MUSIC FOR COURT AND CHURCH FROM THE LATER MIDDLE AGES

The Spirits of England and France GOTHIC VOICES with PAVLO BEZNOSIUK violin
CHRISTOPHER PAGE director

HE FIRST SECTION OF THIS PROGRAMME explores the remarkable sonorities of three- and four-part writing during the last decades of the fourteenth century and the first decades of the fifteenth. Laus detur multipharia 6 is a curiosity in many ways, not least because it is a devotional Latin virelai; the setting has a beauty touched by strangeness that characterizes many French songs of the later 1300s note the hocketing passages and the surprising harmonic shift which occurs at the end of the B section, first heard at the words Veritas monstratur hoRUM, the latter reminiscent of some Ars subtilior chansons such as Joyeux de cuer by Solage. Pursuing the French song tradition beyond 1400, we find that the substantial legacy of the composer Matteo da Perugia includes the exquisitely decorous Belle sans per 3, a song whose determinedly busy under-parts and unpredictable sharps recall fourteenth-century textures such as that of Laus detur multipharia, but whose consonant texture looks forward to later works such as Quant la douce jouvencelle 1. Quant la douce jouvencelle is one of the most beautiful of all early fifteenth-century songs, with the high plainness which composers 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 of the French Ars Nova. The two pieces from the Old Hall manuscript 2 and 7 chosen here are among the most inventive and successful compositions of their generation. The former is by Cooke, of whom barely anything is known for certain, while the latter is by an anonymous master of great skill (the exceptional development of the second voice is noteworthy). The two-part sections of these compositions have a rhythmic flexibility which clearly owes much to French chansons of the Machaut and post-Machaut generations, while their four-part sections create full and striking sonorities without losing the rhythmic verve which some composers (including, perhaps, the composer of Laus detur multipharia) could only achieve by allowing other controls to slip. As a final surprise, these two Old Hall movements introduce a fifth part for their final
2

passages, creating either a blaze of sound or an exciting clamour in which the parts seem to fight for supremacy. The oldest layer of music in the second part of this programme is provided by the conductisettings of Latin rhythmical verse. The monophonic In Rama sonat gemitus bt reaches back to the 1160s, for it laments Thomas Beckets exile from England to France. As far as we may discern, the traditions of monophonic Latin song were much the same in both countries and this song could have been written in either. Polyphonic styles were less influenced by the Channel culture that historians have posited for England and France in the thirteenth century; the three-voice setting of Ave Maria cl , for example, with its chains of triads, is composed in an irredeemably English style. Flos in monte cernitur bs is one of the tiny handful of conductus texts with an erotic theme; this is a point worth emphasizing for the wine, women and song image which medieval Latin lyric has acquired, probably under the influence of the celebrated collection known as the Carmina Burana, is quite false to the conductus repertoire. The texts of Deduc, Syon, uberrimas bl and Presul nostri temporis bu , important compositions which appear in the major sources of conducti (including one from Britain), are more representative of conductus poetry; the former attacks the vices of the clergy, and particularly of the Papacy, the head from which the canker spreads to the limbs of the body politic; the latter (whose poem is almost certainly incomplete) appears to celebrate the achievements of a prelate. Conducti such as Flos in monte cernitur and Deduc, Syon, uberrimas were eventually eclipsed by a form that was new and all the rage in Northern France from c1220 onwards: the motet. The rise of the motet initiated a change in taste, especially in matters of rhythm, that was to have enormous consequences for the development of medieval song. This can be illustrated from the materials recorded here. Deduc, Syon, uberrimas, for example, is performed in what was certainly its original rhythmic style, that is to say each syllable is declaimed to one perfect long (in terms of modern transcription, a dotted

crochet). This kind of isosyllabic declamation virtually disappeared with the rise of the motet, for motets employed the constant alternation of long and breve values (crochet and quaver) to be heard in Virgo plena gratie bp and Je ne puis / Par un matin / Le premier jor / IUSTUS bn . The first layers of motets were produced by devising words for the upper part(s) of liturgical polyphonic compositions, or to sections of those compositions. The earliest three-part motets to result from this process were apparently the so-called conductus motets such as Virgo plena gratie where both of the upper voices sing the same text. By c1250, however, the motet idea had already been carried to its limit in four-part composition such as Je ne puis / Par un matin / Le premier jor / IUSTUS; even today these pieces come across as audacious and almost aleatory compositions, the combination of three texted parts over the tenor creating tangles of dissonance and a rush of vowel and consonant 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 percussion, in the belief that they are a form of dance music. From the period when the estampies recorded here were written down, 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 they commanded the attention of anyone who wished to follow their intricate form. On paper, these melodies look simple and formulaic; but therein lies the difficulty: there is so much material shared between one section of an estampie and anotheror between one estampie and anotherthat the performer must concentrate hard in order to etch the melody without allowing one section to dissolve into another through the medium of the shared material. According to Johannes de Grocheio, writing c1300: The estampie is a melody having a difficult structure of agreements on account of its difficulty it causes the mind of anyone who performs itand of anyone who listens to itto dwell upon it, and it often diverts the minds of the powerful from perverse reflection.
CHRISTOPHER PAGE 1994

Recorded in Boxgrove Priory, West Sussex, on 1113 March 1994 Recording Engineer TONY FAULKNER Recording Producer MARTIN COMPTON Executive Producers JOANNA GAMBLE, EDWARD PERRY P Hyperion Records Limited, London, 1994 C 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. The text shown includes part of Psalm 93 (Deus ultionum Dominus) alluded to in the last stanza of Deduc, Syon, uberrimas (track bl )

PART I The fourteenth and fifteenth centuries

1 ANONYMOUS Quant la douce jouvencelle
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? Certes ouy, car cest celle Certainly yes, for she is the one Qui son doulx ami mapelle : Who calls me her sweet friend; Estre ne puis plus joyeux I could not be more glad 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 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 everywhere A 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?

