Le Roman de Fauvel

On this CD:

1. Le Roman de Fauvel
Composed by French Anonymous
Performed by Anne Azema, Boston Camerata, Michael Collver, John Fleagle, Cheryl Ann Fulton, Shira Kammen

Tracks:

1. By Way Of A Preamble: Byzantine Chant: Alleluia - Tropaire de la venue de l'epoux (Lundi Saint) - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint: Version arabe - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint: Version grecque - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint - Version arabe - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Chants sacres Melchites (IV siecle): Hymne a la Vierge (Liturgie grecque de saint Jean Chrysostome) - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Chants sacres Melchites (IV siecle): Office de la Nativite de la Mere de Dieu (Grand Canon de saint Jean Damascene) - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Chants de l'Eglise de Milanaise: Psaume: 'Tecum principium in die virtutis tue'' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Chants de l'Eglise de Milanaise: Responsorium: 'Congratulamini mihi omnes qui diligitis Dominum'' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Le Chant Beneventain: Communio: 'Qui manducaverit' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Les Chants de l'Eglise de Rome (VII-VIII siecles): Introit 'Resurrexi' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Les Chants de l'Eglise de Rome (VII-VIII siecles): Office de l'Adoration de la Croix; Improperes: 'Agios o Theos, Sanctus Deus' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Le Chant Mozarabe: Cathedrale de Tolded: Sacrificium 'Vox clamantis' - MEDIEVAL JOURNEY

Tracks:

1. Gallican Chant: Versus de l'eveque Theodulfe d'Orleans: 'Gloria laus' - Deller Consort
1. Gallican Chant: Semaine Sainte: repons du 7 mode: 'Tenebrae factae sunt' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Introit: 'Requiem aeternam' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Kyrie eleison - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Graduel 'Requiem aeternam' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Trait: 'Absolve, Domine' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Sequence: 'Dies irae' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Offertoire: 'Domine Jesu Christe' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Sanctus - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Agnus Dei - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Communion: 'Lux aeterna' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Repons: 'Libera me' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Antienne: 'In paradisum' - Deller Consort
2. An Immense Corpus: Planctus Hugonis Abbatis: 'Hug dulce nomen' pour la mort d'Hugues, fils de Charlemagne, en 844 - Deller Consort
3. The Aquitaine Tradition, Or The Problem Of Notation: Antiphona ad processionem: 'O beata infantia' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Introitus cum tropis: 'Quam queritis in praesepe - Puer natus est' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Alleluja 'Dies sanctificatus' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Communio cum tropis: 'Desinat esse dolor - Viderunt Omnes' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Alleluia cum tropis in octava - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Cantio ad laudem cantoris: 'Annus novus in gaudio' - Schola Hungarica
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: Virtute multa - Ensemble Organum
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: In timore Dei - Ensemble Organum
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: 'Testamentum eternum' - Ensemble Organum
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: 'Dedit Dominus confessionem sancto suo' - Ensemble Organum

Tracks:

The Art Of The Troubadours: A l'entrada del temps clar - MEDIEVAL JOURNEY
The Art Of The Troubadours: Vida - MEDIEVAL JOURNEY
The Art Of The Troubadours: Quand vei la laudeta mover - MEDIEVAL JOURNEY
The Art Of The Troubadours: Vida - MEDIEVAL JOURNEY
The Art Of The Troubadours: Sitot me soi - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 77 (Flute a bec et percussion) - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Prologue: 'Porque Trobar' - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 37 (Flute de berger et zarb) - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 7: 'Santa Maria leva' - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 100: 'Santa Maria, strela do dia' - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Bacche, bene venies' (CB 200) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'In taberna quando sumus' (CB 196) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Axe Phebus aureo' (CB 71) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Deduc Syon, uberrimas' (CB 34) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Flete flenda' (CB 5) - MEDIEVAL JOURNEY
Les Minnesanger: 'Sinc an, guldin huon!' - MEDIEVAL JOURNEY
Les Minnesanger: Ich lobe ein wip (Instr.) - MEDIEVAL JOURNEY
Les Minnesanger: 'Owe dirre not' - MEDIEVAL JOURNEY
Les Minnesanger: Wol auff, gesell (Instr.) - MEDIEVAL JOURNEY

