gothic voices - the garden of zephirus.pdf

8/12/2019 Gothic Voices - The Garden of Zephirus.pdf

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COURTLY SONGS OF THE EARLY FIFTEENTH CENTURY

The Garden

of ZephirusMARGARET PHILPOT

ROGERS COVEY-CRUMPIMOGEN BARFORD

GOTHIC VOICESCHRISTOPHER PAGE


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Na pas long temps que trouvay Zephirus

En son gardin Anon (1:2)

The Ancients represented Youth as the goddess of flowers

and according to the poets she was married to Zephirus,

the West Wind Le Jardin des nobles

M

EDIEVAL love-poets had only to mention the nameof Zephirus, the god of the West Wind, to evoke thekeenest desires of courtly society: the passion for clean

colours, clear sounds and fresh odours; the longing to ride intothe fields bearing a hawk or to sit by a castle window-seatand muse in the breeze. Above all Zephirus was associatedwith Springtime and youthso much so that the fifteenth-centuryLe Jardin des nobles makes Zephirus the husband ofYouth the goddess of flowers.

It is this freshness and candour which pervades so much

of the music composed and performed during the periodcovered by this record: the decades from c1400c1440. It iscertainly there in the poetry. Several of the songs recorded herecelebrate that quality of youth, orjeunesse, which the fifteenthcentury understood as a mixture of joyfulness, candour,amorous bearing and precocious wisdoma combination soperfectly embodied in our pictures of a courtier carrying green

branches and of an elegant young herald. In Mon cuer mefait tous dis penser 6, a rondeau set by the outstandingcomposer of the fifteenth century Guillaume Dufay (c14001474), a lover praises his lady who is young, fair, white asfl l i d i i h i i t l f th

ebullient gaiety in Briquets Ma seul amour et ma bellemaistresse 4 and in the anonymous Je la remire, la

belle bn which we do not often find in the more precious andself-conscious works of the fourteenth century. Yet fifteenth-century composers excel in capturing the candour and

freshness which were so much admired by the courtiers oftheir day, and they are caught to perfection inMon cuer me

fait tous dis penser. It is impossible to imagine a fourteenth-century composer writing such a piece, not only because ofthe modernity of the counterpoint (instantly familiar to anymodern Western ear in a way that French counterpoint of the

fourteenth century rarely is), but also because of the sheercandour of the work: each voice has a melody of simple yetingratiating beauty; nothing is allowed to darken the harmony;nothing is extravagant or flamboyant.

In accordance with this ideal of jeunesse, songs weresometimes performed at court by thejeunes gens (especially

the younger squires and pages) who were expected to enter-tain their princes. Once they arrived at court to receive theireducation these youthful attendants, constantly looking forpresents and favours, soon learned that the first step topreferment was to make themselves noticed in the throng ofthe court. What better way to attract attention than a con-spicuous display of musical talent? No doubt they performed

with feeling, for it was their role as attendants upon a greatlord which underpinned the literary convention of the loverbeseeching his lady for favour:

Juse mon temps et passe ma jonesse

E d d hi l d h

THE GARDEN OF ZEPHIRUSCOURTLY SONGS OF THE EARLY FIFTEENTH CENTURY


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and fourteenth-century sound with their busy textures andpungent dissonances. Yet both of them prepare us for the

fifteenth century: Fortune, faulce with its remarkably richharmonies, and Va ten, mon cuerwith its declamatory styleand placement of text in all parts; compare Dufays Jatendraytant quil vous playra 1 or Brollos Qui le sien vuelt bienmaintenir bl . Full texting of this kind is a prominent featureof some important fourteenth-century Italian styles, as inFrancesco Landinis Nessun ponga sperana 5 , a ballatawhose poem offers a counterbalance to the courtly cult of

jeunesse. This song, like the other work by Landini recordedhere, Giunta vaga bilt bm , appears in the celebratedSquarcialupi Codex of the early fifteenth century.

