Early Music

Prior to the 1960s, early music (Middle Ages and Renaissance) had little place in the concerts and activities of Canadian musical groups. The "early" components of concerts consisted of only a few Renaissance songs for choir, or several harpsichord works by 17^th century English masters. Reproductions of musical instruments - families of recorders, viola de gambas, and the less common krumhorns, cornets, sackbutts, vielles - sparked the revival of interest in this music.

Beginnings
Renewed interest in early music began in Europe and then spread to America. The Toronto Consort, the Manitoba University Consort and the Vancouver Early Music Society were all founded during the same decade in the sixties, around collections of ancient instruments. In Québec, the Ensemble Claude-Gervaise was a pioneer in this field. Founded in 1967 by Gilles Plante and Jean Gagné, it quickly assembled an imposing collection of instruments. After a few years of concert-demonstrations centred around the instruments, the group's musicians came instead to present thematic concerts, based on historical figures (Josquin des Prés, Orlando di Lasso, Guillaume de Machaut, Jacques Cartier) or social events (medieval feasts, weddings), concentrating on French Renaissance music and striving to connect this music to elements in the Québécois culture. Four of the six musicians who made up the group have remained for more than 30 years: Diane Plante, Marcel Benoit, Philippe Gélinas and Gilles Plante.

The Second Wave

The way was open for groups of the second generation who were rather more specialized in the Middle Ages and added an important theatrical element to their presentations. This was the case with the ensemble Anonymus, who gained noticeable attention with their Jeu de Robin et Marion. Formed in 1978 and directed by Claude Bernatchez, Anonymus aptly capitalized on the inspiration of minstrels and travelling entertainers (Rue des Jugleors) and made numerous forays into religious music (Tempus festorum, Adventus, Saint Nicolas...Messe Notre-Dame). Their repertoire was largely vocal, supported by wind and percussion instruments.

The theatrical element was also very important in the creative development of La Nef, with Musiques pour Jeanne la Folle and Le Jardin des délices. Formed in 1991 by Sylvain Bergeron, Claire Gignac and Viviane Leblanc, the group performed music of the Renaissance and the Middle Ages with as regards the latter, a slight Arabic influence, particularly evident in Montségur: La tragédie Cathare. The ensemble strikes a good balance between vocal and instrumental music, and staging - that contributes to the emotion of the performance.

Change

The success of des Médiévales in Québec caused a renewal of interest in the Middle Ages and in early music. As time has passed, many groups have formed and broken up. Today the economic situation makes the acquisition of instruments difficult, although some Québec instrument makers offer quality work. Most new groups are involved in activities other than concerts. However, their arrival renews public interest and bodes a positive future for early music.