Tracks:

1. 12th Century Polyphony In Aquitaine: 'Domine labia mea aperies' - 'Deus in adjutorium meum' (Choeur) - Ensemble Organum
1. 12th Century Polyphony In Aquitaine: Versus: 'O primus homo coruit' (a 2 voix) - Ensemble Organum
1. 12th Century Polyphony In Aquitaine: Versus: 'Veri solis radium' (a 2 voix) - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Introit trope: 'Puer natus est' - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Kyrie - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Graduel: 'Viderunt omnes' - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Sanctus (organum) - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Agnus Dei - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Ite missa est - Deo Gratias - Ensemble Organum
3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Kyrie 'Orbis factor' - Ensemble Organum
3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Credo in unum Deum - Ensemble Organum
3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Sequence: 'Res est admirabilis' - Ensemble Organum
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Plus bele que flor - Quant revient - L'autrier joer - Flos Filius - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Puisque bele dame m'eime - Flos Filius - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Celui en qui - La bele estoile - La bele, en qui - Iohanne - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Amor potest - Ad amorem sequitur - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: S'on me regarde - Prennes i garde - He, mi enfant - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Qui d'amour se plaint - Lux Magna - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: On doit fin(e) Amor - La biaute - In Seculum - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Kyrie: 'Kyria christifera' - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Gloria - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Sanctus - Benedictus - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Agnus Dei: 'Virtute numinis' - Anonymous 4

Tracks:

1. Le Roman de Fauvel (1310-1316): In mari miserie - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Vers 149 a 168 - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Ad solitum vomitum - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Porchier miex estre. Vers 250 a 280 - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): J'ai fait nouveletement - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Quoniam secta latronum - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Vers 5905-5926 - Mario, virgo viginum - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Vers 6023-6050 - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Quare fremuerunt - Clemencic Consort
2. La Messe de Tournai (c.1330-40) - Excerpts: Kyrie - Ensemble Organum
2. La Messe de Tournai (c.1330-40) - Excerpts: Gloria in excelsis Deo - Ensemble Organum
2. La Messe de Tournai (c.1330-40) - Excerpts: Sanctus - Ensemble Organum
2. La Messe de Tournai (c.1330-40) - Excerpts: Agnus Dei - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'De toutes flours' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Honte, paour, doubtance' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Honte, paour, doubtance', version instrumentale - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Che pena e quest'al cor' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Imperiale sendendo fra pi stelle' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Rondeau-canon 'Tout par compas' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Rondeau 'Belle, bonne, sage' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Rondeau 'Fumeux fume par fumee' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Ballade 'On voit tout' - Ensemble Organum
Sacred Music In 14th Century England: 'Campanis cum cymbalis - Honoremus Dominam' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Mater ora filium' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Edi be thu' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Gabriel From Heven-King' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Gaude virgo Mater Christi' - The Hilliard Ensemble

Tracks:

Johannes Ciconia (c. 1335-1414): 'Ligiadra donna' pour vielles - The Newberry Consort
1. 15th Century English Music: Les Carols: Alleluya: 'A Nywe werke' - Anonymous 4
1. 15th Century English Music: Les Carols: 'Ecce quod natura' - Anonymous 4
1. 15th Century English Music: Les Carols: Nowel: 'Owt Of Your Slepe Aryse' - Anonymous 4
1. 15th Century English Music: Les Carols: 'Anna Mater Matris Christi' - The Hilliard Ensemble
1. 15th Century English Music: Les Carols: 'Tota pulcra es, amica mea' - The Hilliard Ensemble
1. 15th Century English Music: 15th Century Marial Polyphony: Conduit 'O Maria stella maris' - Anonymous 4
1. 15th Century English Music: 15th Century Marial Polyphony: Sequence 'Salve virgo singularis' - Anonymous 4
1. 15th Century English Music: 15th Century Marial Polyphony: Motet 'Veni mater gracie - Dou Way, Robin' - Anonymous 4
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'Propinan de Melyor' - The Newberry Consort
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: --sans titre - The Newberry Consort
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'La Spagna' - The Newberry Consort
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'La Spagna' - The Newberry Consort
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Introit. 'Requiem eternam dona eis Domine' - Ensemble Organum
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Kyrie - Ensemble Organum
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Tractus: 'Sicut servus desideral ad fontes aquarum' - Ensemble Organum
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Sanctus - Ensemble Organum
Lute Music: Ricercar 'L'autre jour' - Paul O'Dette
Lute Music: 'Nous bergiers' - Paul O'Dette
Lute Music: Ricercar No. 33 - Paul O'Dette
Lute Music: 'Il est bel et bon' - Paul O'Dette