Another Italian manuscript, MS Canonici misc. 213 in theBodleian Library at Oxford, compiled a few decades afterChantilly, is the source of several of the later items recordedhere. These pieces convey some of the most characteristic

sounds of the French chanson in the 1420s and 30s: a

consonant texture, more euphonious than is usual infourteenth-century styles (in harmonic and contrapuntal terms

the distance between Reyneaus Va ten, mon cuer andDufaysJatendray tant is enormous); a marked fondness fora diatonic, Dorian harmony in which C sharp is a keenlyexpressive note used near the beginning of a piece and mostselectively thereafter (hear, for example, Brollos Qui le sienvuelt bien mainteniror Francus de InsulasAmours nont curede tristresse). There is a mood of plangency and introversionin these last two pieces which appears to its fullest advantagein what is surely one of the finest of all fifteenth-century songs,Dufays Adieu ces bons vins de Lannoys bo , written inthe composers mid-twenties. Yet Dufay generally avoidedthis plangent tone in his early songs; their characteristic voiceis heard in Jatendray tant, a light, airy rondeau which is aperfect embodiment ofjeunesse de cuer.

CHRISTOPHER PAGE 1985

Recorded in the Church of St-Jude-on-the-Hill, Hampstead, London, on 28 and 29 June 1984Recording Engineer ANTONY HOWELL

Recording Producer MARTIN COMPTONExecutive Producer EDWARD PERRY

P Hyperion Records Limited, London, 1985C Hyperion Records Limited, London, 2007

(Originally issued on Hyperion CDA66144)Front illustration: Gathering green bushes in Aprilfrom the calendar in a Book of Hours

illuminated in France for the English market by the Fastolf Master, c1440(Oxford Bodleian Library MS Auct.D.inf.2.11,f.4r), reproduced by permission


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GUILLAUME DUFAYrondeau

1 Jatendray tant quil vous playra I will wait as long as you wishA vous declarer ma pense, before declaring my thoughts to you,Ma tres chiere dame honoure; my most dear and honoured lady;

Je ne say sil men desplayra. I do not know if I will suffer for it.Mais toutes fois, pour complaire a Nevertheless, in deference toVostre personne desire, you whom I so desire,Jatendray tant quil vous playra I will wait as long as you wishA vous declarer ma pense. before declaring my thoughts to you.Car jay espour, quant avendra For I hope, when the time comesQua ce vous sers acorde, when you will agree to this,Que ma doulour sera cese; that my grief will be ended;

Je le vous ay dit long temps a. I told you this long ago.

ANONYMOUSchanson

2 Na pas long temps que trouvay Zephirus Not long ago I found ZephirusEn son gardin regardant ses flourettes, in his garden admiring his flowers,Lequel disoit au noble roy Phebus, saying to the noble king Phoebus: Merci te rens de tes cures bien faittes, I thank you for your loving care,Car mes flours sont belle(s), plaissans et nettes for my flowers are beautiful, pleasing and bright,

Et oudourans plus que piement ne graine; and sweeter smelling than mead or spice;Et par vertu je treuve moult humayne and I find most worthy and kindlyUne playsant ou mon cuer se delitte; one pleasing flower in which my heart delights;Nommer la puis sans pense vilayne: I can name her without any base thought:La tres playsant et belle Margaritte . the most pleasing and beautiful Marguerite.

ANTHONELLO DA CASERTAballade stanza

3 Amour ma le cuer mis en tel martire Love has set my heart in such torment

Que mayntes fois le jour mon corps tressue that many times a day I tremble,Et souvent fois pense et souvent sospire, and often I muse and often I sigh,Souvent me cange la colour et se mue: often my colour changes and fades:En tel estat ma vie est tenue. such is the state my life is in.


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BRIQUETrondeau

4 Ma seul amour et ma belle maistresse, My only love, my fair mistress,Aiis pit de la dure dolour have pity on the harsh sorrowQue jendure de longtamps nuit et jour which I endure so long, night and day,

Pour vostre amour sans rencontrer liesse. for love of you, without receiving joy.Juse mon temps et passe ma jonesse I spend my time and pass my youthEn atendant de merchi la douchour ; waiting for your sweet mercy;Ma seul amour et ma belle maistresse, My only love, my fair mistress,Aiis pit de la dure dolour ; have pity on the harsh sorrow;Si vous supply, amoureuse desse, so I beg you, goddess of love,A ceste fois sans y fere sejour, at once without delay,Que me dons liement vostre amour to give me your love willingly;

Ou aultrement toute joye me blesse. otherwise all joy is torment to me.

FRANCESCO LANDINIballata

5 Nessun ponga sperana Let no one put his trustNella suo giovinea in his own youthfulness,Che sella in s vaghea for though it be excellent in itselfTosto va via per naturale usana. it quickly wastes away.