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 per

Belle 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 fermee Ma 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 finee Par 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, 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.

2 COOKE Gloria
Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, rex caelestis, Deus Pater omnipotens, Domine Fili unigenite, Iesu Christe, Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Glory be to God on high and on earth peace, to men of goodwill. We praise you. We bless you. We worship you. We glorify you. We give thanks to you for your great glory. O Lord God, heavenly king, God the Father almighty, O Lord the only begotten Son, Jesus Christ, O Lord God, Lamb of God, Son of the Father. You take away the sins of the world, have mercy on us. You take away the sins of the world, receive our prayer.

4 MACHAUT Ay mi ! dame de valour

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

5 ANONYMOUS En cest mois de May

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

Tres douce creature, Very sweet creature, Comment puet vo fine doucour How can your refined gentleness Estre 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 Et sans repentir ? Or me tenez en langour Dont je criem morir. Ay mi ! dame de valour Que jaim et desir, De vous me vient la dolour Qui me fait languir. Et tout par amesure, Gentil dame, pleinne donnour, Sui je a desconfiture ; Car onques ne quis deshonnour Vers vous, ains ay sans sejour Fait vo dous plaisir Et feray sans mauvais tour Jusques au morir. Ay mi ! dame de valour Que jaim et desir, De vous me vient la dolour Qui me fait languir. Mais vo douce figure, Vo fine biaute que jaour Et vo noble faiture Paree de plaisant atour En plour tiennent nuit et jour, Sans joie sentir, Mon cuer qui vit en tristour, Dont ne puet garir. Ay mi ! dame de valour My heart, my body, and my love, Without regret? Now you hold me in a languishing state Which I fear may be mortal. Alas! noble lady, Whom I love and desire, From you comes the sadness Which causes me to languish. It does not accord, Sweet and honourable lady, that I be so distressed, For I sought nothing dishonourable To you but have always, without stinting, Done your sweet pleasure, And I will do so, without trickery, Until death. Alas! noble lady, Whom I love and desire, From you comes the sadness Which causes me to languish. But your sweet face, Your refined beauty that I love, And your noble person Adorned with pleasing embellishment Keep my heart in tears Night and day, without feeling any delight, and thus it lives in sadness Whence it cannot be cured. Alas! noble lady

[Servir la vueil, et en tous lieux [I wish to serve her everywhere, rebelle;; Sans desplaisance et sans rebelle Plaisant Acueil tousjours mapelleWithout vexation or dissension; Plaisant Acueil tousjours mapelle Vers Amours; nul ne porroit mieux.] Pleasing summons me [I wish toWelcome serve heralways everywhere, Vers Amours; nul ne porroit mieux] Without vexation or dissension; Towards Love; nobody cansummons do better]me Pleasing Welcome always Towards Love; nobody can do better.] En cest mois de May gracieux In this courtly month of May En cest mois de May gracieux In this courtly month of May

6 ANONYMOUS Laus detur multipharia 6 ANONYMOUS Laus detur multipharia Let manifold praise Laus detur multipharia
Deo regi seculorum, Laus detur multipharia Qui per varia Deo regimunera seculorum, Mentes illustrat varia suorum; Qui per munera Nec in penis tormentorum Mentes illustrat suorum; Eius in abest victoria. Nec penis tormentorum Eius abest victoria. In Costi regis filia Veritas In Costimonstratur regis filia horum, Quam ponet inter lilia Veritas monstratur horum, Sponsus et rex supernorum. Quam ponet inter lilia Sponsus et rex supernorum. Nobilis virgo regia Katerina perfidorum Nobilis virgo regia Confutatrix egregia, Katerina perfidorum Cultum fugat paganorum, Confutatrix egregia, Dum vere philosophorum Cultum fugat paganorum, Superat collegia. Dum vere philosophorum Superat collegia. Dantur igne sevitia Judicis sacrilegorum, Dantur igne sevitia Sed conservat clemencia Judicis sacrilegorum, Dei corpora eorum. Sed conservat clemencia bodies. Dei corpora eorum. Be given to God, eternal king, Let manifold praise Who, by his diverse gifts,king, Be given to God, eternal Illuminates minds of his chosen ones; Who, by his the diverse gifts, Even in grievous torments Illuminates the minds of his chosen ones; His victory does not pass away. Even in grievous torments His victory does not pass away. In the daughter of King Costus, Whom the bridegroom king In the daughter of Kingand Costus, Of the blessed places among the lilies, Whom the bridegroom and king The truth of these things is made plain. Of the blessed places among the lilies, The truth of these things is made plain. The royal, noble virgin Catherine confounds The royal, who noble virgin [the pagan] Before everyone, puts the [the rite pagan sages] Catherine who confounds Of the pagans to flight Before everyone, puts the rite When overcomes Of the she pagans to flight The companies of philosophers. When she overcomes The companies of philosophers. They are therefore given over To the fire through the cruelty They are therefore given over Of the fire judge of blasphemies, To through the cruelty Butthe thejudge mercy God preserves their Of of of blasphemies, But the mercy of God preserves their bodies.

Maceratur inedia Famis doctrina clericorum, Sed meretur consortia Et solamen beatorum. Mire [munera] ciborum Dantur columbia nimia. Tunc erigi ingenia Rotarum preces iniquorum [Iubet], sed tota machina Ruit tandem perversorum.

The pang of fasting is softened By the teaching of the clergy, And it also earns the fellowship And solace of the blessed. Abundant gifts of food Are wondrously provided by a dove. Then the lord of those wicked ones Commands contrivances of wheels to be set up; But eventually the entire device Of the evil-doers breaks apart.

