Composed by Guillaume Dufay
2. Se la face ay pale, ballade for 3 voices
Composed by Guillaume Dufay
3. Se la face ay pale, ballade for 3 voices
Composed by Guillaume Dufay
4. Se la face ay pale, ballade for 3 voices
Composed by Guillaume Dufay
5. Missa Se la face ay pale, for 4 voices
Composed by Guillaume Dufay
6. Missa Se la face ay pale, for 4 voices
Composed by Guillaume Dufay
Product Description
Amazon.com
The opening track of this extraordinary recording will surprise anyone whose impression of 15th-century religious music is defined by dark monasteries and hooded monks. This "Gloria ad modum tubae" for two countertenors and two sackbuts (early relatives of the trombone)--and the following secular chanson, "Se la face ay pale"--has enough melodic spark and rhythmic oomph to yank even the most jaded 20th-century ears happily back 400 years and leave them anxiously waiting for more. The "more" that follows is a sensitive, careful, and uncommonly expressive performance of the Mass for which Guillaume Dufay is primarily known today. As sung by the all-male ensemble-countertenors, tenors, and baritones-with occasional instrumental accompaniment, the music seems to emerge from an ancient stillness to fill the revered space of some Gothic cathedral. In fact, this is a studio recording made in the early 1970s. Thankfully, and properly, it has remained in the catalog, for it is still the best version of this essential early music masterpiece. --David Vernier
As other reviewers noted, contrary to the sense of the title, only half of these pieces are actually songs, in the modern sense of the French art song or Chanson. But that doesn't make them any less enjoyable. I find the performances comparable to my benchmark for similar early music performances, the Clemencic Consort.
A very nice, inexpensive sampling of great early music.
Take 'Se la face ay pale' for example, a through-composed chanson in which Dufay employs voice crossings and close imitation to achieve a sophisticated polyphonic tapestry. The Unicorn Ensemble performs this chanson instrumentally (as they do with about half the songs in this collection). Their interpretation is textured and inspired, but obscures the effect of Dufay's polyphony. Another chanson performed instrumentally is "Resveilliés vous et faites chiere lye," written for the 1423 wedding of Carlo Malatesta and Vittoria Colonna. In its original version, Dufay highlighted the groom's name with a homophonic treatment of the line "Charle, gentil." Without voices, the effect is lost.
The overall effect of "Chansons" is to cast Dufay's music as essentially Medieval; many of these arrangements wouldn't sound out of place on Unicorn Ensemble's "Codex Faenza," featuring music written by composers who lived a century before Dufay. Dufay's secular music is undoubtedly rooted in medieval sensibilities, but his approach to vocal polyphony classes him as early Renaissance. Fans of Medieval instrumental music will treasure "Chansons," and rightly so. But those interested in the music of Dufay should also seek out one of his Masses, such as "Missa L'homme arme" (also on Naxos) or (if you can find it) "Missa Se la face ay pale" (based on the chanson found here). One should hear Dufay's music as vocal polyphony to truly experience the glorious achievements of this early Renaissance master.
The compilation establishes a strong focus on the 15th century by beginning with the works of Guillaume Dufay (1397-1474). Dufay excelled in both sacred and secular vocal compositions, as illustrated here by three Mass movements and the lovely chanson "Se la face ay pale."
Pioneer of pervasive imitation Josquin Desprez (c. 1450-1521) is well represented with 20 minutes of music, the highlight being a stirring rendition of the virtuoso motet "Miserere mei, Deus" (not to be confused with the early 17th century Allegri work).
Selections from the High Renaissance dispense with the usual suspects; notable omissions include Byrd, Lassus, Willaert & Palestrina. We hear a madrigal by Verdelot, a Marian antiphon by Gombert, and perhaps best of all, Thomas Tallis' magnificent 40-voice motet "Spem in alium."
Instrumental pieces get rather short shrift, with only "Agincourt Carol" and a fantasia by Mudarra (c. 1510-1585) providing contrast to the stream of polyphony that dominates the CD.