Vo ben che ciaschedun Iabbia s chara I truly wish that all would value itPer ca virt diel tempo ; so as to devote that time to virtue;Che se nel tempo verde non simpara for unless that is learnt in the freshness of youth,Tropp grave nel tempo. it will be too hard to do so later on.Vo, giovani, per tempo, And I wish that you who are youngVolgliatel tempo porre, would in good time resolve to use your time,Che si veloce corre, fast fleeting as it is,Nella virt chongnaltra cosa avana. in the pursuit of virtue which is more precious than all else.

GUILLAUME DUFAYrondeau

6 Mon cuer me fait tous dis penser My heart makes me think continuallyA vous, belle, bonne, sans per, of you, fair one, good and peerless,R d l i f i


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Resjos sui et vueil chanter, I am cheered and wish to sing,Et en mon cuer na point damer; and in my heart there is no bitterness;Ayns ay toute joye mondaynne rather I have all the joy in the worldSans avoir tristresse ne painne, without any sadness or sorrow,Quant veoir puis vo beau vis cler. when I can behold your fair radiant face.

GACIEN REYNEAUrondeau

7 Va ten, mon cuer, avent mes yeux, Go forth, my heart, before my eyes,Veoir le beaut angeline to see her angelic beautyQui tant est digne et pure et fine which is so noble and pure and fine,Conques ne fist plus belle Dieux. that God never made any more beautiful.Valoir nen pourras senon mieux Your worth can only be enhanced

Quant bonne Amour a ce tencline ; when true Love inclines you to this;Va ten, mon cuer, avent mes yeux, Go forth, my heart, before my eyes,Veoir le beaut angeline. to see her angelic beauty.De la servir suy empenieux I am anxious to serve herToutdis que pense et ymagine whenever I muse and reflectEn la douce qui menlumyne on the sweet one who inspires meA dire ce mot gracieux : to say these gracious words:Va ten, mon cuer, avent mes yeux, Go forth, my heart, before my eyes,

Veoir le beaut angeline to see her angelic beautyQui tant est digne et pure et fine which is so noble and pure and fine,Conques ne fist plus belle Dieux. that God never made any more beautiful.

MATHEUS DE SANCTO JOHANNErondeau

8 Fortune, faulce, parverse, False, perverse Fortune,Vers mas en grant martire. you have thrown me into great torment.Taire si mest trop adverse, It is too burdensome to keep silent,Fortune, faulce, parverse, false, perverse Fortune,Tu me fiers a la traverse you strike me from behindTraversement ; si puis dire : perversely; so I may say:F t f l F l F t


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FRANCUS DE INSULArondeau

9 Amours nont cure de tristresse, Love has no use for sadness,Ce set on bien certainement, this is well known for sure,Car il nest jeux nesbatement for there is no mirth or amusement

Quen jone gens plain de liesse. except amongst glad-hearted young people.Quant il lont, leur dame et maistresse When they are glad, their lady and mistressVivre leur fait joyeusement, makes them lead a joyful life.Amours nont cure de tristresse, Love has no use for sadness,Ce set on bien certainement; this is well known for sureEt tous jours user leur jonesse and spend all their youthA bien amer secretement ; in loving honourably and discreetly;Si aront amoureusement thus they will lovingly receive

Des biens dAmours a grant largesse. Loves gifts in great plenty.

(BARTHOLOMEUS?) BROLLOballade

bl Qui le sien vuelt bien maintenir Whoever wants to hold his ownSe doibt garder de foler, must avoid acting foolishly,De faire a nulluy desplaisir, displeasing anybodyNe chose qui doye anuier. or causing any annoyance.Ce sont vices a delessier, These are vices to be shunned.Car je vous jure en leiault : for I swear to you truly:Au plus parant prend on le d. the bigger they are the harder they fall.Se par Fortune puet venir If Fortune should bringA un riche quelque encombrier, some embarrassment to a rich man,Assez un le fera souffrir, he will be made to suffer much,Et le pourra on bien manecier ; and may well find himself threatened,Mais en la fin por cent denier but in the end, for a tidy sum,Eschapera disant, v, v; he will get off, crying Alas! Alas!

