Runnymede mj347 – Four Choral Songs
Malcolm Hill asked Bath poet Caroline Heaton to create a text for a setting to be included in this concert. Her Runnymede tells the story of the meeting between King and barons as if it is being recounted soon after the signing. MH set the poem to late 12th century Trouvère chanson melodies which we know had arrived in England by 1215, and to which contemporary texts were traditionally added. [Over 2,000 lyrics, together with nearly 1,000 of their single-voice melodies have survived from the rich production of 12th and 13th century trouvères of Northern France.] Malcolm then surrounded the melodies with both 13th and early 20th century counterpoints. The first and third movements use Blondel de Nesle’s melody Cuer desirrous apaie (the longing heart appeases/calms), the second movement uses Gautier de Dargies’ Desque ci ai touz jorz chanté and the final movement is based on Chatelain de Couci’s Li nouviauz tanz (aka Li nouuiau tens).
A bass soloist starts the first song in English, followed by a soprano soloist in Latin. The choral sopranos and altos describe the scene and what they thought about King John. At the end, the army makes a statement.
The second song, for male performers, continues the army’s description of what happened.
The third song opens with the soprano reprising her Latin refrain from the first song. There are no men in this movement, which elaborates the description of Runnymede. Gradually the chorus becomes a group of soloists, ending with “It was a place of Fair Words and watery intent”.
After a couple of brief solos, the last song is just for 4-part chorus. “Trial by our equals won a few months of peace … The king smiled through gritted teeth, sent for, affixed, the Great Seal. We won a brief peace, too brief, but the Charter endured … As for our villeins, they still work the land, sing their own song.”