Some selections may induce head-scratching; for example, Solage's "Fumeux et fume." This bizarre, chromatic work represented the late Medieval "ars subtilior" style, an experimental movement that faded before the Renaissance began in earnest. A better selection from the transitional period from late Medieval to early Renaissance is Perugia's "Helas Avril," a three-part virelai which foreshadows Dufay's polyphony.
Prominent Dufay scholar David Fallows provides insightful liner notes. The performances (which prominently feature the Huelgas Ensemble under the direction of Paul Van Nevel) are selected from a wide time frame (1965 to 1996), but fine mastering and clever sequencing makes the compilation flow nicely.
"The Renaissance in Music," despite some notable omissions and curious inclusions, serves as a good starting point for anyone interested in music of the 15th and 16th centuries. The compilation's tantalizing selection should whet one's appetite for more music of the era.
"Missa Se la Face Ay Pale," an Ordinary Mass Cycle (Gloria, Kyrie, Credo, Sanctus, Agnus Dei) from approximately 1450, dominates Disc One. Dufay suffuses these Mass movements with recurring, identifiable motifs, achieving compositional unity and establishing the standards to which composers of 15th century sacred music aspired. Somewhat controversially, Dufay based the Mass on his own chanson `Se la face ay pale;' previously, Mass movements had been based on Church-approved plainchants. The chanson also appears here, as do three others ("Vergene Bella," "Las, Que Feray," and "Ma Belle Dame Souveraine").
"The Mass for St. James the Greater," which takes up most of disc 2, is an early Dufay plenary Mass (c. 1427), which includes not only the movements of the Mass Ordinary but also the Proper movements (Introit, Alleluia, Offertory and Communio). Scholars have identified the Communio as the first documented use of "fauxbourdon" - a quasi-improvisatory technique that employed parallel first inversion chords, thereby emulating the "sweet sound" developed by early 15th century English composers. The Mass doesn't rival the joyful beauty of "Missa Se la Face Ay Pale," but instead captures Dufay in a formative, developmental phase. Two associated motets follow this Mass: "Rite Maiorem" and "Ecclesiae Militantis."
Alejandro Planchart, a premier Dufay scholar, expertly conducts the Capella Cordina in this 1974 performance. The combination of male and female voices with period instruments (such as viol, recorder, and sackbut) achieves a rich, visceral quality often lacking in modern performances of Renaissance Music. The tasteful instrumental accompaniment provides texture without overwhelming the vocals.
Lyrichord Discs would do well to consider reissuing this CD; it's the Holy Grail of Dufay recordings.
I was looking forward to hearing two masses of Dufay with instruments to add to my collection of recordings by Cantica Symphonia (Missae and Fragmenta Missarum, both really wonderful experiences; and the recording of Dufay's isorhythmic motets by the Huelgas Ensemble, a mystical and beautiful encounter).
I have been usually pleased with other Lyrichord recordings, but the singing on this 2 cd set is downright hard to listen to. It reminds me of a similarly unpleasant listen to a Seon recording of Josquin's Missa La Sol Fa Re Mi. You can read my equally disappointed review of that recording as well. What both of these recordings have in common are two aspects: (1) a lack of balance and integration of the instrumental music and the choir, so the overall effect is that of a blurry halo of sound, and (2) the choir sounds like it is singing too fast and seems to consist predominantly of wobbly elderly sopranos and altos who are singing more in a wavering vocal style more appropriate to opera and comes off in the end sounding nothing like a renaissance work at all.
If you want to enjoy outstanding recordings of Dufay's glorious masses with instrumental accompaniments, then I highly recommend seeking used copies of the recordings I listed above by Cantica Symphonia (on the Stradivarius Dulcimer label) and the isorhythmic motets (CD entitled "O Gemma Lux") performed incredibly by the Huelgas Ensemble on the Harmonia Mundi label.
