Leonor´s baton and Hugo´s baton. "La batuta de Hugo" una obra de teatro para estudiar la Historia de la Música.

"Leonor´s baton" y/o " Hugo´s baton" es una propuesta para acercar la historia de la música al alumnado de Secundaria a través de una obra de teatro.

 El texto original  de "La batuta de Hugo" pertenece a la profesora de música Nieves Tejado que ideó un esqueleto dramático tras la lectura del libro "Por qué Beethoven tiró el estofado" para acercar la Historia de la Música a su alumnado. 

La traducción al inglés de esta obra es de Douglas Fedele (our assistant teacher during 2017-2018). 

Este es el cartel que la Fundación Princesa de Girona nos regaló tras quedar finalista este proyecto entre los que se presentaron en el CPR de Badajoz tras el curso realizado con la Fundación Trilema y con el que tanto aprendimos.  

Leonor´s baton:

INTRODUCTION

 SCENE I

Act I: Scene I

(In the house of a wizard some days before Christmas)

Leonor: Excuse me. Is there anybody here? Hello! 

Oh, excuse me, sir.  Good afternoon!.

Wizard: Good afternoon. Come in, come in. 

May I help you?. Have a seat.

Leonor: Nice to meet you, sir. Excuse me sir. My name is Leonor and I´m here because I heard about your powers, your wisdom. I don´t want to disturb you but I have been looking for someone to help me for a long time and perhaps you can do it. Furthermore, it is said that magical things can happen at Christmas. 

Wizard: OH, I see. You feel anxious. If I can help you, you ´re sure I´ll do it.

Leonor:  I'm a conductor, sir! and  I studied for many years in a conservatory. In spite of this, I feel that it´s very difficult for me to  transmit the authentic emotions of ancient music to my choir, to my students. When we perform a medieval piece of music belonging to Gregorian chant., for instance, the music sounds cold, perfectly measured, you know, keeping the free rhythm adapted to the lyrics, well tuned, but without life, without feeling. Furthermore, I learnt to conduct with a baton in the conservatory and I need to learn to conduct with my hand and transmit the spirituality of religious music as in the Middle Ages was usual. 

Wizard: Why do you think I can help you?

Leonor: I've heard about your powers, your wisdom and that you mastered the art of astral travel. I need to travel through time and find Guido D´Arezzo, Hildegard von Bingen or even Alfonso X the Wise. Perhaps they can inspire me to find the authentic sound of  medieval music. 

Wizard: (still staring at a crystal ball) Hmmm, Hmmm. If you actually want to travel to the past, I need you to trust me, close your eyes and step into this circle. 

Leonor:By the way, I wonder how I will be able to return. 

Wizard: When you really are ready to return after learning all you need, close your eyes again and you´ll come back to this circle. I´ll be waiting here. 

Leonor: Thank you, sir, thank you so much. 

Wizard: Now, close  your eyes and relax. 

(He begins to turn around Leonor, uttering nonsense syllables)

(The scene darkens and then lights up again.)

( A very loud noise is heard and Leonor dissapears)

Aquí tienes un trabajo hecho en Canva por Mario Barquero en forma de Cómic

SECOND PART: 

Religious music during the Middle Ages: 

An important moment in the history of medieval music with Guido d´Arezzo 

Scene 1: 

Narrator: Once upon a time, in the cloister of a benedictine abbey during  the eleventh century, two monks walked in silence.They were supposed to pray. Suddenly, one of them started to argue with the other one. 

Monastery´s abbot: What´s wrong with memorizing, dear Guido? This is the way all our choirmasters taught us to sing. 

Guido:  Maybe, it´s not the only way. 

Monastery´s abbot: Nonsense! I have been the abbot of this abbey for years and all our new singers have learnt by heart all the chants we need to pray and for all the masses, repeating, repeating, repeating, day by day. Furthermore, the senior monks will assist them. Definitely, nonsense! ( the abbot leaves the cloister somewhat annoyed).