Customer Reviews:

Excellent, but What Are the Words?.......2006-07-04

This is a wonderful collection of music spanning many centuries, some of which you are unlikely to encounter anywhere else. The performances are beautiful, too. The one drawback is that the liner notes contain very few song text translations, a big problem for a large CD set with music that is primarily vocal.

outstanding collection.......2002-09-27

I have quite a number of CDs with Medieval Age polyphony, byzantine chant and renaissance music, but this collection goes beyond what could usually be expected from such boxsets. I'd highly recommend it to all.

Awesome.......2001-09-20

This is the best collection of medieval music I have ever heard. The performances are top-notch, and all of the songs are well done. I highly reccomend this collection not only for fans of medieval music, but for any music lover.

7.5 hours of superb music at a most reasonable price........1999-12-24

There isn't a clunker in this set. All the performers are top drawer and the recordings are good. The notes are a little brief and a bit scholarly, but can be ignored easily.

You will get an idea of the different kinds of medieval music as well as the top groups and soloists working currently in the field.

When I got this set, my mother and I listened to all 7+ hours straight through. We then started buying CDs from the different performers we had to hear more from.

Tracks:

Le roman de fauvel: Favellandi vicium
Le roman de fauvel: Porchier miex estre - Vers 1148
Le roman de fauvel: Mundus a mundicia
Le roman de fauvel: Quare fremuerunt
Le roman de fauvel: Vers 49-62; 69-96
Le roman de fauvel: Veritas arpie. Vers 97-116; 123-148
Le roman de fauvel: In mari miserie
Le roman de fauvel: Vers 149-168
Le roman de fauvel: Ad solitum vomitum
Le roman de fauvel: Vers 229-258
Le roman de fauvel: Porchier miwx estre - Vers 259-280
Le roman de fauvel: Virtus moritur
Le roman de fauvel: Vers 301-318; 395-398; 1126-1135
Le roman de fauvel: Fauvel nous a fait present - Vers 317-324
Le roman de fauvel: Porchier miex estre ameroie
Le roman de fauvel: Vers 1219-1240
Le roman de fauvel: Ade costa dormientis
Le roman de fauvel: J'ai fait nouveletement
Le roman de fauvel: Douce dame
Le roman de fauvel: Gaude Favellus
Le roman de fauvel: Charivari
Le roman de fauvel: Vers 5815-5842; 5849; 5850
Le roman de fauvel: Quoniam secta latronum
Le roman de fauvel: Vers 5905-5926 - Mario, virgo virginum
Le roman de fauvel: Vers 6023-6050
Le roman de fauvel: Omnipotens domine
Le roman de fauvel: Vers 6051-6056 - Jhesu, du dator venie
Le roman de fauvel: Vers 6065-6074 - Bon vin

Customer Reviews:

Satire and blasphemy.......2005-10-01

-- Le Roman de Fauvel --
This piece is almost an early musical, a setting of an ironic satire based on the French corut and the papal court during its exile in Avignon. The composition dates from 1310-1316. It was considered blasphemous at the time, which made it all the more popular. The author of the first story is unknown, but likely to be Gervais du Bus, an official at court in Paris. Fauvel stands in as an acronym for six major vices of the court, and of course, Fauvel rises rather quickly in the court to become very powerful.

The story was added to several years later, this addition without doubt from du Bus, in which Fauvel tries to marry Fortuna, but ends up with Dame vaine glorie, and the two populate the world with offspring.

The music here draws upon the styles of the time - polyphony, motet, chant-inspired pieces, conductus, sequence, prosa, lai, rondeau, virelai - there is a real variety here.

