1 LP - 1C 063-30 103 - (p) 1972

1 CD - 8 26469 2 - (c) 2000
1 CD - CDM 7 63430 2 - (c) 1991

ROMAN DE FAUVEL




DIE KARRIERE UND DIE HEIRAT DES ESELS "BETRUG"

- Fanfare (instrumental)
0' 26" |
- Ci comenche le Livre de Fauvel (Sprecher)
|
1. Favellandi vicium
1' 47"
- Fauvel ne giest mès en estable (v. 11) - (Sprecher)
0' 21"
2. Quare fremuerunt gentes et populi?
0' 59"
- Fortune, contraire a Raison (v. 23) - (Sprecher)
0' 35"
3. Mundus a mundicia dictus per contraria 0' 54"
- De Fauvel descent Filaterie (v. 247) - (Sprecher)
0' 42"
4. In Mari miserie, maris stella 0' 40"
- Saint Pere vesqui sans richece (v. 563) - Hé las! com mal entendement (v. 576) - (Sprecher) 0' 32"
5. Quasi non ministerium (Quadruplum) - Trahunt in pricipia (Triplum) - Ve, qui gregi deficiunt (Motetus) 1' 56"
- De Fauvel bien oy avez (v. 1227) - En un faudestuel fu assis (v. 1253) - (Sprecher) 3' 49"
6. Ad solitum vomitum (Motetus) 1' 04"
- Entour le sire qui est fauve (v. 1655) - Par la sale en tour les piliers (v. 1669) - Lors ne s'est pas Fauvel teü (v. 1673) - (Sprecher) 2' 41"
7. Porchier mieux estre ameroie
1' 18"
- Trestout me vient a volenté (v. 1715) - Or ay je pensé d'autre part (v. 1749) - (Sprecher) 1' 02"
8. La mesnie fauveline (Motetus) - J'ai fait nouveletement amie (Triplum) - Grant despit ai je, Fortune (Tenor) 1' 04"
- Sans regarder raison ne loy (v. 1785) - Quand sire Fauvel ot oy (v. 1837) - Deux roez ot devant Fortune (v. 1931) - (Sprecher) 1' 35"

9. Ductia (instrumental) 0' 58"
- Je suis Fortune, et une et forte (v. 2179) - (Sprecher) 0' 45"
10. O varium Fortunae lubricum 1' 01"
- Entent, beste au tant mal renom (v. 2259) - Mon segont nom est Destinée (v. 2269) - (Sprecher)
1' 19" |
- Mon tiers nom est Cas d'Aventure (v. 2281) - Du quart nom sui Fortune dite (v. 3131) - (Sprecher)
|
11. Douce dame debonaire!
2' 09"
- Vez la Vaine Gloire, la belle (v. 3157) - Favel, ce te sera, par m'ame (v. 3179) - (Sprecher) 0' 30"



DIE HOCHZEIT DES ESELS "BETRUG" IN PARIS UND DAS TURNIER DER TUGENDEN UND TEUFEL


- Fanfare (instrumental) 0' 56"
|
- Entre deus braz d'une riviere Siet (v. 12) - (Sprecher)
|
12. Servant regem misericordia (Duplum) - O Philippe, prelustris Francorum (Motetus) 2' 05"

- La voult Fauvel faire ses noces (v. 53) - Yvresce, Outrage et Ribaudie (v. 65) - (Sprecher) 0' 37"

13. Por recouvrer alegiance des maux que je trai (mit Laute) 3' 36"
- Mais, par une especiauté (v. 201) - Chasteté et Religion (v. 217) - Sapience et Verité (v. 230) - (Sprecher) 3' 36"

