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HelioTrope, a local medieval ensemble, presented a concert of luscious melodies at Trinity Chapel Saturday night. Some were sung and some were played on a bevy of exotic instruments.  

Before the composers of the Renaissance invented the composition techniques of polyphony and harmony, medieval composers needed to rely on the strength of naked melodies to carry their pieces. These ancient tunes are either powerfully direct or curiously turned and embellished. 

HelioTrope drew from the diverse repertories of troubadours and Andalusian Arabs, in addition to some settings of modern poets in an authentic medieval style. It was a rare treat to hear poems of e.e. cummings and Theodore Roethke sung using ancient melodies, bridging a gap of centuries in a blend that is completely postmodern. 

In addition to modern poetry with medieval tunes, HelioTrope played modern melodies for some ancient verses. Many troubadour manuscripts contain no music notation, so performers are invited to fit existing tunes to the lyrics, or to compose new melodies in the ancient style. The band members are quite adept at this high art. The oud player, Tom Chandler, has mastered this Arabic version of lute so thoroughly that he mixed and blended styles; playing troubadour tunes with Arabic flavor and Arabic tunes in troubadour style.  

The exotic and rare hurdy-gurdy added a delightful region of the aural palette not often represented. Ethan James is a world renowned virtuoso on this instrument which is now mostly associated with French folk music, but was once a staple throughout Europe.  

The vielle wizard, Shira Kammen, breathed passionate life force into the seemingly austere melodic lines of the troubadours. Kammen’s warm, rich tone found the heart of these tunes and sang their soulful stories. Her vielle wept and sighed like a gypsy fiddle, and she even sang a couple of tunes herself.  

Complex, but subtle rhythmic support, was provided by Tobias, a young master percussionist who plays a variety of hand drums, including dumbek, tar and riqq.  

The center of the ensemble was the singer Joyce Todd, who demonstrated her linguistic breadth by singing the program in Arabic, Spanish, Provencal and English.  

Her voice is ideally suited to the troubadour style. She controls her vibrato expertly, using it sparingly as an ornament, rather than applying the common classical warble, which disguises the difficulties of matching pitches in ensembles of instruments with different tuning strategies.  

This pure stream of melody was performed with pure intonation and plenty of heart. The setting ideally suited the style and size of the ensemble.  

Trinity Chapel’s resonance and intimacy highlighted the sustained emotional content of these seeds and fruits of European courtly love.  

The dance melodies might have been more appropriately performed around a gypsy campfire, but this allowed the audience to travel in reverie through space as well as time.  

Future events at Trinity Chapel include a concert by UC Berkeley's Collegium Musicum Friday night. They will perform a selection of John Dowland's compositions for broken consort, including his "Lachrimae" suite, various pavans, galiards, and other Renaissance dances. The historically-informed performance will include the Renaissance Fiddle Band and the Consort of Viols, as well as other instrumentalists and singers.  

Saturday there will be a performance of "The Space Between" featuring Pauline Oliveros, founder and champion of the “deep listening” school. The audience will be asked to listen deeply as the program highlights the relationships between three different tuning systems.  

Oliveros’ accordion, custom-retuned in just intonation, will explore relationships with a piano in modern 12-tone tuning and a Japanese shakuhachi, whose tuning matches neither of the Western instruments. Oliveros focuses on the subtle interplay of the small spaces between the three tunings. Fans of international microtonality should not miss this.  

For other events at Trinity Chapel call 549-3864.