Scene 2: 

Narrator: Guido tried to explain to the abbot in Pomposa how easy it would be if only music can be read like words in a book.Some time later, he moved to Arezzo in 1025 and taught  singers at the Arezzo Cathedral. 

Guido had invented a system to name the different notes. He discovered  an ascendent scale in the Saint John Baptiste hymn. Every line started one high pitched sound as if climbing a ladder. 

(In the library)

Teobaldo: Maestro, what are you doing surrounded by all these parchments, tetragrams and so many drawings of hands? And…What's the meaning of all these symbols? 

Guido: I´ll do it. I ´ll teach our Schola Cantorum to sing  with my hand, GUIDONIAN HAND.  Have a look, Teobaldo!( Guido held out his hand). It's my mnemonic device to assist singers in learning sight-sing.

Teobaldo: Maestro! Your idea sounds brilliant! But how does it work? 

Guido: I´ll point the notes that are mentally superimposed onto the joints and fingertips of my left hand. The singers will be able to sing immediately in a sight -sing looking at my hand. 

Teobaldo: I´m sure that your method, Guidonian hand, will be very useful for Schola Cantorum. And you´ll be regarded as the inventor of the modern staff notation.

(The bell tolls twice in the bell tower).

Guido: Oh, my Jesus, I must go to the choir of the cathedral. It's the time of our rehearsal for Christmas mass. Come on!.

Scene 3:  

 Narrator: Schola cantorum came into the choir of the cathedral and started to sing for Christmas mass.  I hope you enjoyed the story of Guido d´Arezzo and his Guidonian hand and the creation of the names of the notes.

( Monks sang a piece of a Gregorian chant)

SECOND PART ( OTRA FORMA DE CONTINUAR "Leonor´s baton")

SCENE II

Guido d'Arezzo: Come on! Come on!!! Can’t you get organised? You don’t know this easy hymn yet! What a shame! Let’s go. Let’s go, you lazy gang!

(he looks at Leonor, who looks scared from a corner) You, the new guy, what are you doing there watching? Singing? Let’s go! Let’s go!!!

Leonor: Yes, yes, I'm going; I'm going! ( She starts singing “Ut queant laxis” with the rest of the monks.)

Guido: (desperate) You have to read the notes in the tetragram. Do not invent the melody, please. Let’s go. Let’s go, loafers, and sing the Anthem to Sancte Joannes.

(The monks make fun of him when Guido prepares his scores and stands firm when he looks at them, first they sing: "Ut queant laxis" completely.)

Leonor: (raising her hand shyly) Excuse me, maestro. I just had an idea. Why don’t we sing only the first syllable of each line? As each line goes up a note, we would be practising the scale. What do you think, “maestro”?

Guido: (pensive and then euphoric) Excellent idea, boy! For being new, you are very clever. I do not know what monastery you studied at, but you are very applied. Let’s go. Pay attention to my hand.

(They begin to sing "Ut ... re ... my ... fa ... sun ... the." Only the first syllable is heard, the rest of the verse is vocalized without sound.)

Guido: Fantastic, we already have the notes of the scale! But how can we sing them in another order and practice intonation when the notes are messy?

Leonor: (raising her hand) Excuse me, maestro. I just had another idea.

(The other monks make fun of Leonor. They call “him” a brown noser and a nerd.)

Guido: (scolding the rest of the chorus) Silence!!

(changes his attitude when addressing Leonor)

What brilliant idea has come to you this time, my son?

Leonor: Why don´t you use the joints of your left hand to help us read the notes? As if it were a signal or a clue.

Guido: A signal? A clue?

Leonor: Ahem, excuse me. I meant noting on the fingers, in each articulation, the name of the notes and with the index finger of the right hand, indicating the one that you want us to sing.

Guido: (first thoughtful, then excited, imagining the future)

The coming centuries will know THE GUIDONIAN HAND, THE GUIDO HAND!!!

(wakes up from the dream and goes to Leonor, excitedly)

How can I thank you for your great ideas?