14. Favel est mal assegné 1' 38"
- Trompeurs saillent, si cornerent (v. 385) - (Sprecher) 0' 46"
15. Quant je le voi ou voirre cler (Triplum) - Bon vin doit l'en a li tirer (Motetus) 1' 14"
- Vins i ot bons et precieus (v. 431) - (Sprecher) 0' 25"
16. Danse royale (instrumental) 2' 33"
- Cors sonne, trompes et araines (v. 555) - La nuit vint, qui le jour efface (v. 605) - Lors vi le jour cler et luisant (v. 709) - (Sprecher) 1' 10"
- Fanfare (instrumental) 1' 10" |
- Mais par grant prerogative (v. 799) - Virginité qui l'atendi (v. 1177) - Fortune a val est descendue (v. 1459) - (Sprecher)
|
17. Thalamus puerpere (Triplum) - Quomodo cantabimus (Motetus) 1' 43"
- Fauvel si a ja tant jeü (v. 1553) - Hé las! France, con ta beauté (v. 1636) - (Sprecher) 0' 45"
18. Celi domina (Triplum) - Maria virgo virginum (Motetus) - Porchier mieuz estre ameroie (Tenor) 1' 02"
- Douz Jhesucristins, cueur Fauvel seüre (v. 1785) - (Sprecher) 1' 00"
19. Garrit Gallus flendo dolorose (Triplum) - In nova fert animus mutatas (Motetus) 1' 59"
20. Onnipotens domine (Motetus) - Flagellaverunt Galliam (Tenor) 1' 30"
- Ferrant fina, bien deust finer Fauvel (v. 1799) - Explicit expliceat - (Sprecher)
0' 46"



 
STUDIO DER FRÜHEN MUSIK / Thomas Binkley, Leitung

- Jean Bollery, Sprecher
- Andrea von Ramm, Mezzosopran, Harfe

- Willard Cobb, Tenor
- Richard Levitt, Altus
- Lucy Craig, Sopran
- Sterling Jones, Lira, Fidel

- Johannes Fink, Fidel
- Thomas Binkley, Laute
- Karl-Heinz Klein, Bariton
- Robert Eliscu, Schalmei
- Caroline Bergius, Schalmei
 






Luogo e data di registrazione
Séon-Studio, München (Germania) - dicembre 1970

Registrazione: live / studio
studio

Producer / Engineer
Gerd Berg / Dieter Tomsen


Prima Edizione LP
EMI Electrola "Reflexe" - 1C 063-30 103 - (1 lp) - durata 49' 19" - (p) 1972 - Analogico

Prima Edizione CD
EMI "Classics" - CDM 7 63430 2 - (1 cd) - durata 49' 19" - (c) 1991 - ADD

Edizione CD
EMI "Classics" - 8 26469 2 - (1 cd) - durata 49' 19" - (c) 2000 - ADD

