette, violin, plays divisions by Davis Mell on John Come Kiss Me Now and anonymous divisions on Johnny Cock Thy Beaver from Playford's The Division Violin accompanied by The Musicians In Ordinary Renaissance Violin Band: Matt Antal, Brandon Chui, Sheila Smyth, violas, Laura Jones, bass violin and John Edwards, lute. 

Deanne Williams and John Edwards discuss John Milton's Comus, The Lady, Alice Egerton, her experience and her exemplars as a performer. The Musicians In Ordinary Renaissance Violin Band (Matt Antal, Brandon Chui & Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin) plays Davis Mell's divisions on John Come Kiss Me Now and the anonymous Johnny Cock Thy Beaver. 

The Musicians In Ordinary Renaissance Violin Band plays Antiq Masque by John Coprario, and the Robert Johnson's First Witches' Dance and Second Witches Dance from The Masque of Queens by Ben Jonson, probably revived in Middleton's The Witch and Shakespeare's Macbeth. The MIO Violin Band is Matt Antal, Brandon Chui, Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin. 

Dr. Natalia Khomenko, Lecturer at York Univ. and VK Preston, Asst. Prof. at Univ. of Toronto’s Centre for Drama, Theatre & Performance Studies, talk about depictions of witches in 16th and 17th century England and France. The Musicians In Ordinary Renaissance Violin Band (Matt Antal, Brandon Chui & Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin) plays John Coprario’s Antiq Masque and Robert Johnson’s First & Second Witches’ Dances.

The Musicians In Ordinary Renaissance Violin Band plays The King of Denmark's Galliard from John Dowland's Lachrimae or Seven Tears, The Fairy Round from Anthony Holborne's Pavans, Galliards etc., Sir Henry Umpton's Funeral (Dowland) and Paradizo, or The Countess of Pembroke's Paradise (Holborne). Special guest Felix Deak, (viola da gamba) plays Deth by Tobias Hume. The MIO Violin Band is Matt Antal, Brandon Chui, Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin. 

Prof. Tom Bishop (Univ. of Auckland) talks about Shakespeare’s Pericles. Prof. Linda Austern (Northwestern U.) talks about music and medicine in the 17th century. Felix Deak plays Deth by Tobias Hume. The Musicians In Ordinary Renaissance Violin Band (Matt Antal, Brandon Chui & Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin) plays Dowland’s King of Denmarks Galiard & Sir Henry Umptons Funerall and Holborne’s Fairie Round & Paradizo.

The Musicians In Ordinary Renaissance String Band, (Matt Antal, Brandon Chui and Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin) plays John Coprario's dances from The Lord's Masque in versions published in 1617 by William Brade, The Tempest from Squires’ Masque and The Haymakers' Dance (both anon. with viola parts by Christopher Verrette after Brade), and The Nymphs' Dance from Masque of the Inner Temple and Gray's Inn (Coprario/Brade).

Stephen Orgel, Professor Emeritus at Stanford Univ. talks to John Edwards about the Stuart court masque, its performers, its expressions of power and the meaning of the masque conjured by the triumphant Prospero in The Tempest. The Musicians In Ordinary string band, Matt Antal, Brandon Chui and Sheila Smyth, violas, Laura Jones, bass violin, John Edwards, lute, led by Christopher Verrette, violin, play The First, Second & Third of the Lords, The Tempest, The Haymakers Dance and The Nymphs Dance.

Delyght Pavan and Delyght Gallyard by John Johnson and the ballad tune I Can not keepe my wife at howme from Margaret Board's Lutebook, played by John Edwards

George Torres, Prof. in Music at Lafayette College, Deanne Williams, Prof. in English at York University, and John Edwards discuss correspondences between lute instruction manuals and manuals on civility from 16th and 17th century in France & England, how lute lessons were also decorum lessons, & the lute lesson in Taming of the Shrew. We hear Delyght Pavan & Gallyard (Johnson) & I Cannot keepe my wyfe at howme (anon.) from Margaret Board’s lutebook.

Music from court masques arranged for lute played by John Edwards: Antiq Masque per Mr. Confesso set by Mr. Taylor, originally by John Coprario, Witches Daunce by Robert Johnson, Lady Phillyes Masque, Anon. La: Elyza her Masque, The Prince his Almayne and The Prince his Coranto all by Johnson and from Margaret Board's Lutebook.