-- This performance --
This performance features René Clemencic (recorder, cornetto, shepherd's flute/flute de berger, peigne musical), Mieczyslaw Antoniak (counter tenor), Michael Ditrich (viele, rebec), Renate Hildebrand (bombarde), Andras Kecskes (lute, psaterion, rubebe, guimbarde), Pedro Liendo (baritone), Frantisek Pok (cornet a bouquin, cornemuse, trompette marine), Wolgang Reithofer (percussion, tympanon, jeu de clochettes, tintanibulum), Zeger Vanderteene (counter tenor), and René Zosso (recitant, vielle a roue).

This was originally recorded for vinyl in 1976, but was transferred to disc in the 1990s with great skill. The performances are sharp, witty and amusing even in the distant language. Some jokes are lost, but the situations still ring true, and the performances keep the listeners interest with ease.

-- Clemencic Consort --
René Clemencic is the founding director of one of the best early music groups, the Clemencic Consort. Clemencic, a native of Vienna, was born in 1928. He studied philosophy and musicology in both Vienna and Paris. During this time he also studied early instruments such as the recorder and harpsichord; in addition, he learned early music performance, music theory and composition. Clemencic and the Clemencic Consort have won numerous international awards, such as the Diapason d'Or, Edison, Grand Prix du Disque, and Prix Cecilia. One of the drawbacks of discs by the Clemencic Consort is that they rarely give any details about the performers, the group itself or the director. This is unfortunate, given the nature of the Consort, which can vary from as few as two to as many as fifty performers, depending upon the requirements of the music at hand.

A feast of fools.......2001-08-30

This is a fun record of the long satirical poem -Le Roman de Fauvel-, done by Rene Clemencic's ensemble.

For full enjoyment, you need to be able to follow along with the mediaeval French in the lyrics booklet. Fairly large portions of the poem are recited on the record. Understanding what is said will be an important part of enjoying this.

The satirical side of the poem is definitely forefronted here. Kazoos and other noisemakers are added to the standard fife and drum corps of the Clemencic consort. What you are getting is definitely not a solemn or staid performance.

This is not for everyone, obviously. Those who have the necessary interest and mindset to enjoy this shouldn't miss it.

Moyen-Âge: Chants & Musiques du XIIIe Siecle

Average customer rating:

Moyen-Âge: Chants & Musiques du XIIIe Siecle
Carmina Burana Anonymous , Codex Las Huelgas Anonymous , and Manuscrit du Roi Anonymous
Manufacturer: Fremeaux & Assoc. Fr
ProductGroup: Music
Binding: Audio CD

Rondos | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000A169QS
Release Date: 2005-09-20

The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle

Average customer rating:

Le creuset du déchant produit l'ébauche de l'opéra profane
That's where and when the profane opera started
At the root of the profane secular opera

The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Richard Coeur de Lion (Richard the Lionheart): Troubadours & Trouvères in the Courts of Eleanor of Aquitaine, Richard the Lionheart, Marie de Champagne & Geoffroy, Duke of Brittany - Alla Francesca
Halle: Le Jeu de Robin et Marion
Polyphonic Aquitaine of th 12th Century
Music of the Gothic Era
Adam de la Halle: Le jeu de Robin et Marion

ASIN: B0002VYES6
Release Date: 2007-04-05

Tracks:

Mout Me Fut Grief/Robin M'aime/Portare
Robins M'aime/Je Me Repairoie/He Robins Se Tu M'aimes
Lie Maus Amourous Me Tient/Dieus Par Quoi/Portare
Vous Perdez Vos Paine Sire Aubert/Ne Sai Que Je Die/Johanne
Bergeronnete Sui/Trairi Deluriau
He Robechon
Au Douz Tans/Biau Dous Amis/Manere
Vous L'ores Bien Dire/Saltarello
Bergeronnete/Robin Par L'ame Ten Pere
He Marotele Alons Au Bois/En La Praerie/Aptatur/Li Maus D'amer
L'Autre Jour/Au Tens Pascour/In Seculum
Par Un Matinet/Les Un Bosket/Portare
En Mai Quant Rosier/L'autre Jour/He Resveille Toi Robin
Encontre Le Tans De Pascour/Quant Fuellent/In Odorem
Quant Florist La Violete/El Mois De Mai/Et Gaudebit
En Non Diu/Quant Voi La Rose Espanie/Eius Oriente
Avoec Telle Compaignie/Quiconque Rira/Parodie (After Quant Voi Le Fleur/Et Tenuerunt)
Je Voi Douleur Avenir/Fauvel Nous A Fait Present/Autant M'est Sie Poise/Emi Emi Marotele N'ocies/Emi Emim Marotele Sage/Portare
Quant Froidure Trait A Fin/Domino Quoniam/Ronde: Le Sentelle
J'ai Encore Un Tel Paste
Audigier Dist Raimberge/Quant Voi Le Douz Tans Venir/En Mai Quant Rose/Immolatus
Venes Apres Moi/Nota Domino Quoniam
Mout Me Fut Grief/Robin M'aime/Portare/L'autre jour Par Un Matinet/Hier Matinet/Ite Missa Est