Au plus parant prend on le d. the bigger they are the harder they fall.Un maleureux porra fur A wretch will be able to fleeOu en quelque lieu se mucier, or hide somewhere or other;Cure nara on de porseuvir, no one will care to pursue him,C on n o ni nt n ni f th ill b thi t i


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FRANCESCO LANDINIballata

bm Giunta vaga bilt con gentilea Excellent beauty allied with nobility,Ornata di costumi, adorned with good manners,Vedi che volge lumi you may see radiant

Nel viso che del ciel ne fa certea in her face which is a true picture of heavenE che mi fa dAmor fedel suggeto and which makes me a faithful servant of LoveE pi che libert dolce servire; and makes service sweeter to me than freedom;Che come son dinani al suo cospetto for when I am before herIn piacer pongho ongni mio disire. all my desires are fulfilled.Ongni vilt nel cor sento perire I feel all vice dissolve from my heartEn se virt destare. and virtue awaken there.Chi lusa di mirare Whoever looks on her

ne costumi suoi lanimavea. is exalted by her noble bearing.ANONYMOUSrondeau

bn Je la remire, la belle I contemplate her, the fair one,De bon voloir, sans mentir ; kindly and faithful;Mon cuer ne sen peut partir, my heart, truly, cannot leaveNuit et jour voirement delle night or dayQui tres bonne est et non felle ; her who is so good and without malice;Pour quoi mestuet proferir : therefore I must speak out:Je la remire, la belle, I contemplate her, the fair one,De bon voloir, sans mentir ; kindly and faithful;Car vraiement bien est celle for she is certainly the oneQui tous tans me peut merir who may at any time reward meEn la servant sans mentir. by letting me serve her truly.Je dirai, sertes, pour elle : I may indeed say of her:Je la remire, la belle I contemplate her, the fair one,De bon voloir, sans mentir ; kindly and faithful;Mon cuer ne sen peut partir, my heart, truly, cannot leaveNuit et jour voirement delle. night or day.


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Je men vois tout arquant des nois, Off I go cracking nuts,Car je ne truis feves ne pois, for I can find no beans or peas,Dont bien souvent [au cu]er mennoye. which often makes my heart grieve.De moy sers par plusieurs fois I will often miss youRegrets par dedans les bois, out in the woodsOu il ny a sentier ne voye ; where there is no path or track;Puis ne scaray que faire doye I do not know what else to doSe je ne crie a haute vois : but cry aloud:Adieu ces bons vins de Lannoys, Farewell to the fine wines of the Laonnais,Adieu dames, adieu borgois, farewell ladies, farewell townsmen,Adieu celle que tant amoye, farewell to her I loved so much,Adieu toute playssante joye, farewell to all joy and pleasure,Adieu tous compaignons galois. farewell all boon companions.

French translations by STEPHEN HAYNESItalian translations by NICHOLAS HARELEY


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Na pas long temps que trouvay Zephirus

En son gardin Anon (1:2)

Les Anciens peignaient la Jeunesse sous les traits de la desse

des fleurs et les potes la disaient marie Zphyr, le Vent

douest Le Jardin des nobles

I

L SUFFISAIT aux potes damour mdivaux de mentionnerle nom de Zphyr, le dieu du Vent douest, pour voquer lesplus intenses dsirs de la socit courtoise: la passion pour

les coloris purs, les sonorits claires et les senteurs fraches ;lenvie de chevaucher travers champs, un faucon la main,ou de sasseoir sur une banquette, sous la fentre dunchteau, et de rver dans la brise. Surtout, Zphyr tait associau Printemps et la jeunesseau point que, au XVe sicle,Le

Jardin des nobles fait de lui le mari de la Jeunesse ladesse des fleurs .

Cette fracheur et cette candeur, qui imprgnent lessentielde la musique compose et joue durant la priode couverte parle prsent enregistrement (env. 1400 env. 1440), se retrou-vent coup sr dans la posie. Plusieurs des chansons runiesici clbrent ainsi la jeunesse, que le XVe sicle comprenaitcomme un mlange de joie, de candeur, de comportementamoureux et de sagesse prcoceune combinaisonquincarnent la perfection le courtisan charg de branchesvertes et le jeune hraut lgant de nos illustrations. Dans Moncuer me fait tous dis penser6 , un rondeau mis en musiquepar le remarquable Guillaume Dufay (env.14001474), un

f it ll d d i t j t bl h

Cette jeunesse se retrouve galement dans la musique.Ma seul amour et ma belle maistresse (Briquet) 4 et

lanonyme Je la remire, la belle bn sont animes dunebouillonnante gaiet gnralement absente des uvres duXIVe sicle, plus prcieuses et gnes. Les compositeurs duXVe sicle, eux, excellent saisir la candeur et la fracheursi prises des courtisans dalors, comme lillustre merveille

