gothic voices - the spirits of england and france, vol. 1.pdf

8/12/2019 Gothic Voices - The Spirits of England and France, vol. 1.pdf

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The Spirits of England and France

GOTHIC VOICESwith PAVLO BEZNOSIUK violin

CHRISTOPHER PAGE director

MUSIC FOR COURT AND CHURCH FROM THE LATER MIDDLE AGES


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THE FIRST SECTION OF THIS PROGRAMME explores theremarkable sonorities of three- and four-part writingduring the last decades of the fourteenth century andthe first decades of the fifteenth. Laus detur multipharia 6

is a curiosity in many ways, not least because it is a devotionalLatin virelai; the setting has a beauty touched by strangenessthat characterizes many French songs of the later 1300snote the hocketing passages and the surprising harmonic shiftwhich occurs at the end of the B section, first heard at thewords Veritas monstratur hoRUM, the latter reminiscent ofsome Ars subtilior chansons such as Joyeux de cuer bySolage. Pursuing the French song tradition beyond 1400, we

find that the substantial legacy of the composer Matteo daPerugia includes the exquisitely decorous Belle sans per3, asong whose determinedly busy under-parts and unpredictablesharps recall fourteenth-century textures such as that ofLausdetur multipharia, but whose consonant texture looks forwardto later works such as Quant la douce jouvencelle1. Quant

la douce jouvencelle is one of the most beautiful of all early

fifteenth-century songs, with the high plainness which com-posers of the 1420s and 1430s often sought.We must turn to liturgical music to find the last and most

mature response of English composers to the developments ofthe FrenchArs Nova. The two pieces from the Old Hall manu-script 2 and 7 chosen here are among the most inventiveand successful compositions of their generation. The former is

by Cooke, of whom barely anything is known for certain, whilethe latter is by an anonymous master of great skill (theexceptional development of the second voice is noteworthy).The two-part sections of these compositions have a rhythmicfl ibilit hi h l l h t F h h f th

passages, creating either a blaze of sound or an excitingclamour in which the parts seem to fight for supremacy.

The oldest layer of music in the second part of thisprogramme is provided by the conductisettings of Latin

rhythmical verse. The monophonic In Rama sonat gemitusbtreaches back to the 1160s, for it laments Thomas Becketsexile from England to France. As far as we may discern, thetraditions of monophonic Latin song were much the same inboth countries and this song could have been written in either.Polyphonic styles were less influenced by the Channel culturethat historians have posited for England and France in thethirteenth century; the three-voice setting of Ave Maria cl ,

for example, with its chains of triads, is composed in anirredeemably English style. Flos in monte cernitur bs is oneof the tiny handful of conductus texts with an erotic theme; thisis a point worth emphasizing for the wine, women and songimage which medieval Latin lyric has acquired, probably un-der the influence of the celebrated collection known as theCarmina Burana, is quite false to the conductus repertoire.

The texts of Deduc, Syon, uberrimas bl and Presul nostritemporis bu , important compositions which appear in themajor sources of conducti (including one from Britain), aremore representative of conductus poetry; the former attacksthe vices of the clergy, and particularly of the Papacy, thehead from which the canker spreads to the limbs of the bodypolitic; the latter (whose poem is almost certainly incomplete)

appears to celebrate the achievements of a prelate.Conducti such asFlos in monte cerniturandDeduc, Syon,uberrimas were eventually eclipsed by a form that was newand all the rage in Northern France from c1220 onwards:th t t Th i f th t t i iti t d h i t t


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crochet). This kind of isosyllabic declamation virtually dis-appeared with the rise of the motet, for motets employed theconstant alternation of long and breve values (crochet andquaver) to be heard in Virgo plena gratiebp and Je ne puis/

Par un matin/Le premier jor/IUSTUS bn . The first layers ofmotets were produced by devising words for the upper part(s)of liturgical polyphonic compositions, or to sections of thosecompositions. The earliest three-part motets to result from thisprocess were apparently the so-called conductus motetssuch as Virgo plena gratie where both of the upper voices singthe same text. By c1250, however, the motet idea had alreadybeen carried to its limit in four-part composition such asJe ne

puis / Par un matin / Le premier jor / IUSTUS; even today thesepieces come across as audacious and almost aleatory com-positions, the combination of three texted parts over the tenorcreating tangles of dissonance and a rush of vowel and conso-nant colour.

The instrumental items, played here on a medieval fiddle,are all estampies. These pieces are often performed today

using a battery of instrumental resources, including percus-sion, in the belief that they are a form of dance music. Fromthe period when the estampies recorded here were writtendown, howeverthat is to say c1300there is evidence that

the estampie was especially associated with the solo fiddle,and that the appeal of such pieces lay, in part, in the way theycommanded the attention of anyone who wished to followtheir intricate form. On paper, these melodies look simpleand formulaic; but therein lies the difficulty: there is so muchmaterial shared between one section of an estampie andanotheror between one estampie and anotherthat theperformer must concentrate hard in order to etch the melodywithout allowing one section to dissolve into another throughthe medium of the shared material. According to Johannes deGrocheio, writing c1300: The estampie is a melody having adifficult structure of agreements on account of its difficultyit causes the mind of anyone who performs itand of anyonewho listens to itto dwell upon it, and it often diverts theminds of the powerful from perverse reflection.