The opening track of this extraordinary recording will surprise anyone whose impression of 15th-century religious music is defined by dark monasteries and hooded monks. This "Gloria ad modum tubae" for two countertenors and two sackbuts (early relatives of the trombone)--and the following secular chanson, "Se la face ay pale"--has enough melodic spark and rhythmic oomph to yank even the most jaded 20th-century ears happily back 400 years and leave them anxiously waiting for more. The "more" that follows is a sensitive, careful, and uncommonly expressive performance of the Mass for which Guillaume Dufay is primarily known today. As sung by the all-male ensemble-countertenors, tenors, and baritones-with occasional instrumental accompaniment, the music seems to emerge from an ancient stillness to fill the revered space of some Gothic cathedral. In fact, this is a studio recording made in the early 1970s. Thankfully, and properly, it has remained in the catalog, for it is still the best version of this essential early music masterpiece. --David Vernier
Dufay: Se la Face ay Pale,Guillaume Dufay,The Early Music Consort,David Munrow,EMI Records [All429],Ballade,Choral,Classical,Classical Composers,Classical Music,Early Music / Chant,Gloria,Renaissance Mass,Vocal
![Dufay: Missa "Se La Face Ay Pale"; Two Hymns [Germany]](http://ec1.images-amazon.com/images/I/31yEcT59%2B7L.jpg)
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Dufay: Missa "Se La Face Ay Pale"; Two Hymns [Germany]
Schmidt-Gaden , Gerhard , and Collegium Aureum Manufacturer: Deutsche Harmonia Mun ProductGroup: Music Binding: Audio CD  General
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ASIN: B000B7G0Q0 Release Date: 2006-01-09 |
Tracks:
- Missa 'Se La Face Ay Pale' - I. Kyrie
- Missa 'Se La Face Ay Pale' - Ii. Gloria
- Missa 'Se La Face Ay Pale' - Iii. Credo
- Missa 'Se La Face Ay Pale' - Iv. Sanctus
- Missa 'Se La Face Ay Pale' - V. Agnus Dei
- Hymnus In Adventu Domini 'Conditor Alme Siderum'
- Hymnus In Festo Omnium Sanctorum 'Christe, Redemptor Omnium'
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Dufay: Chansons
Guillaume Dufay , Antonio Vivaldi , Michael Posch , Michel Posch , Bernhard Landauer , and Ensemble Unicorn Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Delius, Frederick
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ASIN: B00000148Z Release Date: 1996-05-21 |
Tracks:
- Chansons: J'ay mis mon cuer
- Chansons: Par droit je puis bien complaindre
- Chansons: Quel fronte signorille La dolce vista
- Chansons: Puisque vous estez campieur
- Chansons: Belle, que vous ay je mesfait
- Chansons: Vergene bella
- Chansons: Se la face ay pale
- Chansons: Donnes l'assault a' Ia fortresse
- Chansons: Par le regard de vos beaux yeux
- Chansons: Resvelons nous
- Chansons: Ce jour de l'an
- Chansons: Mon chier amy
- Chansons: Pour l'amour de ma doulce amye
- Chansons: Helas mon dueil
- Chansons: Bon jour, bon mois
- Chansons: Resvellies vous et faites chiere lye
- Chansons: Adieu ces bons vins de Lannoys
Customer Reviews:
Excellent Dufay, not all 'songs'. Buy It........2006-07-31
As other reviewers noted, contrary to the sense of the title, only half of these pieces are actually songs, in the modern sense of the French art song or Chanson. But that doesn't make them any less enjoyable. I find the performances comparable to my benchmark for similar early music performances, the Clemencic Consort.
A very nice, inexpensive sampling of great early music.
The Unicorn Ensemble "get medieval" on Dufay.......2006-02-18
Take 'Se la face ay pale' for example, a through-composed chanson in which Dufay employs voice crossings and close imitation to achieve a sophisticated polyphonic tapestry. The Unicorn Ensemble performs this chanson instrumentally (as they do with about half the songs in this collection). Their interpretation is textured and inspired, but obscures the effect of Dufay's polyphony. Another chanson performed instrumentally is "Resveilliés vous et faites chiere lye," written for the 1423 wedding of Carlo Malatesta and Vittoria Colonna. In its original version, Dufay highlighted the groom's name with a homophonic treatment of the line "Charle, gentil." Without voices, the effect is lost.