7 ANONYMOUS Credo
Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium, et invisibilium. Et in unum Dominum Iesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis, et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die, secundum scripturas. Et ascendit in caelum: sedet ad dexteram Patris. I believe in one God, the Father Almighty, maker of heaven and earth, and of all things seen and unseen. And in one Lord Jesus Christ, the only begotten son of God, born of his Father before all worlds, God of God, light of light, true God from true God, begotten not made, of one being with the Father, through him all things were made. Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Spirit of the Virgin Mary, and was made man. And was crucified also for us under Pontius Pilate, he suffered death and was buried. On the third day he rose again in accordance with the scriptures. And ascended into heaven: and is seated at the right hand of the Father.

Et iterum venturus est cum gloria He shall come again in glory iudicare 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 Son adoratur et conglorificatur: is worshipped and glorified: qui locutus est per prophetas. who spoke by the prophets. Et unam sanctam catholicam And in one holy, catholic et apostolicam ecclesiam. and apostolic church. Confiteor unum I acknowledge one baptisma in remissionem baptism for the forgiveness peccatorum. 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 euz

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 nightingale Le 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 lady Que 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 virelai 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, En lieu de moy, je vous depri, In my place, I pray you, Mon cuer, mamour, li presents. Present her with my heart and my love.

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 nightingale Le roussignol : joy en aurs. Sing Ocy, Ocy; it will delight you.

Posuit in medio; Sed, erecto gladio, Scelus hoc ulciscere, Veni, iudex gentium, Cathedras vendentium Columbas evertere.

The Temple of Solomon; But come! judge of the nations, Sword held aloft, To avenge this crime and to overturn The seats of those Who are selling the doves.

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

duplum Je ne puis plus durer sanz vos, Biau cuers savoreus et dolz, Se navez merci de moi. Pour vous sui en grant esmai Et ai este longuement. A mains jointes humblement Merci vos proi. Je vous serf, si com je doi, Loialment, en bone foi, Si que, quant je ne vous voi, Je me muir touz, Com finz loiaus amoureus ; Et sanz moi Coument durez vous ? triplum Par un matin me levai Por deduire et pour moy alegier ; Delez Blangi men alai Si trouvai Seant en un vergier, Touse chantant de cuer gai Et legier ; Chapel de Mai Fesoit et desglantier. Je regardai, Pres de li majostroi, Je la saluai Et li dis bonement : Bele au cors gent, De moi vos faz present. A vos me rent Et mon cuer vos otroi. Faisons que doi Dun trop bel esbanoi. I cannot continue any longer without you, fair, delicious and sweet heart, if you do not have pity upon me. I am greatly smitten with you and have been for a long while. I humbly beseech you for grace with joined hands. I serve you, as I ought, loyally and in good faith, so that, when I do not see you I die, like a loyal and courtly lover; and how do you continue without me? One morning I rose up to delight and enjoy myself. I went by Blangi and in a garden I found a lass sitting and singing with a gay, untroubled heart; she was making a May garland from wild roses. I studied her and came near to her, greeted her and said in a courteous fashion: Fair one, I abandon myself to you; I give myself entirely to you and grant you my heart. Let us regale ourselves with a very sweet diversion.

PART II The twelfth and thirteenth centuries

bl ANONYMOUS Deduc, Syon, uberrimas
Deduc, Syon, uberrimas Velut torrentem lacrimas! Nam qui pro tuis patribus Nati sunt tibi filii, Quorum dedisti manibus Tui sceptrum imperii, Fures et furum sociii, Turbato rerum ordine, Abutuntur regimine Pastoralis officii. Ad corpus infirmitas Capitis descendit, Singulosque gravitas Artus apprehendit; Refrigescit caritas, Nec iam se extendit Ad amorem proximi, Nam videmus opprimi Pupillum a potente, Nec est qui salvum faciat Vel qui iustum eripiat Ab impio premente. Vide, Deus ultionum, Vide, videns omnia, Quod spelunca vespilonum Facta est Ecclesia, Quod in templum Salomonis Venit princeps Babilonis, Et excelsum sibi thronum Zion, bring forth a superabundance Of tears like a torrent, For those who are born to you as sons In the place of your fathers Into whose hands you have placed The sceptre of your rule, are now As thieves and companions of thieves The natural order of things Being overthrown, they abuse The governance of the pastoral office. The disease of the head Descends to the body And the aggravation Seizes every limb; Love grows cold, For now it no longer extends To the love of ones neighbour For we may see the orphan Oppressed by the powerful man Nor is there anyone who can bring redemption Or who can deliver the just man From the wicked oppressor. Behold, God of vengeance, Behold, God seeing all things, That the Church has been made Into a den of thieves, For the Prince of Babylon Has set up a high throne For himself in the midst of

Tenez ma foi, Que ja ne vos faudrai. Foi que vos doi Dist, Sire, non ferai, Ainz amerai Qui jaim de cuer gai.

Believe me, I will never betray you. By my faith, sir, she said, I will not do it, but I will love him whom I love with a joyous heart.

bp ANONYMOUS Virgo plena gratie

Virgo plena gracie, Thesaurus largitatis, Oculus clemencie, Pupilla pietatis, Porta patens venie, Scala caritatis, Oleum leticie, Nomen suavitatis; Tu commune canticum Pro celleuma nauticum. Clamant omnia: O subveni Maria! Instant tempora; Nova gravat hora Operarios; Plus abrevia Dies hos Egipcios Propter filios, Virgo, mater pia. Virgin, full of grace, Treasure of bounty, Eye of clemency, Pupil of mercy, Open door of pardon, Ladder of love, Oil of gladness, Name of sweetness; You are the familiar Sailing-song for setting the rowers pace. All cry: O come to our aid, Mary! The times press on; The last hour weighs Upon the labourers. Shorten these days Of Egyptian captivity, For the sake of the sons, O Virgin, merciful mother.