CHRISTOPHER PAGE 1994

Recorded in Boxgrove Priory, West Sussex, on 1113 March 1994Recording Engineer TONY FAULKNER

Recording Producer MARTIN COMPTONExecutive Producers JOANNA GAMBLE, EDWARD PERRY

P Hyperion Records Limited, London, 1994C Hyperion Records Limited, London, 2007

(Originally issued on Hyperion CDA66739)


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PART I The fourteenth and fifteenth centuries

1 ANONYMOUS Quant la douce jouvencelleQuant la douce jouvencelle, When the sweet young girl,La tres gracieuse et belle, The very gracious and fair one,Celle dont suy amoureux, The one I love,Veult que me tiengne joyeux, Wishes that I be glad,Ne doy je obeir a elle? Should I not obey her?Certes ouy, car cest celle Certainly yes, for she is the oneQui son doulx ami mapelle: Who calls me her sweet friend;Estre ne puis plus joyeux I could not be more gladQuant la douce jouvencelle, When the sweet young girl,La tres gracieuse et belle, The very gracious and fair one,Celle dont suy amoureux, The one I love

Plaisir en moy renouvelle, Renews delight in me,Nautre amer je ne quier quelle;Nor do I seek to love any other than her;Servir la vueil en tous lieux I wish to serve her everywhereA mon povoir de bien en mieulx, As best I can, better and better;Ma volant si est telle. That is my desire.Quant la douce jouvencelle, When the sweet young girl,La tres gracieuse et belle, The very gracious and fair one,Celle dont suy amoureux, The one I love,Veult que me tiengne joyeux, Wishes that I be glad,

Ne doy je obeir a elle? Should I not obey her?

2 COOKE GloriaGloria in excelsis Deo Glory be to God on highet in terra pax and on earth peace,hominibus bonae voluntatis. to men of goodwill.Laudamus te. Benedicimus te. We praise you. We bless you.Adoramus te. Glorificamus te. We worship you. We glorify you.Gratias agimus tibi We give thanks to you

propter magnam gloriam tuam. for your great glory.Domine Deus, rex caelestis, O Lord God, heavenly king,Deus Pater omnipotens, God the Father almighty,Domine Fili unigenite, O Lord the only begotten Son,Iesu Christe Jesus Christ

Qui sedes ad dexteram Patris, You sit at the right hand of the Father,miserere nobis. have mercy on us.Quoniam tu solus sanctus. For you only are holy.Tu solus Dominus. You only are the Lord.Tu solus altissimus, Iesu Christe. You only are most high, Jesus Christ.

Cum Sancto Spiritu, With the Holy Spirit,in gloria Dei Patris. Amen. in the glory of God the Father. Amen.

3 MATTEO DA PERUGIA Belle sans perBelle sans per dhaulte douchour paree,De bien, dhonour et de toute vaillance,Je vous suppli, sans faire delayance,Renvoiis moy vers vo chiere contree,

Fair one without peer, adorned with exalted sweetness,

Virtue, honour and all worthiness,I beseech you, without delay,

Send me towards your dear country,

Car bien savs, ma seule desiree,Que soubgis sui de vo noble acointance,Nen aultre part poroit estre fermeeMa volant, ce sachies sans doubtance,

For you, the only one I desire, know well,

That I bear allegiance to your noble courtship,Nor could my desire be set

Anywhere elseknow this for sure

Ainsi seras jusques a ma fineePar vous servir et faire obeissance,Com doit amans par tres fine alliance.Or faites donc que de brief soit malee.

But, until death, it will be

To serve you and do you homage

As a lover must with the most refined friendship;

Now make it so that my journey be short.

Belle sans per dhaulte douchour paree,De bien dhonour et de toute vaillance


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4 MACHAUT Ay mi! dame de valourAy mi! dame de valour Alas! noble lady,Que jaim et desir, Whom I love and desire,De vous me vient la dolour From you comes the sadnessQui me fait languir. Which causes me to languish.

Tres douce creature, Very sweet creature,Comment puet vo fine doucour How can your refined gentlenessEstre vers moy si dure, Be so hard towards me,Quant mon cuer, mon corps et mamour

Since I have unswervingly given

Vous ay donn sans retour My heart, my body, and my love,Et sans repentir ? Without regret?Or me tenez en langour Now you hold me in a languishing state

Dont je criem morir. Which I fear may be mortal.

Ay mi! dame de valour Alas! noble lady,Que jaim et desir, Whom I love and desire,De vous me vient la dolour From you comes the sadnessQui me fait languir. Which causes me to languish.

Et tout par amesure, It does not accord,Gentil dame, pleinne donnour, Sweet and honourable lady,Sui je a desconfiture ; that I be so distressed,Car onques ne quis deshonnour For I sought nothing dishonourable

Vers vous, ains ay sans sejour To you but have always, without stinting,Fait vo dous plaisir Done your sweet pleasure,Et feray sans mauvais tour And I will do so, without trickery,Jusques au morir. Until death.

Ay mi! dame de valour Alas! noble lady,Que jaim et desir, Whom I love and desire,De vous me vient la dolour From you comes the sadnessQui me fait languir. Which causes me to languish.

Mais vo douce figure, But your sweet face,Vo fine biaute que jaour Your refined beauty that I love,Et vo noble faiture And your noble person

5 ANONYMOUS En cest mois de MayEn cest mois de May gracieux In this courtly month of MayIl faut faire amye nouvelle; One should make a new friend;Dieu men doint trouver une belle God grant me to find a fair oneSans le parler des envieux. Without any carping from the jealous.

Il mest avis ([et] qui di mieux?) It seems to me (who has a better plan?)Que de prendre une telle quelle That to take one such as her

En cest mois de May gracieux In this courtly month of MayIl faut faire amye nouvelle. One should make a new friend.

[Servir la vueil, et en tous lieux [I wish to serve her everywhere,Sans desplaisance et sans rebelle;

Without vexation or dissension;

Plaisant Acueil tousjours mapellePleasing Welcome always summons meVers Amours; nul ne porroit mieux]

Towards Love; nobody can do better]

En cest mois de May gracieux In this courtly month of May

6 ANONYMOUS Laus detur multiphariaLaus detur multipharia Let manifold praiseDeo regi seculorum, Be given to God, eternal king,Qui per munera varia Who, by his diverse gifts,Mentes illustrat suorum; Illuminates the minds of his chosen ones;Nec in penis tormentorum Even in grievous tormentsEius abest victoria. His victory does not pass away.

In Costi regis filia In the daughter of King Costus,Veritas monstratur horum, Whom the bridegroom and kingQuam ponet inter lilia Of the blessed places among the lilies,Sponsus et rex supernorum. The truth of these things is made plain.

