Beowulf: Beowulf boasts; Hrothgar recalls Grendel’s assaults

About the scene and clip:
In this scene, Beowulf boasts of his strength and expresses his intention to rid the Danes of the evil monster, Grendel; King Hrothgar then recalls Grendel’s terrible assaults on his hall in the past.

The solo performer uses all facets of the voice—including singing, speaking, heightened speech and even unusual sounds–and combines these with the use of a six-stringed harp (an instrument with strings of equal length, sometimes known today as a lyre) which is tuned in the “mode” of the epic, a reconstruction based on our knowledge of medieval musical practice and theory. The resulting six tones do not yield “melodies” as such, but rather a large collection of modal gestures which provide the vocalist with his primary musical material. The performer accompanies himself at times, and at other times uses the instrument to create certain modal effects, denote the passage of time, the introduction of a new character, a change of scene, etc.

About the work:
Beowulf, an Old English epic that was written down in the early 11th century, may actually date from as early as the 7th century, and is one of the great surviving medieval epics. While we cannot know who “created” the written version, it is clear that the text has its roots in an older oral tradition of epic storytelling. This type of Germanic verse is recognizable by the structural unity of its unrhymed alliterative lines, each line containing four stressed syllables.

It tells of the mighty struggles between the legendary hero Beowulf and three great supernatural monsters: first Grendel, then Grendel’s mother, and finally the Dragon. This song also sings of Beowulf’s great leadership and loyalty panerai luminor gmt replica and of the virtues for which he was famed.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative which tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Bagby based his performance on Beowulf, ed. Friedrich Klaeber, 3rd ed., Lexington, MA, Heath, 1950, lines 99ff. There are many English translations of this famous work.

About the performer/ensemble:
The American vocalist and medievalist Benjamin Bagby directs Sequentia, the ensemble for medieval music which he founded givenchy bracelets replications for sale together with the late Barbara Thornton in 1977. In addition to his work with Sequentia, Bagby is widely known for his solo performances of the Beowulf epic. He lives in Paris. See www.sequentia.org and www.BagbyBeowulf.com.

About the production:
This clip is taken from a video of a performance of Beowulf by Bagby which took place at the Angel Orensanz Center for the Arts in New York City in April 2003, sponsored by the People’s Poetry Gathering. The performance was videoed by NYU-TV.

A DVD of a different performance of Beowulf by Bagby can be purchased at www.BagbyBeowulf.com.

Roland: Roland blows his saxophone

About the scene and clip:
Roland blows his horn to call Charlemagne. The performer plays his saxophone; he composed the music, based on a medieval-style melody composed by Edward Green, a doctoral candidate in Music at New York University and a professional composer.

About the work:
La Chanson de Roland (The Song of Roland) is one of the great masterpieces of French medieval literature. The earliest surviving version of this anonymous epic dates apparently from the late 11th century and is preserved in a famous manuscript now in the Bodleian Library at Oxford. This classic version—there were numerous others—is composed in laisses (or stanzas) of variable length with ten-syllable lines in assonance (the final vowel is the same within each laisse). Epics like the Roland were originally sung by jongleurs, often with vielle accompaniment. The Roland tells of the Emperor Charlemagne’s great struggle to conquer Spain from the Muslim Infidels. It recounts the betrayal of the French by the traitor, Ganelon, resulting in a great battle at Roncevaux. There, the French rearguard, led by Roland, defeats the Moors, but all the great French knights—the twelve peers—die. Charlemagne avenges the peers in two great battles, and Ganelon is punished. At the end, Charlemagne is called by the angel Gabriel to a new mission.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative which tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
The Song of Roland, translated from the Old French by Dorothy L. Sayers, Penguin, 1957, laisse 134, pp.119ff. French: La Chanson de Roland, ed. Ian Short, Paris, Lettres gothiques, 1990.

About the performer/ensemble:
Joe Esposito is a student in Dramatic Literature in the College of Arts and Science at New York University (2006)—and a musician.

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in fall 2006. It was filmed at New York University’s Maison Française in spring 2007.