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a r t i s t : Studio der fruehen Musik
t i t l e : Music from the Middle Ages
d a t e : 2005
l a b e l : Virgin Classics (Cat nr: 0946 338137 2 4)
g e n r e : Medieval Music / Folk / Classical
r l s. d a t e : Dec/2005
t r a c k s : 72
b i t r a t e : VBRkbps
s i z e : 357,4 MB
_______________________________________________________________________
Taken from the booklet:
Music from the Middle Ages
In the Middle Ages, sacred music coexisted not only with the
learned art of the troubadours and their successors the
trouveres, but also with popular music. The latter, associated,
though not exclusively, with the dance, played an active part
in the development of the musical forms of the time: the period
between the twelfth and the fourteenth centuries in France saw
the spread of Gothic art and the enlargement of the kingdom,
and music, in many ways reflecting contemporary architecture,
saw a comparable expansion. In an era of legends and
superstitions, often of a turbulent or even disturbing nature,
mediaeval civilisation was nevertheless not without its joie de
vivre, according and essential role to the dance, which centred
on the Italian saltarello or the istanpitta, an Italian form of
the estampie, extremely rhythmical, accompanied by singing and
involving stamping on the ground.
The age of the troubadours, those poets writing in the langue
d'oc whose lyric poetry held sway in the French midi, covers a
period from the end of the eleventh to the middle of the
thirteenth century. After that, following the death of St
Louis, at a time when according to Bernard Gagnepain, "the
production of purely Gregorian music was losing impetus",
secular music gained the upper hand over the sacred. Arriving
from Aquitaine and the Limousin, the troubadours, who could
have been princes, ladies or lords, clerics, monks or rogues,
burghers or jesters, were in evidence from the Toulouse area to
the Languedoc, from Catalonia to Provence, and even in northern
Italy. Guiraut Riquier, now considered one of the last
troubadours, served for more than twenty years at the courts of
Alfonso X ("the Wise"), King of Castile, and Henri II, Count of
Rodez, where he worked alongside Spanish, Arab and Portuguese
musicians. He is the author of the famous planh, Ples de
tristor, written in 1270 following the death of Amalric IV,
Count of Narbonne.
The mediaeval "planh" is, like the "planctus" (from the Latin,
meaning "plaint" or "lament"), a song of lamentation, a kind of
dirge on the death of a loved one or a famous personage, or one
evoking an allegorical subject. Thus the Planctus Cigne by an
anonymous author depicts a swan which is caught in a storm but
manages to hold out against the squalls. The group of planctus
known as Las Huelgas take their name from the Cistercian
monastery of Santa Maria la Real de Las Huelgas, founded at
Burgos in 1187 in the reign of Alfonso VIII of Castile. This
important Christian centre, directed by an abbess who presided
over about a hundred nuns, rapidly became a haven for the art
of music. It still houses a manuscript important for our
knowledge of the mediaeval music of Iberia.: The Codex Las
Huelgas, copied in the thirteenth century, which brings
together pieces of various kinds, including these planctus for
a single voice, written in a style similar to that used in
paris by the musicians of the Notre Dame school. Plange
Castilla was written on the death of Sancho III, son of Alfonso
VII, in 1158. Known for his expulsion of the Moors from Cordoba
and Seville, Ferdinand III ("The Holy"), grandson of Alfonso
VIII, died in 1152: it was probably his death which inspired
Quis dabit capiti meo aquam (Ferdinand III was canonised in
1671.) In 1214, two years after having broken the power of the
Almohades dynasty at the battle of Las Navas de Tolosa, King
Alfonso VIII died; Rex obiit is dedicated to his memory, while
O monialis concio celebrates one of the abbesses at the
monastery.
Gaucelm Faidit, a troubadour and jongleur (minstrel) of
Limousin origin, and a great traveller, left us a magnificent
lament on the death of Richard Coeur de Lion in 1199, the
planctus Fortz chausa es que tot lo major dan, one of the most
famous laments ever written by a troubadour. The poet and
musician Bernart de Ventadour, who was said to be "handsome and
skilful", worked for Eleanor of Aquitaine at the court of the
Plantagenet King Henry II of England, and was also in the
service of the Count of Toulouse. He died in the final years of
the twelfth century at the Abbey of Dalon, on the border
between Perigord and Limousin, his native region. His poems and
love-songs are very finely wrought and show all the lyricism of
his era. Martim Codax, a Galician juglar of which almost
nothing is known, is the author of six love-songs, Siete
Canciones de Amigo, which are magnificently limped and
clean-cut and have as their subject the sea and the town of
Vigo.