Note
-













ROMAN DE FAUVEL
The culmination of Gothic art, à monumental "Singspiel" (lit. "sung play") of the fourteenth century spoken drama rich in monodic and polyphonic musical numbers, the starting point for Philippe de Vitry's "ars nova": FAUVEL is all of these things in one. In addition to the text and musical score, Manuscript "E" (Paris, Bibl. Nat., fr. 146, facsimile edition by Pierre Aubry) contains a series of extremely beautiful miniatures illustrating various phases in the development of the plot, the multiple-level stage and even of stage properties - indeed rich stimulation for a producer of the work. In other words, in FAUVEL we have an allembracing work of art, an audio-visual “Gesamtkunstwerk" as il were.
The story related in the Book of Fauvel is in itself also higly interesting, fort it is a crytically formulated protest against the Establishment, “heretical” criticism of the King and the Church. Oddly enough, it sprang from a circle of three officials to the King of France, one of whom later became a bishop: Gervais du Bus, Raoul Chaillou du Pesstain and Philippe de Vitry.
In the years 1310 to 1314, Gervais du Bus, a notary in the royal chancellery at Paris, wrote the “Singspiel” in two books (containing some 3,300 verses) about a fallow ass named "Humbug" or "Fauvel". Book I, "The Career of the Ass 'Humbug'", exposes the disposition of the State and the Church toward misrepresentation and defrauding. Book II, "The Marriage of the Ass 'Humbug' to 'Vain Glory'", points to the dishonesty and avarice of persons in public authority. In an epilogue of 80 verses Gervais du Bus tells how the marriage of the two produced countless little “Fauveaus” (i.e., “faux veaus” meaning “false calves”) which have contaminated the entire world ever since. Excerpts of du Bus’ work (the spoken text) are presented on side I of this record.
Beginning in 1316, a number of his friends and colleagues - among them Chaillou du Pesstain and several Parisian composers - saw cause to develop the work further, both text-wise and musically. Chaillou du Pesstain simply revised Gervais’ texts to Books I and II, but replaced his epilogue by a splendid additional section containing 1,780 verses, entitled "The Wedding of the Ass 'Fauvel' and the Tournament of Virtues against Vices". By adapting older songs and texts or composing new ones (some monodic, some polyphonic), Philippe de Vitry and other composers expanded and developed the work into a magnificent “Singspiel”. Of the five motets Philippe composed for it, special mention must be made of “ln nova fert/Garrit gallus” (No. 19 on Record Side 2) with which he raised the style known as “ars nova” to new heights. Songs No.s 2 and 11 contain “ballades", No.8 and “Porchier” (Nos. 7 and 18), however, are “rondeaus”.
Gervais’ idea of drawing the figure of Fauvel as an ass was taken from the old French saying “savoir de la fauve asnele” (to know about the fallow, or false, she-ass) which simply means “to be a master rogue”.
The widespread allegorical thinking in the thirteenth century, resulting in particular from the famous “Roman de la Rose", contributed strongly toward the custom of using the fallow ass “Fauvain” to depict deceitfulness and fraudulence. Jacquemart Gielée around the time of 1280 and others wrote “estrillier Fauvain” (to curry Fauvain, the fallow ass) to mean "to be a humbug".
Gervais du Bus then developed his own variation of the name, "Fau - vel" from "Faux - viel" which means "aged" deceit, the habit of cheating that is so old and deeply embedded as to have become a tradition. The “vain” in the name Fauvain inspired him to marry Fauvel to a lady named "Vaine Gloire" (Vainglory).
In Book I we see how Fauvel, living in the most menial spot in the house - the stable - with only a small crib to call his own, begins to thirst for wealth and recognition. Having grown ambitious, he then sets up residence in the great hall on the main floor and has a gorgeous, high hay-rack built for himself.
Contrary to all reason, Dame Fortune makes him lord of the house (i.e., the world). Kings, dukes, counts, viscounts, provosts, high bailiffs, burghers from all about and even farmers from the countryside stream into the house to curry him (that is, to pay homage to humbuggery). Barefooted friars (Franciscans) and Dominicans, knights templars, bishops and cardinals, indeed the Pope himself: all are eager to serve him - the falseness he represents - with due respect (see verses 11, 23). They all want to deceive, they all want to “cheat right along with Fauvel”.
In Latin this reads “favellare cum Fauvello” which gave rise to a play on words (see song No. 1 "Favellandi”). The six letters in the name F-A-U-V-E-L provide the key to his six chief characteristics: "F" means "flaterie"(flattery), "A" means avarice. "U" and "V" refer to "vilenie" (guile) and "varieté" (inconstancy) since in the Middle Ages only formal distinction was made between the two letters, "v" being written at the beginning of a line and "u" within the line (see verse 247). "E" stands for envie (envy) while "L" symbolizese "lacheté" or cowardice.