Nobilis virgo regia The royal, noble virginKaterina perfidorum Catherine who confounds [the pagan]Confutatrix egregia, Before everyone, puts the riteCultum fugat paganorum, Of the pagans to flight

5 ANONYMOUS En cest mois de MayEn cest mois de May gracieux In this courtly month of MayIl faut faire amye nouvelle; One should make a new friend;Dieu men doint trouver une belle God grant me to find a fair oneSans le parler des envieux. Without any carping from the jealous.

Il mest avis ([et] qui di mieux?) It seems to me (who has a better plan?)Que de prendre une telle quelle That to take one such as her

En cest mois de May gracieux In this courtly month of MayIl faut faire amye nouvelle. One should make a new friend.

[Servir la vueil, et en tous lieuxSans desplaisance et sans rebelle;Plaisant Acueil tousjours mapelle

Vers Amours; nul ne porroit mieux.][I wish to serve her everywhere,Without vexation or dissension;

Pleasing Welcome always summons me

Towards Love; nobody can do better.]

En cest mois de May gracieux In this courtly month of May

6 ANONYMOUS Laus detur multiphariaLaus detur multipharia Let manifold praiseDeo regi seculorum, Be given to God, eternal king,Qui per munera varia Who, by his diverse gifts,Mentes illustrat suorum; Illuminates the minds of his chosen ones;Nec in penis tormentorum Even in grievous tormentsEius abest victoria. His victory does not pass away.

In Costi regis filia In the daughter of King Costus,Veritas monstratur horum, Whom the bridegroom and kingQuam ponet inter lilia Of the blessed places among the lilies,

Sponsus et rex supernorum. The truth of these things is made plain.Nobilis virgo regia The royal, noble virginKaterina perfidorum Catherine who confounds [the pagan sages]Confutatrix egregia, Before everyone, puts the rite


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Maceratur inedia The pang of fasting is softenedFamis doctrina clericorum, By the teaching of the clergy,Sed meretur consortia And it also earns the fellowshipEt solamen beatorum. And solace of the blessed.Mire [munera] ciborum Abundant gifts of food

Dantur columbia nimia. Are wondrously provided by a dove.Tunc erigi ingenia Then the lord of those wicked onesRotarum preces iniquorum Commands contrivances of wheels to be

set up;

[Iubet], sed tota machina But eventually the entire deviceRuit tandem perversorum. Of the evil-doers breaks apart.

7 ANONYMOUS Credo

Credo in unum Deum,I believe in one God,

Patrem omnipotentem, the Father Almighty,factorem caeli et terrae, maker of heaven and earth,visibilium omnium, and of all things seenet invisibilium. and unseen.Et in unum Dominum And in one LordIesum Christum, Jesus Christ,Filium Dei unigenitum, the only begotten son of God,et ex Patre natum born of his Father

ante omnia saecula, before all worlds,Deum de Deo, lumen de lumine, God of God, light of light,Deum verum de Deo vero, true God from true God,genitum non factum, begotten not made,consubstantialem Patri, of one being with the Father,per quem omnia facta sunt. through him all things were made.Qui propter nos homines, Who for us men,et propter nostram salutem and for our salvation,descendit de caelis, came down from heaven,

et incarnatus est and was incarnatede Spiritu Sancto by the Holy Spiritex Maria Virgine, of the Virgin Mary,et homo factus est. and was made man.Crucifixus etiam pro nobis And was crucified also for us

Et iterum venturus est cum gloria He shall come again in gloryiudicare vivos et mortuos: to judge the living and the dead:cuius regni non erit finis. and his kingdom shall have no end.Et in Spiritum Sanctum And in the Holy Spirit,Dominum, et vivificantem: Lord and giver of life:

qui ex Patre Filioque procedit, who proceeds from the Father and Son,qui cum Patre et Filio simul who with the Father and Sonadoratur et conglorificatur: is worshipped and glorified:qui locutus est per prophetas. who spoke by the prophets.Et unam sanctam catholicam And in one holy, catholicet apostolicam ecclesiam. and apostolic church.Confiteor unum I acknowledge onebaptisma in remissionem baptism for the forgivenesspeccatorum. Et expecto of sins. And I look

resurrectionem mortuorum, for the resurrection of the dead,et vitam venturi saeculi. Amen. and the life of the world to come. Amen.

9 PYKINI Or tost a euzOr tost a euz vous assembls, Now assemble yourselves early,Soulas, Soulas, Plaisance, Plaisance,

Pleasure, Pleasure, Delight, Delight,

Deduit, Deduit, Bel Acueill, Bel Acueill,Joy, Joy, Fair Welcome, Fair Welcome,

Jounesce, Liesce, lamy, lamy ; Youth, Happiness, Beloved, Beloved;Oiez crier Ocy, Ocy Listen to the nightingaleLe roussignol: joy en aurs. Sing Ocy, Ocy; it will delight you.

Confort prens, Esbatement, Take Comfort and Entertainment,Le bon, le gent, The good and the noble;Sirs dire a ma dame blanche Go and say to my fair-skinned ladyQue de mamour li fay present, That I make her a present of my love,Entierement, Entirely, in this month of May,

En ce moys de May pour Playsance.For the sake of Delight.

Cest virelay li chanters, Sing her this virelaiSoulas, Soulas, Plaisance, Plaisance,


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Or tost a euz vous assembls, Now assemble yourselves early,Soulas, Soulas, Plaisance, Plaisance,

Pleasure, Pleasure, Delight, Delight,

Deduit, Deduit, Bel Acueill, Bel Acueill,Joy, Joy, Fair Welcome, Fair Welcome,

Jounesce, Liesce, lamy, lamy ; Youth, Happiness, Beloved, Beloved;Oiez crier Ocy, Ocy Listen to the nightingaleLe roussignol: joy en aurs. Sing Ocy, Ocy; it will delight you.