quadruplum Le premier jor de Mai, On the first day of May Acordai I have devised this joyful quadruplum, Ce quadruble renvoisie, for this is the season when lovers Car 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 never Et por ce ja ne men partirai, abandon it for that, however, because I Car jencontrai have met her from whom my pain comes. Celui dont dolour ai. If she does not have mercy upon me Sele na de moi merci, I will never again have a glad heart. Je navrai mais nul jour le cuer joli. 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 hand Caucun confort prochain aie de li. for the pain she brings me.

br ANONYMOUS Crucifigat omnes

The text of this conductus refers to the capture of Jerusalem by Saladin in 1187 and the loss of the fragments of the True Cross (the tree of salvation has been lost).
Crucifigat omnes Domini crux altera. Nova Christi vulnera! Arbor salutifera Perditur; sepulcrum Gens evertit extera. Violente Plena gente Sola sedet civitas; Agni fedus Rapit edus. Plorat dotes perditas Sponsa Syon; immolatur Ananias; incurvatur Cornu David; flagellatur Mundus; Another cross of the Lord crucifies everyone. O new wounds of Christ! The tree of salvation has been lost; alien people have overthrown the Holy Sepulchre; the city is filled with a violent tribe and yet it remains deserted. The goat has seized the lambs fief [Matthew 25: 3233] The daughter of Syon laments her lost dowry. Ananias is sacrificed [Jeremiah 28: 117]; the horn of [salvation in the house of] David is cast down [Luke 1: 69]. The guiltless man is scourged;

bo ANONYMOUS Beata nobis gaudia

This monophonic conductus celebrates the accession of Louis VIII, King of France, in 1223.
Beata nobis gaudia Reduxit proles regia, Philippi primogenitus, Qui patris actis inclitus father Nec laude carens propria. Nec laude Post tot laborum carenstedia, propria. Post tot felices laborum exitus, tedia, Postdebetur, Tibi tot felices Gallia, exitus, Tibi debetur, Regni cuius inicia Gallia, Regni Tua, dei cuius tu digitus, inicia Tua, dei tu Aspirare clemencia. digitus, Aspirare Veni creator clemencia. spiritus. Veni creator spiritus. The royal stock Has brought us blessed joys, The first-born of Philip [Augustus], One who is famous in the deeds of his father But who does not lack praise of his own, But who And who does is due not to lack you, praise France, of his own, And who After so many is due laborious to you, France, trials, After so many joyous laborious events. trials, After so Come, maker many of joyous the spirit, events. Come, of Finger maker God,of the spirit, Finger his Infuse of God, ceremonies of kingship Infuse With your his clemency. ceremonies of kingship With your clemency.

Ab iniustis abdicatur; Per quem iuste iudicatur Mundus? O quam dignos luctus! Exulat rex omnium; Baculus fidelium Sustinet opprobrium Gentis infidelis; Cedit parte gentium Pars totalis; Iam regalis In luto et latere Elaborat Tellus, plorat Moysen fatiscere. Homo dei miserere! Fili, patris ius tuere! In incerto certum quere Ducis Ducum dona promerere Et lucrare lucem vere Lucis! Quisquis es, signatus Fidei charactere, Fidem factis assere; Rugientes contere Catulos leonum; Miserans intuere Corde tristi Damnum Christi! Longus Cedar incola, Surge, vide, Ne de fide Reproberis frivola! Suda, martyr, in agone Spe mercedis et corone! Derelicta Babylone Pugna Pro celesti regione, Aqua vite te compone Pugna.

he is disinherited by the iniquitous. Through whom is the world to be justly judged? O what fitting grief! The king of all is in exile, the staff of the faithful [i.e. the Cross] endures the scorn of an infidel nation; the whole part yields to the heathen party. Now the royal land labours with clay and brick [Exodus 1: 14]; it laments that Moses has lost his power. Man, have mercy on God! Son, guard the fathers rightful property. Seek what is sure amidst what is hazardous and earn the gifts of the leader of leaders and win the light of true light! Whoever you are, marked with the sign of faith [i.e. with the crusaders cross], defend the faith with deeds; destroy the roaring cubs of the lions [Psalm 104: 21]; taking pity, gaze with sad heart upon the affliction of Christ. You have dwelled long in Cedar Arise and see, [Psalm 120: 5]. lest you be reproved for having paltry faith. Sweat, O martyr, in the mighty contest in the hope of reward and the crown! With Babylon abandoned [i.e. having left ones earthly homeland], fight for the heavenly realm; prepare yourself in the fight with the water of life [Revelation 22: 17].

in monte cernitur, On the mountain a flower is discerned; bs Flos ANONYMOUS Flos in monte cernitur Gaudet cor amantis; Flos in monte cernitur, Circa florem, nemora; Gaudet cor amantis; Nulla florem, vox clamantis. Circa nemora; Locusvox est clamantis. ydoneus Nulla Placitoest mandantis; Locus ydoneus Fiat amor aureus Placito mandantis; Gratia donantis. Fiat amor aureus Gratia donantis. Odor florum iuvenem Renovans amore, Odor florum iuvenem Multa secum cogitans Renovans amore, Floremsecum tangit cogitans ore; Multa Flexo genu gratulans Florem tangit ore; Floris genu in honore, Flexo gratulans Florem manibus. Floris incarpit honore, Non [est] tempus more! Florem carpit manibus. Non [est] tempus more! Thethe heart of the lover rejoices. On mountain a flower is discerned; Around the woods; The heart offlower, the lover rejoices. There is no voice of one calling [Matthew 3,3]. Around the flower, woods; The place the desire There is nosuits voice of one calling [Matthew 3: 3]. Of one wishes have his will; The place suitsto the desire Letone love be golden Of who wishes to have his will; By the grace of the giver! Let love be golden By the grace the giver! The odour of of the flowers Renews love the young man; The odour of in the flowers Thinking love many to himself, Renews in things the young man; He touches thethings flowerto with his lips; Thinking many himself, Giving thanks on bended knee He touches the flower with his lips; In honour of the Giving thanks onflower, bended knee Hehonour snatches the flower, flower with his hands. In of the This is not a time for delay! He snatches the flower with his hands. This is not a time for delay!