In the Middle Ages satire was to be found everywhere, in songs,
sermons and fabliaux, on capitals in cathedrals and cornices in
churches. The roughly three thousand verses of the Romand de
Fauvel by Gervais du Bus, an allorgical text in two books
extant in Paris in 1310, in the reign of Philipe le Bel, and
enlarged in 1316 by Raoul Chaillou de Pesstain, make up a
piquant commentary on the clergy, judiciary, courtiers, the
powers that be, and human society in general, with first and
foremost the king's financial counsellor, Enquerrand the
Marigny, who accused of malfeasance, was condemned to be hanged
at the gallows in Montfaucon in 1315. The principal character,
Fauvel is a fallow coloured donkey or horse, Marigny's hair
being of the same colour. The six letters of the name Fauvel
"stand for six ladies", each symbolizing a vice: Fawning,
Avarice, Unworthiness, Vanity, Envy and Looseness. The work is
mixture of light hearted songs, Gregorian chants, conductus,
lays, ballands and motets, some of which have been attributed
so Phillipe de Vitry, bishop of Meaux, who was also the author,
around 1320, of a treatise, the ars nova, which ushered in a
new era for the art of music.
The great era of the troubadours came to an end in the first
half of the thirteenth century with the crusade against the
Albigenses, which ravaged Languedoc at the height of its
econimic and cultural strength. The Cathar (or Albigensian)
movement had appeared in the south-east of France around the
middle of the twelfth century, but it was not until 1208 that
Pope Innocent III launched a crusade against the Cathar
heretics, which was led by Simon de Montfort, who was its hero
but also its victim. The Albigenses were decimated in 1244
after heroically defending the fortress of Montsegur, where
they had taken refuge. Many troubadours, including Bernart
Sicart de Marjevols and Peire Cardinal (one of the last
troubdours, who died in 1272), illustrated the dramatic
episodes of the Cathar revolt and the death of the Languedoc in
their poems of desperation or tragedy. After the voice of the
troubadours was silenced, their art migrated northwards to the
poets of the langue d'oil, the trouveres, who were to become
the creators of modern lyric poetry.
Musicians on
CD1:
Studio der fruehen Musik:
Richard Levitt: percussion
Sterling Jones: rebec, vielle, lira
Thomas Binkley: flute
with members of the Schola Cantorum Basiliensis:
Alice Robbins: vielle, rebec
Anne Smith: flute
Catherine Lidell, Sally Smith: psaltery
Jay Bernfeld: vielle
Hopkinson Smith: lute, moorish guitar
Jonathan Rubin, Richard Glenn: lute
Paul O'Dette: moorish guitar, cittern
Thomas Binkley: direction
CD2:
Studio der fruehen Musik:
Andrea von Ramm: voice
richard Levitt: voice
Sterling Jones: rabel morisco, lira vielle
Thomas Binkley: lute, moorish guitar
Benjamin Bagby: voice
CD3:
Studio der fruehen Musik:
Andrea von Ramm: mezzo-soprano, harp
Willard Cobb: tenor
Richard Levitt: altus
Lucy Craig: soprano
Sterling Jones: lira, vielle
Thomas Binkley: lute
Karl-Heinz Klein: baritone
Robert Eliscu, Caroline Bergius: schawm
CD4:
Studio der fruehen Musik:
Andrea von Ramm: voice, organetto
Richard Levitt: voice, percussion
Sterling Jones: vielle, lira
Thomas Binkley: flute, lute, moorish guitar, psaltery
CD5:
Studio der fruehen Musik:
Andrea von Ramm: mezzo-soprano, organetto
Richard Levitt: voice, bells, tambourine, drums, clappers
Alice Robbins, Sterling Jones: vielle, lira rabel morisco
Thomas Binkley, Paul O'Dette: guitar, moorish guitar, gittern,
lute
Benjamin Bagby, Harlan Hokin: voice
Thomas Binkley: direction
_______________________________________________________________________
CD1 - Estampie - Instrumental Music From The Middle Age
01-Saltarello [05:48]
02-Istanpitta Gaetta [06:15]
03-La Manfredina and Rotta [02:27]
04-Istanpitta Palamento [07:35]
05-Istanpitta Belicha [08:27]