PART II The twelfth and thirteenth centuries

bl ANONYMOUS Deduc, Syon, uberrimasDeduc, Syon, uberrimas Zion, bring forth a superabundanceVelut torrentem lacrimas! Of tears like a torrent,

Nam qui pro tuis patribus For those who are born to you as sonsNati sunt tibi filii, In the place of your fathersQuorum dedisti manibus Into whose hands you have placedTui sceptrum imperii , The sceptre of your rule, are nowFures et furum sociii, As thieves and companions of thievesTurbato rerum ordine, The natural order of thingsAbutuntur regimine Being overthrown, they abusePastoralis officii. The governance of the pastoral office.

Ad corpus infirmitas The disease of the headCapitis descendit, Descends to the bodySingulosque gravitas And the aggravationArtus apprehendit; Seizes every limb;Refrigescit caritas, Love grows cold,Nec iam se extendit For now it no longer extendsAd amorem proximi, To the love of ones neighbourNam videmus opprimi For we may see the orphanPupillum a potente, Oppressed by the powerful man

Nec est qui salvum faciat Nor is there anyone who can bringredemptionVel qui iustum eripiat Or who can deliver the just manAb impio premente. From the wicked oppressor.

Posuit in medio; The Temple of Solomon;Sed, erecto gladio, But come! judge of the nations,Scelus hoc ulciscere, Sword held aloft,Veni, iudex gentium, To avenge this crime and to overturnCathedras vendentium The seats of those

Columbas evertere. Who are selling the doves.

bn ANONYMOUS Je ne puis / Par un matin/ Le premier jor / IUSTUSduplum

Je ne puis plus durer sanz vos, I cannot continue any longer without you,Biau cuers savoreus et dolz, fair, delicious and sweet heart,Se navez merci de moi. if you do not have pity upon me.Pour vous sui en grant esmai I am greatly smitten with youEt ai este longuement. and have been for a long while.

A mains jointes humblement I humbly beseech you for graceMerci vos proi. with joined hands.Je vous serf, si com je doi, I serve you, as I ought,Loialment, en bone foi, loyally and in good faith,Si que, quant je ne vous voi, so that, when I do not see youJe me muir touz, I die,Com finz loiaus amoureus; like a loyal and courtly lover;Et sanz moi and how do you continueCoument durez vous? without me?

triplum

Par un matin me levai One morning I rose upPor deduire et pour moy alegier; to delight and enjoy myself.Delez Blangi men alai I went by BlangiSi trouvai and in a gardenSeant en un vergier, I found a lassTouse chantant de cuer gai sitting and singingEt legier; with a gay, untroubled heart;

Chapel de Mai she was making a May garlandFesoit et desglantier. from wild roses.Je regardai, I studied herPres de li majostroi, and came near to her,Je la saluai greeted her


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Tenez ma foi, Believe me,Que ja ne vos faudrai. I will never betray you.Foi que vos doi By my faith, sir, she said,Dist, Sire, non ferai, I will not do it,Ainz amerai but I will love him

Qui jaim de cuer gai. whom I love with a joyous heart.quadruplum

Le premier jor de Mai, On the first day of MayAcordai I have devised this joyful quadruplum,Ce quadruble renvoisie, for this is the season when loversCar en ce tens sont amanz cointe et liez.

are elegant and happy.

Et je me truis damors desconseillie,And yet I find myself bewildered by love,

Nunques confort ni trovai; finding no comfort in it. I will neverEt por ce ja ne men partirai, abandon it for that, however, because ICar jencontrai have met her from whom my pain comes.Celui dont dolour ai. If she does not have mercy upon meSele na de moi merci, I will never again have a glad heart.Je navrai mais nul jour le cuer jol i.

Therefore I beseech her, greeting

Pour ce lui pri her with this new song, that if it

Et salu par ce novel chant ici, pleases her to have a love, she has one,Que ce li plaist a ami, for I have no solace at handCaucun confort prochain aie de li.for the pain she brings me.

bo ANONYMOUS Beata nobis gaudiaThis monophonic conductus celebrates the accession of Louis VIII,King of France, in 1223.

Beata nobis gaudia The royal stockReduxit proles regia, Has brought us blessed joys,

Philippi primogenitus, The first-born of Philip [Augustus],Qui patris actis inclitus One who is famous in the deeds of hisfather

Nec laude carens propria. But who does not lack praise of his own,

bp ANONYMOUS Virgo plena gratieVirgo plena gracie, Virgin, full of grace,Thesaurus largitatis, Treasure of bounty,Oculus clemencie, Eye of clemency,Pupilla pietatis, Pupil of mercy,

Porta patens venie, Open door of pardon,Scala caritatis, Ladder of love,Oleum leticie, Oil of gladness,Nomen suavitatis; Name of sweetness;Tu commune canticum You are the familiarPro celleuma nauticum. Sailing-song for setting the rowers pace.Clamant omnia: All cry:O subveni Maria! O come to our aid, Mary!Instant tempora; The times press on;

Nova gravat hora The last hour weighsOperarios; Upon the labourers.Plus abrevia Shorten these daysDies hos Egipcios Of Egyptian captivity,Propter filios, For the sake of the sons,Virgo, mater pia. O Virgin, merciful mother.

br ANONYMOUS Crucifigat omnes

The text of this conductus refers to the capture of Jerusalem bySaladin in 1187 and the loss of the fragments of the True Cross(the tree of salvation has been lost).

Beata nobis gaudia The royal stockReduxit proles regia, Has brought us blessed joys,

Philippi primogenitus, The first-born of Philip [Augustus],Qui patris actis inclitus One who is famous in the deeds of his fatherNec laude carens propria. But who does not lack praise of his own,Post tot laborum tedia, And who is due to you, France,

Crucifigat omnes Another cross of the LordDomini crux altera. crucifies everyone.Nova Christi vulnera! O new wounds of Christ!Arbor salutifera The tree of salvationPerditur; sepulcrum has been lost; alien people

Gens evertit extera. have overthrown the Holy Sepulchre;Violente the city is filledPlena gente with a violent tribe andSola sedet civitas; yet it remains deserted.Agni fedus The goat has seized


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Ab iniustis abdicatur; he is disinherited by the iniquitous.Per quem iuste iudicatur Through whom is the worldMundus? to be justly judged?O quam dignos luctus! O what fitting grief!Exulat rex omnium; The king of all is in exile,

Baculus fidelium the staff of the faithful [i.e. the Cross]Sustinet opprobrium endures the scornGentis infidelis; of an infidel nation;Cedit parte gentium the whole part yieldsPars totalis; to the heathen party.Iam regalis Now the royal land laboursIn luto et latere with clay and brick [Exodus 1: 14];Elaborat it lamentsTellus, plorat that Moses

Moysen fatiscere. has lost his power.Homo dei miserere! Man, have mercy on God!Fili, patris ius tuere! Son, guard the fathers rightful property.In incerto certum quere Seek what is sure amidst what isDucis hazardous and earn the giftsDucum dona promerere of the leader of leadersEt lucrare lucem vere and win the lightLucis! of true light!