(remains silent for a while, thoughtfully, then goes to the music stand and picks up the score and whispers: )

Please accept this gift, but I pray you don´t tell anybody I have just given it to you. (He offers the most valuable manuscript, in Gregorian notation).

I have to continue with my rehearsal.

Leonor: Thank you, maestro Guido. (Whispering)Thanks. Thank you very much for the manuscript.

(In Wizard House):

But these monks don´t know that in 20th century Carl Orff recreated with music a manuscript of the 13th century written by goliards. Yes. Some of these monks became wandering students and wrote satirical and blasfemous poems. In 1937, a German composer, Carl Orff , attempted to recreate the spirit of the original manuscript from 13th century and  used contemporary music, soloist, a choir and an orchestra performing musical motives inspired by the old collection found in Benedikbeuren.

(The scholar orchestra plays "Fortuna Imperatrix Mundi")

=

 SCENE III

(Leonor appeared in the room of Alfonso X the wise)

 SCENE III

(Leonor appeared in the room of Alfonso X the wise)

Leonor: My king Alfonso, my wise king. My name is Leonor and I need a big, big favour.

Alfonso: How can I help you?

By the way, you have the same name of a famous troubadour woman who was born in France. She came to Castille. Do you know her? Leonor de Aquitania.

Leonor: Yes, my mother loves medieval music and she spoke about her. Not many people know that female troubadours were very famous in this period. Many women composed music and played lutes, harps and portable organs.


Alfonso: Medieval music?


Leonor: Yes, uhmmm. I wanted to say: Your music. I have heard about all your court, the best scientists, poets, philosophers, minstrels. Would you be so kind to sing any of your melodies?


Alfonso: I have composed 427 cantigas!!I love music, art, philosophy, poetry. I can ask for help from all the minstrels and troubadours in my kingdom. In fact, I have a big court. Actually, a melody is coming to my mind (Alfonso starts to sing and play Santa Maria strella do dia)


Leonor: ( Whispering) I remember this song!! My teacher played it during my music lessons.


Alfonso: Here you are. Santa Maria strella do dia! My inspiration!She has made so many miracles that I want to dedicate all my music to the Virgin Mary.

My favourite cantiga is “Quem a omagen da Virgen”.


Leonor: I can remember this tune. I think we analised it in class some years ago.

( Whispering: I loved painting a miniature for my music teacher. She made us work so hard....)

Thank you, thank you so much, my wise king. I must go.

Part II: RENAISSANCE. Hugo´s baton

Act II:

(In the wizard's house, Hugo, still in a trance, whistles “Ut queant laxis”, while the magician revolves around him.)

(The room darkens, it lights up again and Hugo appears in a village square, next to a group of boys and girls who are going to dance.)

(Horse's Branle is heard in charge of two flutes and a tamboril; you can accompany a guitar, in the absence of a vihuela.)

Girl 1: Hi, we need girls for the Horse’s Branle. Do you dare?

Hugo: Well, weeeell, I cannot dance. I have never danced a branle in my life.

Girl 1: But it's easy! Renaissance branles are learned by dancing. Come on. Don’t be shy!

Hugo: I'll do what I can, but I do not promise anything...

(The musicians ask for silence, three drum beats sound, and they begin to dance, and when they finish, the chorus breaks up and  goes to chat with him.)

Hugo: It sounds wonderful! You play two different melodies at the same time!

Recorder  1: Sure, it's polyphonic music. Listen to each melody separately, and then together.

(The flute players perform both melodies, separated and together.)

Recorder 2: We can do three, four, five voices at the same time... Let’s go now, to dance another branle, the Branle of the Washerwomen.

(They dance the Branle of the Washerwomen.)

(The musicians ask for silence again with their drumbeats.)

(At the end of the branle, Hugo goes to the circle.)

Hugo: I would like to show you a dance! It is called salsa, and it is not danced in a circle but in pairs. Let each boy choose a girl... Let’s all dance! Follow me!

(They dance the salsa.)