The overall effect of "Chansons" is to cast Dufay's music as essentially Medieval; many of these arrangements wouldn't sound out of place on Unicorn Ensemble's "Codex Faenza," featuring music written by composers who lived a century before Dufay. Dufay's secular music is undoubtedly rooted in medieval sensibilities, but his approach to vocal polyphony classes him as early Renaissance. Fans of Medieval instrumental music will treasure "Chansons," and rightly so. But those interested in the music of Dufay should also seek out one of his Masses, such as "Missa L'homme arme" (also on Naxos) or (if you can find it) "Missa Se la face ay pale" (based on the chanson found here). One should hear Dufay's music as vocal polyphony to truly experience the glorious achievements of this early Renaissance master.
Dufay: Chansons ~ Guillaume Dufay.......2005-03-17
I love the playing of this great ensamble!.......2001-05-23
Lovely.......2000-12-28
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The Renaissance In Music (National Public Radio Milestones Of The Millennium)
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ASIN: B00000HXL5 Release Date: 1999-01-12 |
Tracks:
- Ordinary Of The Mass: Kyrie (11)
- Ordinary Of The Mass: Gloria (5)
- Ordinary Of The Mass: Credo (1)
- Se la face ay pale - Guillaume Dufay
- Agincourt Carol - Anonymous
- Fumeux fume - Solage
- Helas Avril
- Spem in alium - Thomas Tallis
- Miserere mei, Deus - Josquin Desprez
- Planxit autem David - Josquin Desprez
- Een vrouelic wesen
- Italia mia - Philippe Verdelot
- Quando ritrovo la mia pastorella - Costanzo Festa
- Regina coeli (Marian Antiphon For 12 Voices) - Nicolas Gombert
- Fantasia que contrahaze la harpa en la manera de Ludovico - Alonso Mudarra
Amazon.com
Unlike some "greatest-hits" samplers, this well-chosen selection can serve a purpose for even some fairly advanced music lovers who still don't know this period well. Annotator David Fallows ties things together with perceptive commentary, and the performances chosen (most of them from stylistically enlightened recordings) are all quite fine. The uncredited programmer hasn't hesitated to emphasize great names (Dufay and Josquin Des Prez) or to include stylistically weird material (Solage's incredibly dissonant Fumeux fume). Only a few minutes after Solage, we get the gorgeous euphony of Tallis' Spem in alium! It's a pity that no texts are included, or that there isn't any bouncy dance music, but this is still a fine single-disc introduction to the period. The timing is about as long as possible. --Leslie GerberCustomer Reviews:
A good starting point for anyone interested in music of the 15th and 16th centuries.......2007-05-15
The compilation establishes a strong focus on the 15th century by beginning with the works of Guillaume Dufay (1397-1474). Dufay excelled in both sacred and secular vocal compositions, as illustrated here by three Mass movements and the lovely chanson "Se la face ay pale."
Pioneer of pervasive imitation Josquin Desprez (c. 1450-1521) is well represented with 20 minutes of music, the highlight being a stirring rendition of the virtuoso motet "Miserere mei, Deus" (not to be confused with the early 17th century Allegri work).
Selections from the High Renaissance dispense with the usual suspects; notable omissions include Byrd, Lassus, Willaert & Palestrina. We hear a madrigal by Verdelot, a Marian antiphon by Gombert, and perhaps best of all, Thomas Tallis' magnificent 40-voice motet "Spem in alium."
Instrumental pieces get rather short shrift, with only "Agincourt Carol" and a fantasia by Mudarra (c. 1510-1585) providing contrast to the stream of polyphony that dominates the CD.
Some selections may induce head-scratching; for example, Solage's "Fumeux et fume." This bizarre, chromatic work represented the late Medieval "ars subtilior" style, an experimental movement that faded before the Renaissance began in earnest. A better selection from the transitional period from late Medieval to early Renaissance is Perugia's "Helas Avril," a three-part virelai which foreshadows Dufay's polyphony.
Prominent Dufay scholar David Fallows provides insightful liner notes. The performances (which prominently feature the Huelgas Ensemble under the direction of Paul Van Nevel) are selected from a wide time frame (1965 to 1996), but fine mastering and clever sequencing makes the compilation flow nicely.
"The Renaissance in Music," despite some notable omissions and curious inclusions, serves as a good starting point for anyone interested in music of the 15th and 16th centuries. The compilation's tantalizing selection should whet one's appetite for more music of the era.