The Church was brought under the control of the royal throne when Philip IV the Fair forced Pope Clement V - a Frenchman from Bordeaux who had been elected to the papacy through Philip’s influence - to reside in Avignon (both the legal and scholarly advisers to Philip subscribed to the concept of an imperial kingdom centered in Rome). The Pope not only fed church taxes and the wealth of the dissolved Order of the Knights Templars into the King’s coffers, but also initiated the final decline of the Church (see verse 563). More and more the spiritual climate of the world became subject to manipulation.
Book II was written after the death of Philip the Fair. In subdued tones it tells how Fauvel proposes to his “imperial” court that he marry the goddess Fortuna in order to assure himself of her continued favour forever. He proceeds to Fortuna’s capital, a city called Macrocosmos. Fortuna displays two profiles: one smiling and lovely, the other frightfully hideous. Just like the pope of the time, she wears two crowns, one over the other. The lower crown is ornamented with precious stones but is forever pricking her; the upper crown is ugly but, through the magic power of its emeralds, makes its wearer happy.
Enthusiastically, Fortuna plays constantly with her wheels of fortune, a machine with two giant wheels each of which has a smaller counter-wheel or wheel of misfortune (see "deux roez ot devant Fortune", performed in a rhythm characteristic of a wheel-like movement, verse 1931). Fortune indignantly refuses Fauvel’s offer but consoles him by giving him a bride from among her lovely ladies-in-waiting, Vaine Gloire or Lady Vainglory (verse 3157). The excerpts from Gervais du Bus’ work take us to this point. (End of record side 1).
Chaillou picks up the tale at the time of the wedding and portrays the magnificent nuptial festivities that take place somewhat to the north of the (left) bank of the Seine on the “Pre Saint-Germain” (today "Faubourg de Sant-Germain-des-Pres) in the immediate vicinity of the capital of "douce France", i.e., of the city of Paris, the center of which was found on the only island in the Seine at the time (today called "Ile de la Cité).
Unfortunately, the so-called “City of Hope” is firmly ruled by Greed, Niggardliness and the Devil - and this during the reign of King Philip V. Then follows song No. 12, the motet “O Philippe” which was originally entitled “O Ludovice” and had been composed for Louis X “le Hutin” (the Quarreller), Philip’s short-lived son. After Louis’ early death the motet was altered to sing of Philip V the Tall. Thus historically this vehement admonition concerns the later Philip and not famed Philip the Fair.
To the wedding Fauvel invites no bishops or abbots, but rather his girl friends: Carnal Lust, Flirtation, the Goddes of Adultery, Wild Desire and even Venus. Led by Virginity, the 30 Virtues allow themselves to be persuaded to attend the wedding with the aim of defeating the assembled tribes of Vices and Sins at a tournament scheduled as a wedding festivity (see Ms. "E", verses 53, 201). Trumpets sound, the guests wash their hands and sit down before the wedding banquet's richly laden table where dozens of kinds of fowl, game and fish as well as an enormous assortment of top French wines await them.
Gaiety reigns over the banquet (see “Trompeurs saillent, si cornerent”, verse 385). The orchestra strikes up. Horns and trumpets, fiddles, cornemuses (a type of bagpipes) and dulcimers can be heard (see "Core sonnent, trompes et araines,/Vielles, muses et ...", verse 555).
At the tournament on the following day the Virtues fight bravely against the Vices and Sins, but Dame Fortune stops the battle short, saying it is not yet time for the hour of ineluctable defeat to strike. At this point Chaillou returns to Gervais du Bus and the later`s epilogue, to the birth of the many little "Fauveaus", the “false calves” that bedevil the entire world. The author then entreats Christ to help the Virtues so that they might still emerge victorious at the future tournament (see "Doux Jhesuchrist", verse 1785 on Record Side 2).
How splendidly Chaillou was able to develop the tournament scenes taken from Huon de Méri's “Tournoiement de l`Antéchrist” (1235) and to capitalize on the banquet and bed scenes from Jehan Maillart’s “Roman du Comte d'Anjou”! The masquerade and joiede-vivre, the bright humour and biting irony, the embittered duel and hilarious revelry are all finely woven into the fabric of this drama in pantomime and "Musical play".
It seems inconceivable that Lady Fortune could have allowed this masterpiece to waste away for centuries, hidden from view like a musical Cinderella
.
André de Mandach
(Translation: E.D. Echols)


EMI Electrola "Reflexe"