Quisquis es, signatus Whoever you are, marked with the signFidei charactere, of faith [i.e. with the crusaders cross],Fidem factis assere; defend the faith with deeds;Rugientes contere destroy the roaring cubsCatulos leonum; of the lions [Psalm 104: 21];Miserans intuere taking pity,Corde tristi gaze with sad heartDamnum Christi! upon the affliction of Christ.Longus Cedar incola, You have dwelled long in Cedar

Surge, vide, Arise and see, [Psalm 120: 5].Ne de fide lest you be reprovedReproberis frivola! for having paltry faith.Suda, martyr, in agone Sweat, O martyr, in the mighty contestSpe mercedis et corone! in the hope of reward and the crown!

Flos in monte cernitur, On the mountain a flower is discerned;Gaudet cor amantis; The heart of the lover rejoices.Circa florem, nemora; Around the flower, woods;Nulla vox clamantis. There is no voice of one calling [Matthew 3,3].Locus est ydoneus The place suits the desire

Placito mandantis; Of one wishes to have his will;Fiat amor aureus Let love be goldenGratia donantis. By the grace of the giver!

Odor florum iuvenem The odour of the flowersRenovans amore, Renews love in the young man;Multa secum cogitans Thinking many things to himself,Florem tangit ore; He touches the flower with his lips;Flexo genu gratulans Giving thanks on bended kneeFloris in honore, In honour of the flower,Florem carpit manibus. He snatches the flower with his hands.Non [est] tempus more! This is not a time for delay!

bt ANONYMOUS In Rama sonat gemitusThis monophonic conductus laments the departure of ThomasBecket, Archbishop of Canterbury, for France in November 1164

following his dispute with King Henry II. The poem, full of biblical

resonance, associates Thomass departure from England with theHoly Familys flight into Egypt, followed by the Massacre of theInnocents ordered by Herod (Matthew 2: 18: In Rama there wasa voice heard, lamentation, and weeping, and great mourning,Rachel weeping for her children ). The poem then associatesThomass exile with that of Joseph who was sold into slavery inEgypt (Genesis 37).

In Rama sonat gemitus In Rama, the weeping Rachel of EnglandPlorante Rachel Anglie, Sounds her lamentation,Herodis namque genitus For one born of HerodDat ipsam ignominie. Gives her great shame.En! eius primogenitus, Behold! Her first-born

bs ANONYMOUS Flos in monte cerniturFlos in monte cernitur, On the mountain a flower is discerned;Gaudet cor amantis; The heart of the lover rejoices.Circa florem, nemora; Around the flower, woods;Nulla vox clamantis. There is no voice of one calling [Matthew 3: 3].

Locus est ydoneus The place suits the desirePlacito mandantis; Of one who wishes to have his will;Fiat amor aureus Let love be goldenGratia donantis. By the grace of the giver!

Odor florum iuvenem The odour of the flowersRenovans amore, Renews love in the young man;Multa secum cogitans Thinking many things to himself,Florem tangit ore; He touches the flower with his lips;

Flexo genu gratulansGiving thanks on bended knee

Floris in honore, In honour of the flower,Florem carpit manibus. He snatches the flower with his hands.Non [est] tempus more! This is not a time for delay!


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Emulandi decoris Prize of grace and virtueEt virtutis precium, So worthy of emulationSanguinem patricium Enriching noble blood

Actus augens Hectoris In a deed worthy of HectorVires frangit hostium; Breaks the powers of enemies,Annis dignus Nestoris, The equal to Nestor in years,Probis prestans premium. Showing the reward to the just.

cl ANONYMOUS Ave MariaAve Maria, gratia plena, Hail Mary, full of grace,dominus tecum, the Lord is with you,benedicta tu in mulieribus blessed are you among womenet benedictus fructus ventris tui. and blessed is the fruit of your womb.


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LA PREMIRE PARTIE de la collection explore lesremarquables sonorits des partitions pour trois et

quatre voix de la fin du quatorzime sicle et dbut duquinzime. Laus detur multipharia 6 est bien des gardsune relle curiosit, et ce tout particulirement car cestun virelai de dvotion en latin. Larrangement a une beauttrange, caractristique de nombreuses chansons franaisesde la fin du treizime sicle. Remarquez les spasmes decertains passages et le surprenant changement harmonique la fin de la deuxime section, entendu pour la premire foisau vers Veritas monstratur hoRUM et qui rappelle leschansons de lArs subtilior telle queJoyeux de cuerde Solage.Si nous nous attachons la tradition de la chanson franaiseaprs 1400, nous dcouvrons dans lapprciable hritagemusical de Matteo de Perugia une chanson dune biensanceextrme, intitule Belle sans per3 , dont les sous-voix rso-lument charges et les imprvisibles dises rappellent les

textures de certaines pices du quatorzime sicle, telle queLaus detur multipharia, bien que sa structure harmonieuserappelle galement des uvres plus tardives comme Quant ladouce jouvencelle 1. Quant la douce jouvencelle est unedes plus belles chansons du dbut du quinzime sicle. Elle secaractrise par une grande simplicit, souvent recherche parles compositeurs de cette priode.