bt ANONYMOUS In Rama sonat gemitus

This monophonic conductus laments the departure of Thomas Becket, 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 the Holy Familys flight into Egypt, followed by the Massacre of the Innocents ordered by Herod (Matthew 2: 18: In Rama there was a voice heard, lamentation, and weeping, and great mourning, Rachel weeping for her children ). The poem then associates Thomass exile with that of Joseph who was sold into slavery in Egypt (Genesis 37).
In Rama sonat gemitus Plorante Rachel Anglie, Herodis namque genitus Dat ipsam ignominie. En! eius primogenitus, Et Joseph Cantuarie, Exul, ac si sit venditus, Egiptum colit Gallie. In Rama, the weeping Rachel of England Sounds her lamentation, For one born of Herod Gives her great shame. Behold! Her first-born And the Joseph of Canterbury, An exile as if he were sold, Dwells in the Egypt of France.

bu PEROTINUS(?) Presul nostri temporis

Presul nostri temporis, Patrie presidium, A prelate of our time Defence of the nation,

bs ANONYMOUS Flos in monte cernitur

9

Emulandi decoris Et virtutis precium, Sanguinem patricium Actus augens Hectoris Vires frangit hostium; Annis dignus Nestoris, Probis prestans premium.

Prize of grace and virtue So worthy of emulation Enriching noble blood In a deed worthy of Hector Breaks the powers of enemies, The equal to Nestor in years, Showing the reward to the just.

cl ANONYMOUS Ave Maria

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

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LES ESPRITS DE LANGLETERRE ET DE LA FRANCE

MUSIQUE DE COUR ET DGLISE DE LA FIN DU MOYEN-GE
A PREMIRE PARTIE de la collection explore les remarquables sonorits des partitions pour trois et quatre voix de la fin du quatorzime sicle et dbut du quinzime. Laus detur multipharia 6 est bien des gards une relle curiosit, et ce tout particulirement car cest un virelai de dvotion en latin. Larrangement a une beaut trange, caractristique de nombreuses chansons franaises de la fin du treizime sicle. Remarquez les spasmes de certains passages et le surprenant changement harmonique la fin de la deuxime section, entendu pour la premire fois au vers Veritas monstratur hoRUM et qui rappelle les chansons de lArs subtilior telle que Joyeux de cuer de Solage. Si nous nous attachons la tradition de la chanson franaise aprs 1400, nous dcouvrons dans lapprciable hritage musical de Matteo de Perugia une chanson dune biensance extrme, intitule Belle sans per 3 , dont les sous-voix rsolument charges et les imprvisibles dises rappellent les textures de certaines pices du quatorzime sicle, telle que Laus detur multipharia, bien que sa structure harmonieuse rappelle galement des uvres plus tardives comme Quant la douce jouvencelle 1. Quant la douce jouvencelle est une des plus belles chansons du dbut du quinzime sicle. Elle se caractrise par une grande simplicit, souvent recherche par les compositeurs de cette priode. Il faut se tourner vers la musique liturgique afin de trouver une rponse pleine de maturit de la part des compositeurs anglais aux dveloppements de lArs Nova franais. Les deux morceaux tirs du manuscrit Old Hall 2 et 7 sont parmi les compositions les plus imaginatives et les plus honores de leur gnration. Le premier morceau fut compos par Cooke, compositeur dont on sait peu de choses, et le second par un auteur anonyme de grand talent (le dveloppement exceptionnel de la deuxime voix est remarquer). Les sections pour deux voix ont une flexibilit rythmique qui doit nettement la chanson franaise des priodes Machaut et
11

post-Machaut. Les sections pour quatre voix ont de chaudes et saisissantes sonorits sans pour autant perdre la verve rythmique que certains compositeurs (y compris peut-tre mme lauteur de Laus detur multipharia) ne conservaient quau dtriment de certains autres aspects techniques. Ces deux pices tires du Old Hall ont la particularit dintroduire une cinquime voix dans le passage final, crant ainsi soit une explosion de sons, soit une clameur captivante dans laquelle les diffrentes voix semblent lutter pour la suprmatie. Les conducti (mises en musique de pomes en latin du Moyen-ge) constituent la deuxime partie de cette collection. In Rama sonat gemitus bt est une chanson monophonique compose aux alentours de 1160 dplorant le dpart de Thomas Becket dAngleterre et son exil en France. Autant que lon puisse en juger, la tradition de la chanson monophonique latine tait similaire dans les deux pays et cette chanson aurait pu tre crite dans lun ou lautre pays. Les formes polyphoniques furent moins influences dans la France et lAngleterre du treizime sicle par la culture des les Anglonormandes ( Channel culture ) que ne lavaient laiss entendre les historiens. La mise en musique pour trois voix de lAve Maria cl , avec sa chane de triades, est par exemple crite dans un style typiquement anglais. Flos in monte cernitur bs est lun des trs rares conducti dont le thme est rotique. 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 probablement en raison du clbre recueil Carmina Burana, nest pas pertinente au rpertoire des conducti. Les textes de Deduc, Syon, uberrimas bl et de Presul nostri temporis bu , uvres importantes qui apparaissent dans les sources les plus minentes de conducti (dont une se trouve en Angleterre), sont parmi les pomes les plus caractristiques de ce genre. La premire chanson est une attaque contre les vices du clerg et plus particulirement de la papaut, la tte ( head )

