Dues Paying Member of the ISFA

Packing all your possessions into brown boxes eventually uncovers all manner of interesting things. There’s the Tupperware full of miniature Star Wars figures. A one hundred page book I wrote in sixth grade called “The Three Treasures”. A flash drive of Jessica’s Dad’s ebooks. Prayer beads. A broken accordion. Postcards from London. It’s challenging to encounter these reminders and symbols of life. You have to come to grips with your own materialism.

On the brighter side I found my old acceptance letter into the National String Figure Association. Yes. No joke. Just imagine 15 year-old MR with a length of knotty yarn eagerly flipping through a highly pedantic anthropological journal. “String figure enthusiasts are everywhere, but notoriously difficult to identify — I’m glad you found us!” Yes, Dr. Mark Sherman sure was glad of my support in September of 1999. In addition to ISFA I also remember memorizing whole sections of a C.F. Jayne’s “String Figures; A Study of Cat’s-Cradle in many Lands” (1906) in a corner of the Inyo County Library as well as printing off pages of the Arctic String Figure Project. Let’s just say I was serious.

A photo from Jayne's book. Essentially a picture of me.

A photo from Jayne's book. Essentially a picture of me.

The funny thing is that the moment I found these old journals and pamphlets I scrounged around for a length of twine and plopped myself on the couch to make a Kiwi and a Boat and a Gourd (and failing miserably at the Fox and Whale). String figures are truly fascinating. I always consider the ingenuity of people who did not have television. Instead they composed visual aids to epic stories, made magic tricks, constructed devices for predicting the gender of a baby, engaged in creativity competitions, or just passed the time. I love to consider the infinite possibilities that lay latent in a ridiculously simple length of string. The dancing of the fingers call forth all manner of beautiful things from such humble beginnings. I also love that moment when a tangled knot wrapped around your fingers suddenly stretches out into a beautiful image, mathematically proportioned, fragile and sustained by the even tension of your fingers, shining for a moment before slinking back into a common loop of twine. It’s like music, that structure from chaos and manifold variations.

Another picture from the Jayne book. This is one of my favorite figures, but it really only works if you have a 10-foot loop. 

Another picture from the Jayne book. This is one of my favorite figures, but it really only works if you have a 10-foot loop. 

I think I’ll hold on to some of these things a little longer. Who knows when I’ll find another “string figure enthusiast.”

PS!Just found two string figures collected from the Salish Native Americans who lived in the Spokane area. Extremely cool. Check it! One is called “Dressing a Skin” and the other “Pitching a Tent” which is identical to “A Fish-Spear” (and was called “Witch’s Broom” in my little Sister’s book as a toddler). 

Conserted Consort: "And all the while sweete Musicke did apply Her curious skill, the warbling notes to play."

Although set in the faerie world of celestial Muses, medieval pageantry, and piping rustics, the historical context of Spenser’s “The Faerie Queene” plays a slightly different tune. Among the many industrious and illustrious composers of the 16th century I find the English composer William Byrd to have particular import to the audience and fairy world of Spenser’s epic.

Detail of Queen Elizabeth I's "Armada" Portrait (unknown artist, 1588).

Detail of Queen Elizabeth I's "Armada" Portrait (unknown artist, 1588).

The political/religious climes of England during the late 1500s were tense to say the least. Protestant England was beset on all sides by Catholic neighbors (Ireland, sometimes France, Spain, Scotland) in a highly hostile and competitive world (think the looting of the New World and Burt Lancaster as the Crimson Pirate). In Book V Spenser wrestles allegorically with the trial and execution of the Catholic Mary, Queen of Scots by Protestant Queen Elizabeth in 1587, an event that shook the current understanding of the divine justice of absolute monarchy.

Add to this mix William Byrd (1543-1623): virginalist, sheet music baron, CoE anthem composer, musician of the Royal Chapel, and Catholic. It is an outstanding testament to the favor that he somehow achieved with Queen Elizabeth that he retained his faith in the face of so much hostility. The same mind that wrote beautiful motets for the Church of England also wrote exquisite Latin Masses for three, four or five voices to be sung in secret. I’m listening to the Mass for four voices now. The texture is so private and supplicating and earnest. I love the declamations of the Gloria. Gorgeous. And the historical context lends it such honesty– far removed from the posturing of the courtiers.

I have known and enjoyed Billy Byrd primarily through various compilations of his keyboard pieces for virginal. In collections such as the Fitzwilliam Virginal Book and My Ladye Nevells Booke we observe the composer in more a posturing role. If not outright composing pieces dedicated to powerful patrons, he is at least contributing to the culture of the refined lord and lady, masters of the arts and yet disdainful of excess. (That being said it must have been a hard blow for the gallant duke or duchess who picked up the Fitzwilliam and found John Bull’s 30 Variations on Walsingham yawning like Charybdis before them!) I particularly enjoy such song variations of Byrd as Jhon come kisse me now, 16 variations on a lovely, mushy love song with modal, hexachord spices. The Bells extracts 9 variations out of a two note bass figure with something of a minimalistic, meditative rhythm. Ut, re mi, fa, sol, la and Ut, mi, re show Byrd at a very pedantic and ambitious mode, exploring distant tonalities with all manner of strange accidentals.

Vermeer's Young Woman Seated at a Virginal (1670-72). And after that scales and arpeggios on the viol. Then lunch.

Vermeer's Young Woman Seated at a Virginal (1670-72). And after that scales and arpeggios on the viol. Then lunch.

So check out Byrdman when you can. The Petrucci Music Project has a lot of his virginal pieces as well as his Mass for five voices in sheet music form. (Love that Petrucci and his projects!) The virginal as an instrument is surely a strange and acquired taste. (I believe Stravinsky compared it to the sound of two skeletons copulating on a tin roof.) I love it and would encourage you to listen to a good recording from a skilled musician with life in their fingers and hearts. Kathryn Cok plays an extremely amazing Walsingham on her Lyrichord Early Music album entitled “Dr. Bull’s Jewel”.

Lastly an excerpt from a contemporary of Spencer and Byrd, the dashing and tragic Sir Phillip Sidney: “Astrophil and Stella”, Sixth Song.

Music doth witness call
The ear his truth to try;
Beauty brings to the hall
The judgment of the eye;
Both in their objects such
As no exceptions touch.

The common sense, which might
Be arbiter of this,
To be forsooth upright,
To both sides partial is;
He lays on this chief praise,
Chief praise on that he lays.

The reason, princess high,
Whose throne is in the mind,
Which music can in sky
And hidden beauties find,
Say whether thou wilt crown
With limitless renown?