Il faut se tourner vers la musique liturgique afin de trouverune rponse pleine de maturit de la part des compositeursanglais aux dveloppements de lArs Nova franais. Les deuxmorceaux tirs du manuscrit Old Hall 2 et 7 sont parmi les

iti l l i i ti t l l h d l

post-Machaut. Les sections pour quatre voix ont de chaudes etsaisissantes sonorits sans pour autant perdre la verve

rythmique que certains compositeurs (y compris peut-tremme lauteur de Laus detur multipharia) ne conservaientquau dtriment de certains autres aspects techniques. Cesdeux pices tires du Old Hall ont la particularit dintroduireune cinquime voix dans le passage final, crant ainsi soit uneexplosion de sons, soit une clameur captivante dans laquelleles diffrentes voix semblent lutter pour la suprmatie.

Les conducti (mises en musique de pomes en latin duMoyen-ge) constituent la deuxime partie de cette collection.In Rama sonat gemitus bt est une chanson monophoniquecompose aux alentours de 1160 dplorant le dpart deThomas Becket dAngleterre et son exil en France. Autant quelon puisse en juger, la tradition de la chanson monophoniquelatine tait similaire dans les deux pays et cette chanson auraitpu tre crite dans lun ou lautre pays. Les formes poly-

phoniques furent moins influences dans la France etlAngleterre du treizime sicle par la culture des les Anglo-normandes ( Channel culture ) que ne lavaient laiss en-tendre les historiens. La mise en musique pour trois voix delAve Maria cl , avec sa chane de triades, est par exemplecrite dans un style typiquement anglais. Flos in montecerniturbs est lun des trs rares conducti dont le thme estrotique. Il est important de le souligner car limage du vin,des femmes et de la chanson ( wine, women and song )attache la chanson en latin du Moyen-ge, et ce probable-ment en raison du clbre recueil Carmina Burana, nest pas

ti t t i d d ti L t t d D d

LES ESPRITS DE LANGLETERRE ET DE LA FRANCEMUSIQUE DE COUR ET DGLISE DE LA FIN DU MOYEN-GE


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partir de laquelle le cancer stend jusquaux membres ( limbs ) du corps politique. La deuxime (le pome est

vraisemblablement incomplet) clbre les exploits dun prlat.Les conducti tels que Flos in monte cernitur et Deduc,Syon, uberrimas furent ventuellement clipss par unenouvelle forme qui se rpandit rapidement dans le nord de laFrance aprs 1220: le motet. Celle-ci engendra de nouveauxgots musicaux, tout particulirement en matire de rythme,qui eurent de lourdes consquences sur lvolution de lachanson mdivale, volution illustre ici sur cet enregistre-ment. Deduc, Syon, uberrimas est, par exemple, interprtedans ce qui tait certainement le style rythmique original:chaque syllabe est dclame selon une longue parfaite(en transcription moderne : une noire pointe). Ce genre dedclamation iso-syllabique disparut virtuellement aveclapparition du motet, ce denier employant une alternanceconstante de valeurs longues et brves (noire et croche),

alternance illustre ici dans Virgo plena gratie bp et Jene puis / Par un matin / Le premier jor / IUSTUS bn . Lespremiers motets furent crs en rdigeant un texte pour lesparties suprieures de certaines compositions polyphoniquesliturgiques ou de certaines sections de ces compositions. Lespremiers motets trois voix tre composs de cette maniresemblent tre les motets conductus comme Virgo plena

gratie o les deux voix suprieures sont identiques. Pourtant,aux alentours de 1250, la forme du motet avait dj atteint sonapoge dans des compositions quatre voix telle que Je ne

puis / Par un matin / Le premier jor / IUSTUS ; ces pices sont

encore aujourdhui considres comme des compositionsaudacieuses et presque alatoires, la combinaison des trois

voix crites sur la partie tnor crant ainsi des enchevtre-ments de dissonnances, une bousculade vocalique et unetonalit harmonieuse.

Les morceaux instrumentaux excuts ici sur un violond'poque mdivale sont tous des estampies. Ces mlodiessont souvent excutes de nos jours sur un grand nombredinstruments, percussions y compris, en pensant que ce sontdes danses. Pourtant, il apparat que cette forme musicaletait tout particulirement associe au violon solo, et ce depuisle dbut du quatorzime sicle, poque laquelle lesestampies (sur cet enregistrement) furent crites (cest direaux environs de 1300); il semble galement que lattrait deces mlodies rsidait en partie dans la manire dont ellesrestaient matres de quiconque souhaitait en suivre leur formecomplexe. Les mlodies semblaient simples sur le papier, mais

l rsidait la difficult: les similarits qui existaient entre deuxsectionsvoire mme entre deux estampiestaient sigrandes que lexcutant devait grandement sappliquer afinque les superpositions mlodiques nentranent pas de fusionentre les sections en question. Selon Johannes de Grocheio(aux alentours de 1300), lestampie est une mlodie qui crela confusionet ce parce quelle conduit celui qui linterprte oucelui qui lcoute sattarder sur la mlodie, dtournant ainsison esprit dune rflexion critique .

CHRISTOPHER PAGE 1994Traduction BATRICE LESADE


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DER ERSTE ABSCHNITT des Programms untersuchtdie bemerkenswerte Klangflle der drei- und vier-

stimmigen Schreibweise whrend der letztenJahrzehnte des vierzehnten, und der ersten Jahrzehnte desfnfzehnten Jahrhunderts. Laus detur multipharia 6 ist inmancher Hinsicht eine Kuriositt, nicht zuletzt, weil es einlateinisches religises Virelai ist. Der Satz besitzt eine seltsam

fremde Schnheit, die vielen franzsischen Liedern des spten14. Jahrhunderts eigen ist; man beachte die Hoquetus-Passagen und den berraschenden harmonischen Lagen-wechsel im B-Abschnitt, der zuerst bei den Worten Veritasmonstratur hoRUM auftritt, und der an einige Chansons derArs subtilior, wie z. B. dasJoyeux der cuervon Solage, erinnert.Verfolgt man die Tradition des franzsischen Liedes nach 1400,so findet man, da der betrchtliche Nachla des KomponistenMatteo da Perugia das einzigartig kunstvolle Belle sansper 3 enthlt, ein Lied, dessen entschlossen eifrige Unter-

stimmen und unvorhersehbare Erhhungen um einen HalbtonStrukturen der Musik des vierzehnten Jahrhunderts, wie dievon Laus detur multipharia, in Erinnerung rufen, dessenmitschwingende Struktur jedoch sptere Werke im Stil vonQuant la douce jouvencelle 1 antizipiert. Quant la douce

jouvencelle ist eines der schnsten aller Lieder des frhenfnfzehnten Jahrhunderts und besitzt den hohen Grad anSchlichtheit, den Komponisten der 1420er und 1430 Jahre oftbewut anstrebten.