 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 une nouvelle forme qui se rpandit rapidement dans le nord de la France aprs 1220 : le motet. Celle-ci engendra de nouveaux gots musicaux, tout particulirement en matire de rythme, qui eurent de lourdes consquences sur lvolution de la chanson mdivale, volution illustre ici sur cet enregistrement. Deduc, Syon, uberrimas est, par exemple, interprte dans ce qui tait certainement le style rythmique original : chaque syllabe est dclame selon une longue parfaite (en transcription moderne : une noire pointe). Ce genre de dclamation iso-syllabique disparut virtuellement avec lapparition du motet, ce denier employant une alternance constante de valeurs longues et brves (noire et croche), alternance illustre ici dans Virgo plena gratie bp et Je ne puis / Par un matin / Le premier jor / IUSTUS bn . Les premiers motets furent crs en rdigeant un texte pour les parties suprieures de certaines compositions polyphoniques liturgiques ou de certaines sections de ces compositions. Les premiers motets trois voix tre composs de cette manire semblent 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 son apoge 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 compositions audacieuses et presque alatoires, la combinaison des trois voix crites sur la partie tnor crant ainsi des enchevtrements de dissonnances, une bousculade vocalique et une tonalit harmonieuse. Les morceaux instrumentaux excuts ici sur un violon d'poque mdivale sont tous des estampies. Ces mlodies sont souvent excutes de nos jours sur un grand nombre dinstruments, percussions y compris, en pensant que ce sont des danses. Pourtant, il apparat que cette forme musicale tait tout particulirement associe au violon solo, et ce depuis le dbut du quatorzime sicle, poque laquelle les estampies (sur cet enregistrement) furent crites (cest dire aux environs de 1300) ; il semble galement que lattrait de ces mlodies rsidait en partie dans la manire dont elles restaient matres de quiconque souhaitait en suivre leur forme complexe. Les mlodies semblaient simples sur le papier, mais l rsidait la difficult : les similarits qui existaient entre deux sectionsvoire mme entre deux estampiestaient si grandes que lexcutant devait grandement sappliquer afin que les superpositions mlodiques nentranent pas de fusion entre les sections en question. Selon Johannes de Grocheio (aux alentours de 1300), lestampie est une mlodie qui cre la confusionet ce parce quelle conduit celui qui linterprte ou celui qui lcoute sattarder sur la mlodie, dtournant ainsi son esprit dune rflexion critique .
CHRISTOPHER PAGE 1994
Traduction BATRICE LESADE

Si vous souhaitez de plus amples dtails sur ces enregistrements, et sur les nombreuses autres publications du label Hyperion, veuillez nous crire Hyperion Records Ltd, PO Box 25, London SE9 1AX, England, ou nous contacter par courrier lectronique info@hyperion-records.co.uk, et nous serons ravis de vous faire parvenir notre catalogue gratuitement. Le catalogue Hyprion est galement accessible sur Internet : www.hyperion-records.co.uk 12

DER GEIST ENGLANDS UND FRANKREICHS

HFISCHE UND GEISTLICHE MUSIK DES SPTMITTELALTERS
ER ERSTE ABSCHNITT des Programms untersucht die bemerkenswerte Klangflle der drei- und vierstimmigen Schreibweise whrend der letzten Jahrzehnte des vierzehnten, und der ersten Jahrzehnte des fnfzehnten Jahrhunderts. Laus detur multipharia 6 ist in mancher Hinsicht eine Kuriositt, nicht zuletzt, weil es ein lateinisches religises Virelai ist. Der Satz besitzt eine seltsam fremde Schnheit, die vielen franzsischen Liedern des spten 14. Jahrhunderts eigen ist; man beachte die HoquetusPassagen und den berraschenden harmonischen Lagenwechsel im B-Abschnitt, der zuerst bei den Worten Veritas monstratur hoRUM auftritt, und der an einige Chansons der Ars subtilior, wie z. B. das Joyeux der cuer von Solage, erinnert. Verfolgt man die Tradition des franzsischen Liedes nach 1400, so findet man, da der betrchtliche Nachla des Komponisten Matteo da Perugia das einzigartig kunstvolle Belle sans per 3 enthlt, ein Lied, dessen entschlossen eifrige Unterstimmen und unvorhersehbare Erhhungen um einen Halbton Strukturen der Musik des vierzehnten Jahrhunderts, wie die von Laus detur multipharia, in Erinnerung rufen, dessen mitschwingende Struktur jedoch sptere Werke im Stil von Quant la douce jouvencelle 1 antizipiert. Quant la douce jouvencelle ist eines der schnsten aller Lieder des frhen fnfzehnten Jahrhunderts und besitzt den hohen Grad an Schlichtheit, den Komponisten der 1420er und 1430 Jahre oft bewut anstrebten. Den letzten und reifsten Ertrag der Auseinandersetzung englischer Komponisten mit den Entwicklungen innerhalb der franzsischen Ars Nova finden wir, wenn wir uns der liturgischen Musik zuwenden. Die zwei hier ausgewhlten Stcke aus dem Old Hall Manuskript 2 und 7 zhlen zu den erfinderischsten und erfolgreichsten Kompositionen ihrer Generation. Das erstere stammt von Cooke, von dem wir nur sehr wenig mit Sicherheit wissen, und das letztere stammt von einem anonymen Meister, der groe Kunstfertigkeit besa
13