Renaissance in Peace.......2000-08-06
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Middle Ages Music
Manufacturer: Griffin (Qualiton) ProductGroup: Music Binding: Audio CD All Works by Dufay
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ASIN: B00004U0S9 Release Date: 2000-06-28 |
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Dufay: Missa "Se la face ay pale" / 3 Chansons / Di Lasso: Penitential Psalms 1 & 6 / Senfl / Isaac
Guillaume Dufay , Orlando di Lasso , Ludwig Senfl , and His Majesty's Sagbutts and Cornetts Manufacturer: Nuova Era ProductGroup: Music Binding: Audio CD All Works by Dufay
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ASIN: B0000036AU Release Date: 1995-01-31 |
Tracks:
- Missa 'Se La Face Ay Pale': Kyrie
- Missa 'Se La Face Ay Pale': Gloria
- Missa 'Se La Face Ay Pale': Credo
- Missa 'Se La Face Ay Pale': Sanctus
- Missa 'Se La Face Ay Pale': Agnus Dei
- Se La Face Ay Pale
- Resvelons Nous
- Bon Jour, Bon Mois
- Ich Stund En Einem Morgen I
- Salmo Penitenziale No. 6 'De Profundis'
- Ich Stund En Einem Morgen II
- Salmo Penitenziale No. 1 'Domine, Ne In Furore Tuo'
- Ich Stund En Einem Morgen III
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Guillaume Dufay
Guillaume Dufay , and Cappella Cordina Manufacturer: Lyrichord Discs Inc. ProductGroup: Music Binding: Audio CD All Works by Dufay
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ASIN: B0000022B7 Release Date: 1994-11-29 |
Tracks:
- Missa 'Se La Face ay Pale': Se La Face ay Pale
- Missa 'Se La Face ay Pale': Kyrie
- Missa 'Se La Face ay Pale': Gloria
- Missa 'Se La Face ay Pale': Credo
- Missa 'Se La Face ay Pale': Sanctus
- Missa 'Se La Face ay Pale': Agnus
- Missa 'Se La Face ay Pale': Bergene Bella
- Missa 'Se La Face ay Pale': Las, Que Feray
- Missa 'Se La Face ay Pale': Ma Belle Dame Souveraine
Tracks:
- Missa Sancti Jacobi: Introit
- Missa Sancti Jacobi: Kyrie
- Missa Sancti Jacobi: Gloria
- Missa Sancti Jacobi: Alleluia
- Missa Sancti Jacobi: Credo
- Missa Sancti Jacobi: Offertory
- Missa Sancti Jacobi: Sanctus
- Missa Sancti Jacobi: Agnus
- Missa Sancti Jacobi: Communion
- Missa Sancti Jacobi: Rite Maiorem (1426)
- Missa Sancti Jacobi: Ecclesiae Militantis (1431)
Customer Reviews:
Amateurish and Unauthentic.......2007-04-19
The Holy Grail of Dufay recordings.......2006-03-04
"Missa Se la Face Ay Pale," an Ordinary Mass Cycle (Gloria, Kyrie, Credo, Sanctus, Agnus Dei) from approximately 1450, dominates Disc One. Dufay suffuses these Mass movements with recurring, identifiable motifs, achieving compositional unity and establishing the standards to which composers of 15th century sacred music aspired. Somewhat controversially, Dufay based the Mass on his own chanson `Se la face ay pale;' previously, Mass movements had been based on Church-approved plainchants. The chanson also appears here, as do three others ("Vergene Bella," "Las, Que Feray," and "Ma Belle Dame Souveraine").
"The Mass for St. James the Greater," which takes up most of disc 2, is an early Dufay plenary Mass (c. 1427), which includes not only the movements of the Mass Ordinary but also the Proper movements (Introit, Alleluia, Offertory and Communio). Scholars have identified the Communio as the first documented use of "fauxbourdon" - a quasi-improvisatory technique that employed parallel first inversion chords, thereby emulating the "sweet sound" developed by early 15th century English composers. The Mass doesn't rival the joyful beauty of "Missa Se la Face Ay Pale," but instead captures Dufay in a formative, developmental phase. Two associated motets follow this Mass: "Rite Maiorem" and "Ecclesiae Militantis."