Den letzten und reifsten Ertrag der Auseinandersetzungenglischer Komponisten mit den Entwicklungen innerhalb derf i h A N fi d i i d

(die auerordentliche Entwicklung der zweiten Stimme istbemerkenswert). Die zweistimmigen Teile dieser Komposi-

tionen haben eine rhythmische Flexibilitt, die deutlich denChansons der Generation Machauts und der folgendenGeneration verpflichtet ist, whrend die vierstimmigenWerkabschnitte eine reiche, berwltigende Klangflle erzielen,ohne dabei den rhythmischen Schwung zu verlieren, denmanche Komponisten (einschlielich beispielsweise desKomponisten des Laus detur multipharia) nur erreichten,wenn sie andere Stilmittel fallen lieen. Als berraschung wirdzum Schlu dieser beiden Stze aus dem Old Hall Manuskriptbei den letzten Tonlufen eine fnfte Stimme eingefhrt.Hierdurch wird im einen Falle ein loderndes Klangfeuer erzielt,im anderen ein aufregendes Getse, in welchem die Stimmenum Vorrang zu kmpfen scheinen.

Die lteste Musikschicht im zweiten Teil des Programmssind die Conducti: Vertonungen von lateinischen rhythmischen

Versen. Das monophone In Rama sonat gemitus bt reichtin die 1160er Jahre zurck, denn es beklagt Thomas BecketsExilierung von England nach Frankreich. Soweit wir zuerkennen vermgen, hneln sich die Traditionen des mono-phonen lateinischen Liedes in den beiden Lndern, und diesesLied knnte in jedem der beiden geschrieben worden sein.Polyphonische Stilarten waren weniger stark von derrmelkanal-Kultur, die Historiker England und Frankreich imdreizehnten Jahrhundert zuschrieben, beeinflut; zum Beispielist der dreistimmige Satz des Ave Maria cl mit seinenDreiklangsketten in einem unverkennbar englischen Stilk i t Fl i t it bs i t i d i i

DER GEIST ENGLANDS UND FRANKREICHSHFISCHE UND GEISTLICHE MUSIK DES SPTMITTELALTERS


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und gar nicht angemessen. Die Texte von Deduc, Syon,uberrimasbl und Presul nostri temporis bu , bedeutendenKompositionen, die in den Hauptquellen von Conducti(einschlielich einer Quelle aus Britannien) erscheinen, sind

representativer fr die Conduktus-Dichtung; der erstere ist einAngriff auf die Laster des Klerus, insbesondere des Papsttums,des Kopfes von dem sich der Krebs auf die Glieder desStaatswesens ausbreitet; der letztere (dessen Gedicht sehrwahrscheinlich unvollstndig ist), scheint die Errungen-schaften eines Prlaten zu preisen.

Conducti wie Flos in monte cernitur und Deduc, Syon,uberrimas wurden schlielich durch eine neue Form in denSchatten gestellt, die ab ca.1220 in Nordfrankreich der letzteSchrei war: die Motette. Der Aufstieg der Motette gab denAnsto zu einer nderung des musikalischen Geschmacks,besonders was den Rhythmus anbetraf. Diese neueGeschmacksrichtung sollte ungeheuer wichtig fr dieEntwicklung des mittelalterlichen Liedes werden. Das hieraufgezeichnete Material veranschaulicht dies. Zum Beispiel

wird Deduc, Syon, uberrimas in einem Stil vorgetragen, dersicherlich sein ursprnglicher rhythmischer Stil war, insofernals jede Silbe so deklamiert wird, da sie eine vollkommeneLonga darstellt (im Sprachgebrauch der modernen Trans-kription ist dies eine punktierte Viertelnote). Mit dem Aufstiegder Motette verschwand diese Form der isosyllabischenVortragsweise fast vollstndig, denn Motetten wiesen die Artvon dauernder rhythmischer Alternation zwischen langen undkurzen Notenwerten (Viertelnoten und Achtelnoten) auf, die inVirgo plena gratie bp und Je ne puis/Par un matin/Lepremier jor/IUSTUSbn zu hren ist. Die ersten historischenS hi ht M t tt h b ih U d i d

beide Oberstimmen denselben Text singen. Um 1250 war invierstimmigen Kompositionen wie Je ne puis / Par un matin /

Le premier jor/ IUSTUS die Motettenform jedoch schon in allenihren Mglichkeiten ausgeschpft worden; selbst heute noch

erwecken diese Musikstcke der Eindruck khner und fastwillkrlich zusammengefgter Kompositionen, in denen dieKombination von drei Singstimmen oberhalb des Tenors einGewirr von Dissonanzen und eine Flut von Vokal- undKonsonantentnungen erzeugt.