Album Description

Anonymus invites you to witness Robin and Marion's love, in the best musical tradition of the Middle Ages. A program with a rural accent that brings alive through poetry and music this lively and marvellously naïve romance by Adam de la Halle, the great troubadour from Arras.

Customer Reviews:

Le creuset du déchant produit l'ébauche de l'opéra profane.......2005-01-09

Loin de tout ce que tous les livres classiques peuvent dire, la polyphonie pas plus que l'opéra n'ont commencé au 16ème siècle italien. Le plus ancien opéra biblique est du 13ème siècle français (Ludus Danielis). Et voilà que l'Ensemble Anonymus vient de sortir pour notre plus grand plaisir le Robin et Marion d'Adam de La Halle, lui aussi du 13ème siècle. C'est l'un des ancêtres de ce que l'on appellera plus tard l'opéra. Et en plus cette uvre est géniale. Le choix des instruments est excellent et certains sont plus lointains qu'européen, remontant jusqu'à la Perse iranienne. Le jeu en est clair, délicat, dansant et vif, expressif et même imagé. Le style de musique qu'ils nous offrent est très populaire pour l'époque, avec cependant des intermèdes musicaux d'une autre source qui ont plus de poids, de grandeur, d'ampleur. Les voix opposent le couple ténor-soprano au couple mezzosoprano-baryton, et cela sur une base dramatique : les premiers sont les héros, les seconds sont les trouble-fête. Le chant est la vraie grande révolution d'Adam de La Halle. Les artistes chantent, pour l'essentiel, en vieux français, avec une prononciation parfaite. On voit bien leur origines québecoises qui aident : de telles prononciations seraient beaucoup plus difficiles en France vu que nous avons perdu les dialectes anciens. La partition mêle des solos, de vrais duos en alternance, des duos où les voix s'allient et se superposent. Adam de La Halle importe ainsi dans une pièce profane dont la musique est populaire et non grégorienne ce qui est en train de naître en France particulièrement, et ailleurs aussi partiellement, à savoir la polyphonie et c'est un plaisir de découvrir que certaines formes qui deviendront des classiques des siècles futurs sont déjà là en germe dans cette partition. Adam de La Halle avait étudié le déchant, première aventure polyphonique dans le cadre grégorien. Il le transfère ici dans le cadre profane avec le meilleur effet. L'histoire est simple mais bien ancrée dans son temps. Elle est aussi complète et donc bien une sorte de livret d'opéra. Robin et Marion s'aiment d'un amour tendre, mais le chevalier Aubert intervient et vole la belle, par des moyens pas très honnêtes : la force, les cadeaux qui semblent de luxe à cette bergère, et des mots doux qui ne sont qu'autant de pièges. Le tout se finira, après un petit épisode beaucoup plus courtois emprunté à Gervais de Bus et son Roman de Fauvel, sur une solution ambiguë, cette brave Marion n'arrivant pas à prendre une décision entre son bel amour Robin qui joue si bien de la cornemuse ou du flageolet, et son tout nouveau amoureux chevalier qui brille de tous les feux de sa cuirasse et de ses victoires au tournoi. Entre les deux bien sûr son cur balance. On se demande pourquoi ces uvres du patrimoine français qui révèlent que nous avons eu une période florissante dans les arts bien avant la Renaissance, doivent être découvertes et mises en avant par des Anglais comme pour le Ludus Danielis ou des Québecois comme ici. Que font donc les Français qui se gargarisent de la défense de leur langue et qui ne s'intéressent même pas à leur patrimoine culturel un peu ancien, raison de plus très ancien ? Heureusement que nous avons des étrangers, francophones ou non, cousins distants ou pas cousins du tout, pour faire notre travail.