Mon cuer me fait tous dis penser. Jamais un compositeur duXIVe sicle naurait crit pareille pice, vu la modernit deson contrepoint (immdiatement familier toute oreilleoccidentale moderne, ce qui est rarement le cas du contrepoint

franais du XIVe sicle) et son absolue candeur: chaque voix aune mlodie dune beaut simple, mais qui vous envahit lecur ; rien ne vient assombrir lharmonie ; rien nest extrava-gant, flamboyant.

Conformment cet idal de jeunesse, les chansonstaient parfois interprtes la cour par les jeunes gens

(surtout les cuyers et les pages) chargs de divertir leursprinces. Une fois arrivs la cour pour y tre duqus, cesjeunes serviteurs, toujours en qute de prsents et de faveurs,apprenaient vite que, sils voulaient de lavancement, il leur

fallait dabord se faire remarquer. Et quoi de mieux pour attirerlattention quune clatante dmonstration de talent musical?Nul doute quils y mettaient du sentiment car leur rle deservant auprs dun grand seigneur sous-tendait toute laconvention littraire de lamant implorant les faveurs de sadame:

Juse mon temps et passe ma jonesse

E d d hi l d h

LE JARDIN DE ZPHYRCHANSONS COURTOISES DU DBUT DU XVe SICLE


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dissonances mordantes, ces chansons ont une sonorittypique de la France et du XIVe sicle, ce qui ne les empche

en rien de nous prparer au sicle suivant, lune avec sesharmonies remarquablement riches (Fortune, faulce), lautreavec son style dclamatoire et son texte distribu toutes lespartiesvoyez, par comparaison, Jatendray tant quil vousplayra 1 de Dufay ou Qui le sien vuelt bien maintenir blde Brollo. Un tel texte complet est lune des principalescaractristiques de certains grands styles italiens du XIVesicle, comme dans Nessun ponga sperana5 , uneballatade Francesco Landini dont le pome contrebalance le cultecourtois de la jeunesse. Tout comme Giunta vaga bilt bm ,lautre uvre de Landini enregristre ici, cette chanson figuredans le fameux codex de Squarcialupi (dbut du XVe sicle).

Un autre manuscrit italien (MS Canonici misc. 213conserv la Bodleian Library dOxford), compil quelquesdcennies aprs celui de Chantilly, nous a fourni certaines des

pices tardives de cet enregistrement. Ces uvres vhiculentquelques-unes des sonorits les plus typiques de la chanson

franaise des annes 1420 et 1430 : une texture consonante,plus euphonique que celle des styles du XIVe sicle

(harmoniquement et contrapuntiquement parlant, un vri-table foss spare Va ten mon cuerde Reyneau etJatendraytant de Dufay); une nette prdilection pour une harmoniediatonique, dorienne, o ut dise est une note profondmentexpressive utilise presque en dbut de pice et trsslectivement par la suiteentendez, par exemple, Qui le

sien vuelt bien maintenirde Brollo et Amours nont cure detristresse de Francus de Insula. Latmosphre plaintive etintrovertie de ces deux dernires pices ressort merveilledans ce qui est srement lune des plus belles chansons du

XVe sicle, Adieu ces bons vins de Lannoys bo , crite par unDufay de vingt-cinq ans environ, dont les premires chansonsvitaient pourtant ce ton dolent; la mme voix caractristiqueretentit dansJatendray tant, un rondeau lger, arien, parfaiteincarnation de lajeunesse de cuer.