Girl 1: Thanks. We have had a great time. We want to give you a gift so that you don’t forget us: a manual of Renaissance dances, written by a priest called Arbeau, at the end of the 16th century.

Hugo: Thanks a million! I will study it to learn your branles, pavanas and zarabandas. Don’t forget to practice the salsa! See you forever!

(He appears humming and dancing the salsa at the Wizard's house while he turns around.)

ACT II: Leonor’s baton. RENAISSANCE

Act II:

(The room darkens, it lights up again and Leonor appears in a village square, next to a group of boys and girls who are going to dance.)

(Horse's Branle is heard in charge of two recorders and a tamboril; you can accompany a guitar, in the absence of a vihuela.)

Girl 1: Hi, we need girls for the Horse’s Branle. Do you dare?

Leonor : Well, weeeell, I cannot dance. I have never danced a branle in my life.

Girl 1: But it's easy! Renaissance branles are learned by dancing. Come on. Don’t be shy!

Leonor: I'll do what I can, but I do not promise anything...

(The girl takes her hand and takes her to the boys and girls.)

(The musicians ask for silence, a drum beats sound, and they begin to dance, and when they finish, the chorus breaks up and Leonor goes to chat with them.)

Leonor: It sounds wonderful! You play two different melodies at the same time!

RECORDER 1: Sure, it's polyphonic music. Listen to each melody separately, and then together.

(The recorder players perform both melodies, separated and together.)

RECORDER 2: We can do three, four, five voices at the same time..

Leonor: I would like to show you a dance! It is called “ Macarena”, and it is not danced in a circle but in group.  Let’s all dance! Follow me!

(They dance Macarena.)

Girl 1: Thanks. We have had a great time.
Can we sing another song for you? This is called "Ay linda amiga". It´s a musical present before you go away. You are lucky, some of the musicians that belong to a great capella are coming. You can have the opportunity to listen to them.

(The musicians play and sing "Ay linda amiga" )

Leonor: Oh thank you very much. A great concert.

Girl: We want to give you a gift so that you don’t forget us: a manual of Renaissance dances, written by a priest called Arbeau, at the end of the 16th century.

Leonor: Thanks a million! I will study it to learn your branles, estampies, pavanas and farandolas , your polyphonic and Spanish songs but...Don’t forget to practice "Macarena"! See you forever!

(She appears humming and dancing the Macarena at the Wizard's house while she turns around.)

Leonor: By the way, Am I going to know any female composer? I ' d like.

They have tried to express their feelings through music during the history of music, like me.

In my next astral travel, I promise that I won’t miss an opportunity to get to know them.

