Iuchair is a singing group that performs new editions of medieval music, initially focusing on the influence of the enigmatic Pérotin and the Notre Dame School of polyphony in Scotland through the manuscript known as W1.
Joshua Stutter | Edward Marshall | Harold Thalange | Alasdair Robertson
Pérotin: The Scottish source
Saturday 21st April
St Andrew’s Cathedral, Glasgow, 7:30pm
Saturday 28th April
Polwarth Parish Church, Edinburgh, 7:30pm
Wednesday 2nd May
Holy Trinity Church, Stirling, 7:30pm
Friday 8th June
University of Glasgow Memorial Chapel, Glasgow, 7:30pm. Part of the West End Festival
Tickets: £10/£5 | 0141 530 1421 | firstname.lastname@example.org
The music commonly known as the Notre Dame school encompasses the styles of sacred polyphonic music known to have been sung at Notre Dame Cathedral, Paris and its environs in the 12th and 13th centuries. As one of the first repertories of polyphonic music to have been written down in musical notation, extremely little is known about its creation and performance, except for what is contained in the few extant sources and a 13th–century English source known as Anonymous IV.
There are three distinct styles of composition: organum purum which is free–flowing and melismatic; discant, a more rhythmical and note–to–note style thought of as being a later invention; and copula which is a mix of purum and discant. Anonymous IV ascribes the composition of the entire Notre Dame repertory to two composers: Léonin who created a Magnus Liber Organi (great book of polyphony) primarily in purum, and his successor Pérotin who abbreviated and improved the book somewhat, adding his own, more rhythmical discant compositions extending up to four simultaneous voices.
One of the most interesting sources of the repertory is known as W1, the only source of British provenance, written at St Andrew’s Priory. In many ways, it is markedly different from the continental sources and transmits a slightly different repertory. As we will demonstrate in this concert, W1 is a fine example why modern scholars cast serious doubt upon the simplistic narrative of Anonymous IV’s “great composers” Léonin and Pérotin creating the repertory from scratch, and now believe that the Notre Dame school was an improvised repertory with countless contributors that evolved over many years