Alejandro Planchart, a premier Dufay scholar, expertly conducts the Capella Cordina in this 1974 performance. The combination of male and female voices with period instruments (such as viol, recorder, and sackbut) achieves a rich, visceral quality often lacking in modern performances of Renaissance Music. The tasteful instrumental accompaniment provides texture without overwhelming the vocals.
Lyrichord Discs would do well to consider reissuing this CD; it's the Holy Grail of Dufay recordings.
A Long Wait For Disappointment.......2004-09-03
I was looking forward to hearing two masses of Dufay with instruments to add to my collection of recordings by Cantica Symphonia (Missae and Fragmenta Missarum, both really wonderful experiences; and the recording of Dufay's isorhythmic motets by the Huelgas Ensemble, a mystical and beautiful encounter).
I have been usually pleased with other Lyrichord recordings, but the singing on this 2 cd set is downright hard to listen to. It reminds me of a similarly unpleasant listen to a Seon recording of Josquin's Missa La Sol Fa Re Mi. You can read my equally disappointed review of that recording as well. What both of these recordings have in common are two aspects: (1) a lack of balance and integration of the instrumental music and the choir, so the overall effect is that of a blurry halo of sound, and (2) the choir sounds like it is singing too fast and seems to consist predominantly of wobbly elderly sopranos and altos who are singing more in a wavering vocal style more appropriate to opera and comes off in the end sounding nothing like a renaissance work at all.
If you want to enjoy outstanding recordings of Dufay's glorious masses with instrumental accompaniments, then I highly recommend seeking used copies of the recordings I listed above by Cantica Symphonia (on the Stradivarius Dulcimer label) and the isorhythmic motets (CD entitled "O Gemma Lux") performed incredibly by the Huelgas Ensemble on the Harmonia Mundi label.
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Cathedral Sounds
Dufay , Clemencic , and Clemencic Consort Manufacturer: Arte Nova Records ProductGroup: Music Binding: Audio CD Vocal & Song
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ASIN: B000063X8V Release Date: 2002-10-29 |
Tracks:
- Modocomor (Buxheimer Orgelbuch)
- Gaude virgo, mater Christi
- Magnificat
- Parleregart (Buxheimer Orgelbuch)
- Laetabundus exsultet fidelis chorus
- Portigaler (Buxheimer Orgelbuch)
- Flos florum
- Se le fatze ay pale (Buxheimer Orgelbuch)
- Conditor alme siderum
- Fulgens iubar/Puerpera pura
- Franckurgenti (Buxheimer Orgelbuch)
- Ave maris stella
- Se la phase pale (Buxheimer Orgelbuch)
- Gloria in excelsis Deo
- Credo in unum Deum
Average customer rating:
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Dufay: Missa Se la Face Ay Pale; Missa Ecce Ancilla Domini
Guillaume Dufay , Church of the Advent Choir , Edith Ho , and Mark Dwyer Manufacturer: Arsis Records ProductGroup: Music Binding: Audio CD All Works by Dufay
| Dufay, Guillaume
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ASIN: B00004TQUA Release Date: 2000-06-27 |
Average customer rating:
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Guillaume Dufay: Complete Secular Music - The Medieval Ensemble of London / Peter Davies & Timothy Davies
Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Dufay
| Dufay, Guillaume
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ASIN: B000004CYU Release Date: 1997-06-24 |
Tracks:
- Ce jour de l'an voudray joye mener
- Entre vous, gentils amoureux
- Resvellies vous et faites chiere lye
- J'ay mis mon cuer et ma pens e
- Navr je sui d'un dart penetratif
- L'alta belleza tua, virtute, valore
- helas, et quant vous veray?