Act III:Baroque. Leonor´s baton

  SCENE I

English. Baroque. Leonor´s baton

Act III: (In the wizard's house, Leonor, still in a trance, is humming and dancing the “salsa”- or “Macarena) The room darkens, lights up again, and Leonor appears in a room in Bach's house in Leipzig, Germany. There is a harpsichord, and disordered sheet music on the table, and some other instruments. Bach is concentrating on writing music. At the presence of Leonor, Bach is startled and screams, jumping up from the chair.) 1. Bach: Aaaahh!!! Who are you? What are you doing in my house? How did you get in here? I have nothing of value, no money. 2. Leonor: Calm down! I'm not a thief. It would be too long to explain , so just trust me. I think I can help you. 3. Bach: Help me? I'm desperate: children to feed, working without stopping; writing scores, conducting choirs and orchestras, teaching music to uninterested students .. And do you know how I get paid? They call me old-fashioned, "Old Wig"! They reproach me, saying that my fugues have no melody - that all the voices mix equally. My music is misunderstood!. (He sobs, hides his face in his hands.) 4. Leonor: Relax, maestro. The future will reward you. You will be the model of many musicians who consider your works the most beautiful and perfect works in the history of music. I'm sure. Do you remember your Aria in D? 5. Bach: Do you know it? (The beginning of the Aria begins to play.) 6. Leonor: Absolutely! It will inspire a rock group called “Procol Harum”. Listen to the beginning of "A Whiter Shade of Pale", from 1967. (The beginning of the song is heard. The soloist of the group appears with his guitar). And do you remember your Prelude in C Major? (The first arpeggios are heard.) 7. Bach: How could I forget? I wrote it in jail! 8. Leonor: Well, that music travels through space, into a ship, searching for extra-terrestrial life. Maybe an alien is now listening to your music! Or whistling it! ( Some aliens walk without gravity keeping the pace of the rhythm) 9. Bach: (looks at her intrigued) I do not understand half a word of what you say, "alie ... aliens"? "rock"? How can you be so sure? I only know that I conducted Saint Matthew´s Passion only once and the audience forgot it immediately. A big work with choirs, soloists and a wonderful orchestra . It lasts almost three hours! Notice: the choirs, rather than singing, seem to "cry" for the suffering and death of Jesus. Do you know it? Many of my works are inspired by the Protestant religion. 10. Leonor: Oh, Saint Matthew´s Passion. Yes, of course. I can remember it. (Erbarme Dich is heard ) The scores appeared wrinkled and dirty. Mendelssohn, a romantic musician, will be in charge of conducting it again so that everyone can enjoy that profound and thrilling music. We'll have to wait until 1829. 12. Bach: (bewildered) "Mendelssohn"? Who is Mendelssohn? You are a very enigmatic young man, but you inspire confidence in me. I will tell you my biggest problem : I have to write music for an insomniac. Yes, a count who suffers from insomnia. He wants his servant, named Goldberg, aged 12, and a harpsichord virtuoso, to play for him on his long sleepless nights. Imagine: that music has to sound relaxing, like a lullaby, but, at the same time, it has to be interesting, attractive, because if he doesn´t like it enough, he will give the commission to someone else. And I need the money! I'm desperate!! 13. Leonor: (meditates for a while) I have an idea. Why don´t you compose a soft, quiet song... followed by some variations full of rhythm and very funky? (Bach hums the beginning of the Goldberg Variation theme... He sits down on the harpsichord, moves his fingers while listening to the song... Then, the first variation sounds and he keeps on playing. The music goes on decrescendo until it disappears. He turns to Leonor.) 14. Bach: And if it doesn’t work? What if he can’t sleep? 15. Leonor: (rummages in his backpack) Take, this little bag of lime blossom. I´m sure that this will help him to fall asleep. 16. Bach: (thankful and happy) Thank you, thank you very much. How can I pay for it? I know: I´ll give you a Stradivarius violin, for your aliens. Care for it with love because these violins are so valuable, and very expensive. (He changes his tone of voice, speaking to himself, growling and ranting.) By the way, I do not see the same as I did before. I´ll need eye surgery because I can´t distinguish the notes well. Another expense! Those eye doctors... I do not trust them, swindlers and quacks... How could I think of copying those Pachelbel scores in the moonlight? Six months copying in the light of the moon. ( He goes to sit to play the harpsichord , grumbling, and the theme of the Goldberg Variations is heard again.) 17 Leonor: (with admiration and tenderness) Thank you, maestro. (He appears with his violin in the wizard's house, in a trance.) (Erbarme Dich is played)

Estos materiales han sido traducidos por Douglas Fedele y revisados por Mª José de Vega. 
Los alumnos de la Sección Bilingüe del curso 2018-2019 de nuestro centro trabajaron en la redacción de algunos de los pasajes del texto. 
Están  a disposición de los profesores que quieran utilizarlos.Si quieres disponer de la versión "español/inglés" manda un mensaje a musicamoninomj@educarex.es y te enviaremos la versión completa con mucho gusto. 

Audio realizado en Radio EDu en el Rodríguez Moñino de Badajoz

Nuestro proyecto en la entrega de premios PRINCESA DE GIRONA ( Podemos ver a Carmen Pellicer, una de las pedagogas más importantes de España y a María Batet, por ejemplo, una de las más importantes coach en Visual Thinking y creatividad). Nuestro cartel, a la derecha.