06-Lamento de Tristano and Rotta [03:52]
07-Istanpitta Isabella [07:31]
08-Istanpitta Pricipio di Virtu [06:05]
CD2 - Planctus
01-Planctus cigne [06:36]
02-Four Planctus (from Las Huelgas) [19:02]
03-Ples de tristo [12:29]
04-Fortz chausa es que tot le major dan [08:27]
05-Tristor et cuncti tristantur (from Bordesholm Lament) [04:24]
CD3 - Roman de Fauvel-La carriere et le marriage de l'ane Fourbre
01-Fanfare. Ci comenche le Livre de Fauvel [00:25]
02-1. Favellandi vicium [01:46]
03-v.11 Fauvel ne giest mΘs en estable [00:21]
04-2. Quare fremuerunt gentes et populi? [00:59]
05-v.23 Fortune, contraire a Raison [00:35]
06-3. Mundus a mundicia dictus per contraria [00:54]
07-v.247 De Fauvel descent Flaterie [00:42]
08-4. In mari miserie, maris stella [00:40]
09-v.563 Saint Pere vesqui sans richece. v576 HΘ las! [00:32]
com mal entendement
10-5. Quadruplum: Quasi non ministerium [01:56]
11-v.1227 De Fauvel bien oy avez. v.1253 En un [00:35]
faudestuel fu assis
12-6. Ad solitum vomitum [01:03]
13-v.1655 Entour le sire qui est fauve. v.1669 Par la [01:23]
sale en tour les piliers. v.1673 Lors n'est pas Fauvel
14-7. Porchier mieuz estre ameroie [01:18]
15-v.1785 Trestout me vient a volentΘ. v.1749 Or ay je [01:02]
pensΘ d'autre part
16-8. La mesnie fauveline. J'ai fait nouveletement. [01:04]
Grant despit ai je, Fortune
17-v.1785 Sans regarder raison ne loy. v.1837 Quant sire [01:35]
Fauve lot oy. v.1931 Deux roez ot devant Fortune
18-9. Ductia (instrumental) [00:58]
19-v.2179 Je suis Fortune, et une et forte [00:45]
20-10. O varium Fortunae lubricum [01:01]
21-v.2259 Entend, beste au tant mal renom. v.2269 Mon [01:19]
segont nom est DestinΘe. v.2281 Mon tiers nom est Cas d
22-11. Douce dame debonaire! [02:09]
23-v.3157 Vez la Vaine Gloire, la belle - v.3179 Fauvel, [00:37]
ce te sera, par m'ame
24-Fanfare. v.12 Entre deux braz d'une riviΦre siet [00:56]
25-12. Servant regem misericordia. O Philippe, [02:05]
prelustris Francorum
26-v.53 La voult Fauvel faire ses noces. v.65 Yvresce, [00:37]
Outrage et Ribaudie
27-13. Pour recouvrer alegiance [03:36]
28-v.201 Mais, par une especiautΘ. v.217 ChastetΘ et [00:37]
Religion. v.230 Sapience et VeritΘ
29-14. Fauvel est mal assegnΘ [01:38]
30-v.385 Trompeurs saillent, si cornerent [00:46]
31-Poissons y avoir a foisin. 15. Quant je le voi ou [01:14]
voire cler. Bon vin doit l'en a li tirer
32-v.431 Vins i ot bons et precieus [00:25]
33-16. Danse royale (instrumental) [02:33]
34-v.555 Cors sonnent, trompes et araines. v.605 La nuit [01:10]
vint, qui le jour efface. v.799 Lors vi le jour cler er
35-Fanfare. v.1053 Mais par grant prerogative. v.1177 [01:16]
VirginitΘ qui l'atendi. v.1459 Fortune a val est descen
36-Thalamus puerpere. Quomodo cantabimus [01:43]
37-v.1553 Fauvel si a ja tant jeue. v.1636 HΘ las! [00:46]
France, com ta beautΘ
38-17. Celi domina. Maria virgo virginum. Porchier mieuz [01:01]
estre ameroie
39-v.1785 Douz Jesucrist, cueuer Fauvel seure [01:00]
40-18. Garrit Gallus flendo dolorose. In nova fert [01:59]
animus mutatas
41-19. Omnipotens domine. Flagellaverunt Galliam [01:30]
42-v.1799 Ferrant fina, bien deust finer Fauvel. [00:46]
Explicit expliceat
CD4 - Martim Codax - Siete canciones de amigo
01-Ondas do mar de vigo [03:11]
02-Mandad ei comigo ca ven meu amigo [03:16]
03-Mina yrmana fremosa treidos comigo [02:30]
04-Ay deus se sab ora meu amigo [05:20]
05-Quantas sabedas amae amigo [02:00]
06-E no sagrado en vigo [04:27]
07-Y ondas que eu vin veer [02:45]
08-Ab joi mou lo vers e'l momens [14:02]
09-Pois preyatz me, senhor [12:00]
CD5 - L'agonie du Languedoc
01-Tartarassa ni voutor [07:19]
02-Ben volgra [08:09]
03-Razos es qu'ieu m'esbaudei [12:48]
04-D'un sirventes far [02:33]
05-Si col flacs molins torneja [07:15]
06-L'afar del comte Gui⌠ [08:49]
07-Ab marrimen [05:30]
08-Ab greu cossire [03:49]
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253:5