Dr Jacques COULARDEAU
Université Paris Dauphine

That's where and when the profane opera started.......2005-01-09

This recording is amazing. It is probably one of the ancestors of the secular opera, just like Ludus Danielis was the ancestor of the biblical opera, but both three centuries before the « official » birthdate of the genre, here the 13th century. What's more both works are French and not Italian as the legend wants it to be : opera was born in Italy during the Renaissance, they say. Another mystery is why these very fine and rich works are discovered and recorded not by French musicians and artists but by English and here French Canadian musicians and artists. What are the French doing ? Don't they go to their libraries and archives and check on those scores, and I could probably say scores of scores, that are sleeping in the boxes ? Apparently not. They blabber a lot about English menacing their French language with barbaric technical words, but they do not defend their own cultural heritage. Bizarre, isn't it ? But this recording reveals many things about this old century and this ancient composer. The instruments are authentic, even if at times a little bit exotic, Turkish or Irani. But they are light, brilliant, délicate, expressive and definitely lively. The score opposes the couple tenor-soprano of the two main characters to the couple mezzosoprano-barytone of the disturbing intruders. This is dramatically good. The singing is innovative. It uses solos, real duets with alternating voices or with superimposed voices, and many other forms, including of course the motet. Some singing forms that will become classical in a few centuries are already present here and quite lively and alive. Adam de La halle had learn the beginning of polyphony with the gregorian dechant and here he transposes it from the sacred field to the profane secular domain with the best results because it serves very well that music which is perfectly popular. The end of the tale, after an episode that is very courtly and borrowed from Gervais du Bus and his Roman de Fauvel, is ambiguous with Marion fluttering between her love for Robin who plays the bagpipe and the plain pipe so well, and her sudden love for the knight Aubert who conquered her with a little bit of force, a little bit of fine language, the promise of beautiful presents and the metallic shine of his armour and helmet and tournament weapons. Her heart is swinging and swaying between the two and the music is doing just the same, and yet announcing a future that must be in existence somewhere in some archives and has not yet been discovered, except the music, thanks to Paul McCreesh who never recorded it, of Pope Clement VI in Avignon whose favorite composer was the mathematician Vitry. But what is the French Ministry of Culture doing or thinking since they cannot bring all these gems out of oblivion ? The Minister should have a few pennies left at the bottom of a drawer somewhere to help this adventure ?

Dr Jacques COULARDEAU

At the root of the profane secular opera.......2005-01-09

Average customer rating:

Satire and blasphemy
Sobre los autores del texto literario

Le Roman de Fauvel
French Anonymous , Anne Azema , Michael Collver , John Fleagle , Cheryl Ann Fulton , Shira Kammen , and The Boston Camerata
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tracks:

Livre 1-Portrait de Fauvel: Porchier mieuz estre ameroy - John Fleagle
Livre 1-Portrait de Fauvel: O Varium fortune - Anne Azema
Livre 1-Portrait de Fauvel: Motet-Quare fremuerunt gentes - Ens Project Ars Nova
Livre 1-Portrait de Fauvel: Motet-Jure quod in opere - Ens Project Ars Nova
Livre 1-Portrait de Fauvel: Motet-Ad solitum vomitum - Ens Project Ars Nova/Anne Azema
Livre 1-Portrait de Fauvel: Virtus moritur - John Fleagle
Livre 1-Portrait de Fauvel: Floret fex favellea - Patrick Mason/John Fleagle/Michael Collver
Livre 1-Portrait de Fauvel: Omni pene curie - Patrick Mason/John Fleagle/Michael Collver
Livre 1-Portrait de Fauvel: Veni sancte spiritus - Dominique Visse
Livre 1-Portrait de Fauvel: Motet-Rex beatus - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: Fauvel cogita (instrumental) - Boston Camareta
Livre 2-Fauvel et Fortune: Inter membra singula (instrumental) - Shira Kammen/Cheryl Ann Fulton
Livre 2-Fauvel et Fortune: Motet-Veritas arpie - Laurie Monahan/Shira Kammen
Livre 2-Fauvel et Fortune: Narration-'Seigneurs et dames...' - Dominique Visse/Ens
Livre 2-Fauvel et Fortune: Douce dame debonnaire (instrumental) - Shira Kammen/Cheryl Ann Fulton
Livre 2-Fauvel et Fortune: Motet-J'ay fait nouveletement - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: Narration-'Deus roes out...' - Anne Azema/Boston Camerata
Livre 2-Fauvel et Fortune: Ay Amours - John Fleagle/Cheryl Ann Fulton
Livre 2-Fauvel et Fortune: Motet: Sicut de ligno parvulus - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: A touz jour, sanz remanoir - Dominique Visse
Livre 2-Fauvel et Fortune: Fauvel est mal assegne - Anne Azema
Livre 2-Fauvel et Fortune:Douce dame debonnaire - Dominique Visse/Shira Kammen
Livre 2-Fauvel et Fortune: Fauvel cogita - Anne Azema/Shira Kammen
Livre 2-Fauvel et Fortune: Je qui poair seule (extrait) - Anne Azema/Shira Kammen
Livre 2-Fauvel et Fortune: Buccinate in neomenia tuba - Patrick Mason/Michael Collver/John Fleagle
Livre 2-Fauvel et Fortune, Le lai des Herlequines: En ce dous temps d'este (extrait) - Anne Azema/Cheryl Ann Fulton/Shira Kammen
Livre 2-Fauvel et Fortune: Ah Parisius - Patrick Mason/Ens
Livre 2-Fauvel et Fortune: Narration: Tele gent de jour en jour viennent - Dominique Visse
Livre 2-Fauvel et Fortune: Motet-Fauvel nous a fait present - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: Motet-Ci chans veult boire - John Fleagle/Patrick Mason/Michael Collver
Livre 2-Fauvel et Fortune: Floret fex favellea (instrumental) - Boston Camareta
Livre 2-Fauvel et Fortune: Charivari - Dominique Visse/Ens
Livre 2-Fauvel et Fortune: Motet-Quomodo cantabimus - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: Motet-In nova fert (Philippe de Vitry) - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: Porchier mieuz estre ameroy - John Fleagle
Livre 2-Fauvel et Fortune: Motet-Maria virgo virginum - Ens Project Ars Nova
Livre 2-Fauvel et Fortune: Plebs fidelis francie - John Fleagle/Ens
Livre 2-Fauvel et Fortune: Motet-In mari miserie - Anne Azema/Cheryl Ann Fulton

Customer Reviews:

Satire and blasphemy.......2005-12-16

The Boston Camerata has long been one of my favourite groups. I have this disc on the same shelf with another of their productions, 'The Sacred Bridge', also by Erato (which is also one of my favourite labels). Under the direction of Joel Cohen, the Boston Camerata has over a dozen musicians who play instruments from the medieval and Renaissance periods; they also play into later periods. This disc is firmly planted in the period of their expertise.

-- Le Roman de Fauvel --
This piece is almost an early musical, a setting of an ironic satire based on the French corut and the papal court during its exile in Avignon. The composition dates from 1310-1316. It was considered blasphemous at the time, which made it all the more popular. The author of the first story is unknown, but likely to be Gervais du Bus, an official at court in Paris. Fauvel stands in as an acronym for six major vices of the court, and of course, Fauvel rises rather quickly in the court to become very powerful.

The story was added to several years later, this addition without doubt from du Bus, in which Fauvel tries to marry Fortuna, but ends up with Dame vaine glorie, and the two populate the world with offspring.

The music here draws upon the styles of the time - polyphony, motet, chant-inspired pieces, conductus, sequence, prosa, lai, rondeau, virelai - there is a real variety here.

This is a wonderful recording of rare music.

Sobre los autores del texto literario.......2002-05-20

Los autores del texto literario son Gervais du Bus y Chaillou du Pestain. Describen la vida de un asno que se llama Fauvel cuyo nombre es el acróstico de los principales vicios encontrados en este mundo: Adulación, avaricia, villanía, veleidad, envidia y cobardía). Hay algunos motetes que son de Felipe de Vitry. El volumen de las piezas musicales es mucho mayor que en el "Jeu de Robin et de Maion" y se pueden considerar como una auténtica antología de los generos musicales en uso.