(die auerordentliche Entwicklung der zweiten Stimme ist bemerkenswert). Die zweistimmigen Teile dieser Kompositionen haben eine rhythmische Flexibilitt, die deutlich den Chansons der Generation Machauts und der folgenden Generation verpflichtet ist, whrend die vierstimmigen Werkabschnitte eine reiche, berwltigende Klangflle erzielen, ohne dabei den rhythmischen Schwung zu verlieren, den manche Komponisten (einschlielich beispielsweise des Komponisten des Laus detur multipharia) nur erreichten, wenn sie andere Stilmittel fallen lieen. Als berraschung wird zum Schlu dieser beiden Stze aus dem Old Hall Manuskript bei den letzten Tonlufen eine fnfte Stimme eingefhrt. Hierdurch wird im einen Falle ein loderndes Klangfeuer erzielt, im anderen ein aufregendes Getse, in welchem die Stimmen um Vorrang zu kmpfen scheinen. Die lteste Musikschicht im zweiten Teil des Programms sind die Conducti: Vertonungen von lateinischen rhythmischen Versen. Das monophone In Rama sonat gemitus bt reicht in die 1160er Jahre zurck, denn es beklagt Thomas Beckets Exilierung von England nach Frankreich. Soweit wir zu erkennen vermgen, hneln sich die Traditionen des monophonen lateinischen Liedes in den beiden Lndern, und dieses Lied knnte in jedem der beiden geschrieben worden sein. Polyphonische Stilarten waren weniger stark von der rmelkanal-Kultur, die Historiker England und Frankreich im dreizehnten Jahrhundert zuschrieben, beeinflut; zum Beispiel ist der dreistimmige Satz des Ave Maria cl mit seinen Dreiklangsketten in einem unverkennbar englischen Stil komponiert. Flos in monte cernitur bs ist einer der winzigen Handvoll von Conductus-Texten mit einem erotischen Thema; dieser Punkt sollte betont werden, denn die Vorstellung von Wein, Weib und Gesang, die man allgemeinwahrscheinlich unter dem Einflu der gefeierten, als Carmina Burana bekannten Liedsammlungmit dem mittelalterlichen lateinischen Lied verbindet, ist dem Conductus-Repertoire ganz

und gar nicht angemessen. Die Texte von Deduc, Syon, uberrimas bl und Presul nostri temporis bu , bedeutenden Kompositionen, die in den Hauptquellen von Conducti (einschlielich einer Quelle aus Britannien) erscheinen, sind representativer fr die Conduktus-Dichtung; der erstere ist ein Angriff auf die Laster des Klerus, insbesondere des Papsttums, des Kopfes von dem sich der Krebs auf die Glieder des Staatswesens ausbreitet; der letztere (dessen Gedicht sehr wahrscheinlich unvollstndig ist), scheint die Errungenschaften eines Prlaten zu preisen. Conducti wie Flos in monte cernitur und Deduc, Syon, uberrimas wurden schlielich durch eine neue Form in den Schatten gestellt, die ab ca.1220 in Nordfrankreich der letzte Schrei war: die Motette. Der Aufstieg der Motette gab den Ansto zu einer nderung des musikalischen Geschmacks, besonders was den Rhythmus anbetraf. Diese neue Geschmacksrichtung sollte ungeheuer wichtig fr die Entwicklung des mittelalterlichen Liedes werden. Das hier aufgezeichnete Material veranschaulicht dies. Zum Beispiel wird Deduc, Syon, uberrimas in einem Stil vorgetragen, der sicherlich sein ursprnglicher rhythmischer Stil war, insofern als jede Silbe so deklamiert wird, da sie eine vollkommene Longa darstellt (im Sprachgebrauch der modernen Transkription ist dies eine punktierte Viertelnote). Mit dem Aufstieg der Motette verschwand diese Form der isosyllabischen Vortragsweise fast vollstndig, denn Motetten wiesen die Art von dauernder rhythmischer Alternation zwischen langen und kurzen Notenwerten (Viertelnoten und Achtelnoten) auf, die in Virgo plena gratie bp und Je ne puis / Par un matin / Le premier jor / IUSTUS bn zu hren ist. Die ersten historischen Schichten von Motetten haben ihren Ursprung darin, da man sich Worte fr die Oberstimme(n) liturgischer polyphoner Kompositionen, oder fr Teile dieser Kompositionen, ausdachte. Die frhesten dreistimmigen Motetten, die ihre Entstehung diesem Proze verdanken, waren anscheinend die sogenannten Conductus-Motetten im Stil von Virgo plena gratie, in denen
14

beide Oberstimmen denselben Text singen. Um 1250 war in vierstimmigen Kompositionen wie Je ne puis / Par un matin / Le premier jor / IUSTUS die Motettenform jedoch schon in allen ihren Mglichkeiten ausgeschpft worden; selbst heute noch erwecken diese Musikstcke der Eindruck khner und fast willkrlich zusammengefgter Kompositionen, in denen die Kombination von drei Singstimmen oberhalb des Tenors ein Gewirr von Dissonanzen und eine Flut von Vokal- und Konsonantentnungen erzeugt. Die Instrumentalstcke, die hier auf einer mittelalterlichen Fiedel gespielt werden, sind samt und sonders Estampies. Heutzutage werden diese Stcke oft mit einer Vielzahl instrumentaler Hilfsmittel, einschlielich des Schlagzeugs, vorgetragen, in der Annahme, da sie eine Form der Tanzmusik darstellen. Von dem Zeitraum an, in dem die hier aufgezeichneten Estampies niedergeschrieben wurdenund das heit ab ca. 1300gibt es jedoch Belege, da ein besonderer Zusammenhang zwischen der Estampie und der Fiedel als Soloinstrument bestand, und da der Reiz dieser Kompositionen teilweise darin liegt, da sie die Aufmerksamkeit eines jeden beanspruchten, der ihrer verwickelten Form folgen wollte. Auf dem Papier sehen diese Melodien einfach und formelhaft aus; aber genau darin besteht ihre Schwierigkeit: zwei Abschnitte einer Estampie oder zwei Estampien haben soviel an musikalischem Stoff gemeinsam, da der Vortragende sich stark konzentrieren mu, die Melodie klar zu zeichnen und zu verhindern, da sich mittels des gemeinsamen Materials ein Abschnitt in einen anderen auflst. Wie es Johannes de Grocheio um ca. 1300 ausdrckte, ist die Estampie eine Melodie, die eine komplizierte Struktur von bereinstimmungen besitzt durch ihren Schwierigkeitsgrad zwingt sie die Gedanken eines jeden, der sie vortrgtund eines jeden Zuhrersdazu, sich eingehend mit ihr zu beschftigen, und lenkt dadurch die Gedanken der Mchtigen von abwegigen berlegungen ab.
CHRISTOPHER PAGE 1994
bersetzung ANGELIKA MALBERT