CHRISTOPHER PAGE 1985Traduction HYPERION, 2007

Si vous souhaitez de plus amples dtails sur ces enregistrements, et sur les nombreuses autres publications du label Hyperion, veuillez nous crire Hyperion Records Ltd, PO Box 25, London SE9 1AX, England, ou nous contacter par courrier lectronique [email protected], et nous

serons ravis de vous faire parvenir notre catalogue gratuitement.Le catalogue Hyprion est galement accessible sur Internet: www.hyperion-records.co.uk


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CDH55289

The Garden of ZephirusCourtly songs of the early fifteenth century

1 Jatendray tant quil vous playra rondeau GUILLAUME DUFAY . . . . . . . . . . . . . . . . . . b c e [2'22]2 Na pas long temps que trouvay Zephirus chanson ANONYMOUS . . . . . . . . . . . . . . . c g [1'52]3 Amour ma le cuer mis en tel martire ballade stanza ANTHONELLO DA CASERTA . . . b c f [3'44]4 Ma seul amour et ma belle maistresse rondeau BRIQUET . . . . . . . . . . . . . . . . . . . . . b d [3'28]5 Nessun ponga sperana ballata FRANCESCO LANDINI . . . . . . . . . . . . . . . . . . . . . . . . . . c d f [4'05]6 Mon cuer me fait tous dis penser rondeau GUILLAUME DUFAY . . . . . . . . . . . . . . . a b c e [6'05]7 Va ten, mon cuer, avent mes yeux rondeau GACIEN REYNEAU . . . . . . . . . . . . . . . . . a c d [3'38]8 Fortune, faulce, parverse rondeau MATHEUS DE SANCTO JOHANNE . . . . . . . . . . . . . a b c d [4'23]9 Amours nont cure de tristresse rondeau FRANCUS DE INSULA . . . . . . . . . . . . . . . . . b c f [5'35]

bl Qui le sien vuelt bien maintenir ballade (BARTHOLOMEUS?) BROLLO . . . . . . . . . . . . . b c f [3'28]bm Giunta vaga bilt ballata FRANCESCO LANDINI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b g [3'21]bn Je la remire, la belle rondeau ANONYMOUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c f [2'35]bo Adieu ces bons vins de Lannoys rondeau GUILLAUME DUFAY . . . . . . . . . . . . . . . . . . . b c f [3'57]

GOTHIC VOICESGILL ROSS soprano (a)MARGARET PHILPOT contralto (b)ROGERS COVEY CRUMP t ( )

NOTES EN FRANAIS


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HELIOS

CDH5

5289

HELIOS

CDH55289

THEGARD

ENOFZEPHIRUS

GOTHICVOICES/CHRISTOPHER

PAGE

THE

GARDENOFZEPHIRU

S

GOTHICVOICES/CHRISTO

PHERPAGE

The Garden of ZephirusCourtly songs of the early fifteenth century

1 Jatendray tant quil vous playra GUILLAUME DUFAY [2'22]2 Na pas long temps que trouvay Zephirus ANONYMOUS [1'52]3 Amour ma le cuer mis en tel martire ANTHONELLO DA CASERTA [3'44]4

Ma seul amour et ma belle maistresseBRIQUET [3'28]

5 Nessun ponga sperana FRANCESCO LANDINI [4'05]6 Mon cuer me fait tous dis penser GUILLAUME DUFAY [6'05]7 Va ten, mon cuer, avent mes yeux GACIEN REYNEAU [3'38]8 Fortune, faulce, parverse MATHEUS DE SANCTO JOHANNE [4'23]9 Amours nont cure de tristresse FRANCUS DE INSULA [5'35]bl Qui le sien vuelt bien maintenir (BARTHOLOMEUS?) BROLLO [3'28]bm Giunta vaga bilt FRANCESCO LANDINI [3'21]bn Je la remire, la belle ANONYMOUS [2'35]bo Adieu ces bons vins de Lannoys GUILLAUME DUFAY [3'57]

GOTHIC VOICESCHRISTOPHER PAGE director

MADE IN ENGLAND

CDH55289

Duration 49'53

A HYPERION RECORDING

DAD

Recorded on 28 and 29 June 1984Recording Engineer ANTONY HOWELL

Recording Producer MARTIN COMPTONExecutive Producer EDWARD PERRY

P Hyperion Records Limited, London, 1985C Hyperion Records Limited, London, 2007

(Originally issued on Hyperion CDA66144)

Front illustration: Gathering green bushes in Aprilfrom the calendar in a Book of Hoursilluminated in France for the English market by the Fastolf Master, c1440

(Oxford Bodleian Library MS Auct.D.inf.2.11,f.4r), reproduced by permission

I dont know a finer record of such fascinating material. Beautifully done(BBC Record Review) I believe this is the finest record of medievalpolyphonic song yet produced (Gramophone)

NOTES EN FRANAIS

gothic voices - the garden of zephirus.pdf

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