Die Instrumentalstcke, die hier auf einer mittelalterlichenFiedel gespielt werden, sind samt und sonders Estampies.Heutzutage werden diese Stcke oft mit einer Vielzahlinstrumentaler Hilfsmittel, einschlielich des Schlagzeugs,vorgetragen, in der Annahme, da sie eine Form der Tanzmusikdarstellen. Von dem Zeitraum an, in dem die hier auf-gezeichneten Estampies niedergeschrieben wurdenund dasheit ab ca. 1300gibt es jedoch Belege, da ein besondererZusammenhang zwischen der Estampie und der Fiedel alsSoloinstrument bestand, und da der Reiz dieser Kompo-

sitionen teilweise darin liegt, da sie die Aufmerksamkeit einesjeden beanspruchten, der ihrer verwickelten Form folgenwollte. Auf dem Papier sehen diese Melodien einfach und

formelhaft aus; aber genau darin besteht ihre Schwierigkeit:zwei Abschnitte einer Estampieoder zwei Estampienhaben soviel an musikalischem Stoff gemeinsam, da derVortragende sich stark konzentrieren mu, die Melodie klar zuzeichnen und zu verhindern, da sich mittels des gemein-samen Materials ein Abschnitt in einen anderen auflst. Wie es

Johannes de Grocheio um ca. 1300 ausdrckte, ist dieEstampie eine Melodie, die eine komplizierte Struktur vonb i ti b it t d h ih S h i i k it d


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Also available:

The Marriage of Heaven and Hell

Motets and songs fromthirteenth-century FranceCompact Disc CDH55273

Gothic Voices

Gramophone Award Winners CollectionA FEATHER ON THE BREATH OF GOD

Sequences and hymns byAbbess Hildegard of Bingen

THE SERVICE OF VENUS AND MARSMusic for the Knights of the Garter

A SONG FOR FRANCESCA

Music in Italy, 133014303 Compact Discs CDS44251/3

The Castle of Fair WelcomeCourtly Songs of the later fifteenth century

Compact Disc CDH55274


16/17

CDH55281

The Spirits of England and FranceMusic for Court and Church from the later Middle Ages

PART I The fourteenth and fifteenth centuries

1 ANONYMOUS Quant la douce jouvencelle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a f g [3'51]2 (JOHN) COOKE (c1385?1442) Gloria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a b c f g [4'09]3 MATTEO DA PERUGIA (fl14001416) Belle sans per . . . . . . . . . . . . . . . . . . . . . . . . . . . . a f g [3'55]4 GUILLAUME DE MACHAUT (c13001377) Ay mi ! dame de valour . . . . . . . . . . . . . . . . . d [2'49]5 ANONYMOUS En cest mois de May . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c f g [2'14]6 ANONYMOUS Laus detur multipharia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a c f g [3'45]

7 ANONYMOUS Credo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a b e f g [5'36]8 ANONYMOUS La uitime estampie real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . h [1'23]9 PYKINI (fl c13641389) Plaisance, or tost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c f g [2'16]

PART II The twelfth and thirteenth centuries

bl ANONYMOUS Deduc, Syon, uberrimas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c [4'27]bm ANONYMOUS La septime estampie real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . h [1'07]

bn ANONYMOUS Je ne puis / Par un matin / Le premier jor / IUSTUS . . . . . . . . b c d e [4'33]bo ANONYMOUS Beata nobis gaudia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b [2'37]bp ANONYMOUS Virgo plena gratie / Virgo plena gratie / [VIR]GO . . . . . . . . . . . . b d e [3'04]bq ANONYMOUS La quarte estampie real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . h [2'23]br ANONYMOUS Crucifigat omnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . c [2'16]bs ANONYMOUS Flos in monte cernitur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b d e [3'36]bt

ANONYMOUS In Rama sonat gemitus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

e [2'32]bu PEROTINUS? (fl c1200) Presul nostri temporis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b d e [2'10]cl ANONYMOUS Ave Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b d e [2'21]

NOTES EN FRANAIS + MIT DEUTSCHEM KOMMENTAR


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HELIOS

CDH55281

HELIOS

CDH55281 TH

ESPIRIT

SOFENGLANDAND

FRANCE

GOTHICVO

ICES

.CHRISTOPHERPAGE

THE

SPIRITSOFENGLAND

ANDFRANCE

GOT

HICVOICES

.CHRISTO

PHERPAGE

The Spirits of England and FranceMusic for Court and Church from the later Middle Ages

1 ANONYMOUS Quant la douce jouvencelle [3'51]2 (JOHN) COOKE Gloria [4'09]3 MATTEO DA PERUGIA Belle sans per [3'55]4 GUILLAUME DE MACHAUT Ay mi ! dame de valour [2'49]5 ANONYMOUS En cest mois de May [2'14]6 ANONYMOUS Laus detur multipharia [3'45]7 ANONYMOUS Credo [5'36]

8 ANONYMOUS La uitime estampie real [1'23]9 PYKINI Plaisance, or tost [2'16]bl ANONYMOUS Deduc, Syon, uberrimas [4'27]bm ANONYMOUS La septime estampie real [1'07]bn ANONYMOUS Je ne puis / Par un matin / Le premier jor / IUSTUS [4'33]bo ANONYMOUS Beata nobis gaudia [2'37]bp ANONYMOUS Virgo plena gratie / Virgo plena gratie / [VIR]GO [3'04]bq ANONYMOUS La quarte estampie real [2'23]br ANONYMOUS Crucifigat omnes [2'16]

bs ANONYMOUS Flos in monte cernitur [3'36]bt ANONYMOUS In Rama sonat gemitus [2'32]bu PEROTINUS? Presul nostri temporis [2'10]cl ANONYMOUS Ave Maria [2'21]

GOTHIC VOICESCHRISTOPHER PAGE director

MADE IN ENGLAND

CDH55281

Duration 62'40

A HYPERION RECORDING

DDD

Recorded in Boxgrove Priory, West Sussex, on 1113 March 1994Recording Engineer TONY FAULKNER

Recording Producer MARTIN COMPTONExecutive Producers JOANNA GAMBLE, EDWARD PERRY

P Hyperion Records Limited, London, 1994C Hyperion Records Limited, London, 2007

(Originally issued on Hyperion CDA66739)

Front illustration: Two hybrids from a fourteenth-century English Book of Hours,now in Sidney Sussex College, Cambridge, MS76, f, 87r.

Unalloyed pleasure Once again a superb recording that stimulates, thatcharms (Gramophone) Unqualified rapture (American Record Guide)Glorious music (BBC Music Magazine)

gothic voices - the spirits of england and france, vol. 1.pdf

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