Also available: The Marriage of Heaven and Hell Motets and songs from thirteenth-century France Compact Disc CDH55273

Gothic Voices Gramophone Award Winners Collection A FEATHER ON THE BREATH OF GOD Sequences and hymns by Abbess Hildegard of Bingen THE SERVICE OF VENUS AND MARS Music for the Knights of the Garter A SONG FOR FRANCESCA Music in Italy, 13301430 3 Compact Discs CDS44251/3

The Castle of Fair Welcome Courtly Songs of the later fifteenth century Compact Disc CDH55274

Copyright subsists in all Hyperion recordings and it is illegal to copy them, in whole or in part, for any purpose whatsoever, without permission from the copyright holder, Hyperion Records Ltd, PO Box 25, London SE9 1AX, England. Any unauthorized copying or re-recording, broadcasting, or public performance of this or any other Hyperion recording will constitute an infringement of copyright. Applications for a public performance licence should be sent to Phonographic Performance Ltd, 1 Upper James Street, London W1F 9DE

15

The Spirits of England and France

Music for Court and Church from the later Middle Ages
1 2 3 4 5 6 7 8 9 bl bm bn bo bp bq br bs bt bu cl
PART I The fourteenth and fifteenth centuries ANONYMOUS Quant la douce jouvencelle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a f g (JOHN) COOKE (c1385?1442) Gloria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a b c f g MATTEO DA PERUGIA (fl 14001416) Belle sans per . . . . . . . . . . . . . . . . . . . . . . . . . . . . a f g GUILLAUME DE MACHAUT (c13001377) Ay mi ! dame de valour . . . . . . . . . . . . . . . . . d ANONYMOUS En cest mois de May . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c f g ANONYMOUS Laus detur multipharia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a c f g ANONYMOUS Credo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . a b e f g ANONYMOUS La uitime estampie real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . h PYKINI (fl c13641389) Plaisance, or tost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c f g PART II The twelfth and thirteenth centuries ANONYMOUS Deduc, Syon, uberrimas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b c ANONYMOUS La septime estampie real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . h ANONYMOUS Je ne puis / Par un matin / Le premier jor / IUSTUS . . . . . . . . b c d e ANONYMOUS Beata nobis gaudia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b ANONYMOUS Virgo plena gratie / Virgo plena gratie / [VIR]GO . . . . . . . . . . . . b d e ANONYMOUS La quarte estampie real . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . h ANONYMOUS Crucifigat omnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . c ANONYMOUS Flos in monte cernitur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b d e ANONYMOUS In Rama sonat gemitus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . e PEROTINUS? (fl c1200) Presul nostri temporis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b d e ANONYMOUS Ave Maria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . b d e

CDH55281

[3'51] [4'09] [3'55] [2'49] [2'14] [3'45] [5'36] [1'23] [2'16]

[4'27] [1'07] [4'33] [2'37] [3'04] [2'23] [2'16] [3'36] [2'32] [2'10] [2'21]

GOTHIC VOICES
ROGERS COVEY-CRUMP (a) PAUL AGNEW (b) JULIAN PODGER (c) ANDREW TUSA (d) LEIGH NIXON (e) tenor STEPHEN CHARLESWORTH (f) HENRY WICKHAM (g) bass with PAVLO BEZNOSIUK medieval fiddle (h)

CHRISTOPHER PAGE director

NOTES EN FRANAIS + MIT DEUTSCHEM KOMMENTAR

HELIOS CDH55281

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

CDH55281
Duration 62'40

THE SPIRITS OF ENGLAND AND FRANCE GOTHIC VOICES . CHRISTOPHER PAGE

The Spirits of England and France

Music for Court and Church from the later Middle Ages
1 2 3 4 5 6 7 8 9 bl bm bn bo bp bq br bs bt bu cl
ANONYMOUS Quant la douce jouvencelle [3'51] (JOHN) COOKE Gloria [4'09] MATTEO DA PERUGIA Belle sans per [3'55] GUILLAUME DE MACHAUT Ay mi ! dame de valour [2'49] ANONYMOUS En cest mois de May [2'14] ANONYMOUS Laus detur multipharia [3'45] ANONYMOUS Credo [5'36] ANONYMOUS La uitime estampie real [1'23] PYKINI Plaisance, or tost [2'16] ANONYMOUS Deduc, Syon, uberrimas [4'27] ANONYMOUS La septime estampie real [1'07] ANONYMOUS Je ne puis / Par un matin / Le premier jor / IUSTUS [4'33] ANONYMOUS Beata nobis gaudia [2'37] ANONYMOUS Virgo plena gratie / Virgo plena gratie / [VIR]GO [3'04] ANONYMOUS La quarte estampie real [2'23] ANONYMOUS Crucifigat omnes [2'16] ANONYMOUS Flos in monte cernitur [3'36] ANONYMOUS In Rama sonat gemitus [2'32] PEROTINUS ? Presul nostri temporis [2'10] ANONYMOUS Ave Maria [2'21]

THE SPIRITS OF ENGLAND AND FRANCE GOTHIC VOICES . CHRISTOPHER PAGE

A HYPERION RECORDING

DDD

MADE IN ENGLAND

GOTHIC VOICES CHRISTOPHER PAGE director

Recorded in Boxgrove Priory, West Sussex, on 1113 March 1994 Recording Engineer TONY FAULKNER Recording Producer MARTIN COMPTON Executive Producers JOANNA GAMBLE, EDWARD PERRY P Hyperion Records Limited, London, 1994 C 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.

HELIOS CDH55281