- Je donne a tous les amoureux
- je veuil chanter de cuer joyeux
- Mon cuer me fait tous dis penser
- je requier a tous amoureux
- Resvelons nous, resvelons, amoureux
- Invidia nimica
- Ma belle dame, je vous pri
- Passato il tempo omaj di quei pensieri
- Pour ce que veoir je ne puis
- Par droit je puis bien complaindre et gemir
- Belle, que vous ay ie mesfait
- Se madame je puis veir
- Mon chier amy, qu'aves vous empens
Tracks:
- Belle plaissant et gracieuse
- Ma belle dame souveraine
- Helas, ma dame, par amours
- J'atendray tant qu'il vous playra
- J'ay grant
- La belle se siet au piet de la tour
- Ce moys de may soyons lies et joyeux
- Je ne suy plus tel que souloye
- La dolce uista
- Je me complains piteusement
- Bien veignes vous, amoureuse liesse
- Dona i ardenti ray
- Quel fronte signorille in paradiso
- Bon jour, bon mois, bon an et bonne estraine
- Estrines moy, je vous estrineray
- Je ne puis plus ce que y'ai peu
- Pour l'amour de ma doulce amye
- He, compaignons, resvelons nous
- Adieu ces bon vins de Lannoys
- pour l'amour de ma doulce amye
- Portugaler
- Belle, veullies moy retenir
- Vergene bella, che di sol vestita
- Belle, vueillies vostre mercy donner
Tracks:
- C'est bien raison de devoir essaucier
- Mon bien, m'amour et ma maistresse
- Je prens congie de vous, amours
- Mille bonjours je vous presente
- Craindre vous vueil, doulce dame de pris
- Entre les plus plaines danoy
- Se la face ay pale
- Dona gentile, bella come l'oro
- Bien doy servir de volente entiere
- Las, que feray? Ne que je devenray?
- Hic iocundus sumit mundus
- Pouray je avoir vostre mercy?
- Qu'est devenue leaulte?
- Ce jour le doibt, aussi fait la saison
- Seigneur Leon, vous soyes bienvenus
- Donnes l'assault a la fortresse
Tracks:
- Se la face ay pale
- Je languis en piteux martire
- Trop lonc temps ai est en desplaisir
- J'ayme bien celui qui s'en va
- Va t'en, mon cuer, jour et nuitie
- Puisque celle qui me tient en prison
- Vo regard et doulce maniere
- Or pleust a dieu qu'a son plaisir
- Juvenis qui puellam
- Je n'ai doubt fors que des envieux
- Par la regart de vos beaux yeux
- Adieu, quitte le demeurant de ma vie
- S'il est plaisir que je voux puisse faire
- Belle, vueilles moy vangier
- Lamentatio sanctae matris ecclesiae constantinopolitanae
- Adieu m'amour, adieu ma joye
- Se la face ay pale
- Ne je ne dors ne je ne veille
- Puisque vous estez campieur
Tracks:
- O flos florum virginum
- Je vous pri, mon tres doulx ami
- Ma plus mignonne de mon cueur
- Departes vous, male bouche et envie
- Dieu gard la bone sans reprise
- En triumphant de Cruel Dueil
- Je ne vis onques la pareille
- De ma haulte et bonne aventure
- Du tout m'estoie abondonn
- Malheureulx cueur, que vieulx tu faire?
- Mon seul plaisir, ma doulce joye
- Helas mon dueil, a ce cop sui ie mort
- Franc cuer gentil, sur toutes gracieuse
- Vostre bruit et vostre grant fame
- Resistera....
- Le serviteur hault guerdonn
- Les douleurs, dont me sens tel somme
Customer Reviews:
A great library builder, just a bit dull.......2006-08-06
Good but a bit outdated.......2000-07-08
Consistently the best Dufay recording ever.......2000-02-11
-- Justin Weaver
Music Review:
Music Review
Sisters of Soul: Sing The Hits of Anita Baker & Phyllis Hyman (Karaoke)
Ravel: Sonata for violin; Saint-Saens: Sonatas for violin No1
A treasure.......1999-12-20
Average customer rating:
Le Roman de la Rose: Musiques medievales, 13-15 siècle
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD
All Works by Dufay
| Dufay, Guillaume
| ( D )
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All Works by Machaut
| Machaut, Guillaume de
| ( M )
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Ballads
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Rondos
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General
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Vocal & Song
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| Music
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General
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General
| Chamber Music
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ASIN: B00005Q4LH
Release Date: 2002-06-11