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1 LP -
1C 063-30 106 - (p) 1972
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1 CD - 8
26472 2 - (c) 2000 |
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1 CD -
CDM 7 63142 2 - (c) 1989 |
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Guillaume
de Machaut (um 1300-1377) - Chansons I.
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I. Ay mi!
(Virelais) - Altus, Lira, Laute,
Harfe, Glocken
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3' 09" |
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II. Loyauté
(Lais) - Mezzosopran, Laute
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6' 40" |
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III. Comment
(Virelais) - Altus, Organetto,
Laute, Harfe
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3' 04" |
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IV. Quant je sui
(Ballade, Trouvere contrafactum) - 3
Solostimmen, Chor
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1' 35" |
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V.
Joie, plaisence (Chanson
royale) - Altus, Fiedel |
6' 07" |
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VI.
Tel rit (Complainte) - Messosopran,
Fiedel, Laute |
8' 39" |
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VII. Dame, a
vous (Virelais) - Mezzosopran,
Chor, Tambourin |
2' 53" |
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VIII. LE LAY DE
LA FONTEINNE |
24' 06" |
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- 1. Je ne cesse
- Mezzosopran, Laute
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1' 52" |
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- 2. Et ou
porroit - Dreistimmiger
Kanon
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1' 51" |
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- 3. C'est celle
- Mezzosopran, Laute
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3' 10" |
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- 4. Ce troi un
- Dreistimmiger Kanon |
1' 49" |
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- 5. Et qui de
ceste - Mezzosopran, Laute
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2' 04" |
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- 6. Mais
ceste trinite - Drestimmiger
Kanon
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2' 06" |
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- 7. De la duis
- Mezzosopran, Laute
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2' 07" |
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- 8. Et pour
ce di que cil troy - Dreistimmiger
Kanon
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1' 54" |
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- 9. Pour ce
te pri - Mezzosopran,
Laute |
1' 10" |
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- 10. Mais de
tel confort - Dreistimmiger
Kanon |
2' 02" |
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- 11. He!
fonteinne de concorde - Mezzosopran,
Laute |
2' 16" |
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- 12. Pour
laver et nettoier - Dreistimmiger
Kanon |
1' 45" |
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STUDIO DER FRÜHEN
MUSIK / Thomas Binkley, Gesamtleitung
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Andrea von Ramm, Mezzosopran,
Harfe |
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Richard Levitt, Altus,
Glockenspiel
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Sterling Jones, Fiedel, Lira,
Organetto
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Thomas Binkley, Laute, Tambourin |
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Dominique Bello, Patricia Calamaro,
Marie-Paule Canonia, Jaqueline
Grieb, Tania Kestinsky, Jacqueline
Magro, Said Saida, Denis Vial, Chor |
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Madame Fauré, Einstudierung |
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Luogo
e data di registrazione |
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Kirche
St. Victor, Marseille (Francia) -
settembre 1971 |
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Registrazione: live /
studio |
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studio |
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Producer / Engineer |
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Gerd
Berg / Johann-Nikolaus Matthes
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Prima Edizione LP |
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EMI
Electrola "Reflexe" - 1C 063-30
106 - (1 lp) - durata 56' 37" -
(p) 1972 - Analogico |
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Prima Edizione CD |
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EMI
"Classics" - CDM 7 63142 2 - (1
cd) - durata 56' 37" - (c) 1989 -
ADD |
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Edizione CD |
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EMI
"Classics" - 8 26472 2 - (1 cd) -
durata 56' 37" - (c) 2000 - ADD |
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Note |
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There can be
little doubt that Guillaume de
Machaut is the best-known
composer of the 14th century.
His complete poetical and
musical works have been before
us in scholarly editions for
several generations; how
surprising then to find he is
so little understood.
The renaissance of Machaut was
perhaps premature. He became
widely known as the composer
of the earliest complete
polyphonic setting of the
ordinary of the mass; this
mass has been published and
recorded many times. Yet it
remains a peripheral work
neither typical of his writing
nor central to his musical
thinking. Machaut is often
lauded as the composer of
songs displaying clever
erudite techniques (e. g. “My
end is my beginning”). He is
praised as the earliest
composer to write many
polyphonic songs. His motets
are sometimes mentioned, as is
his David Hocket, a
singular work and, like the
mass, not particularly
relevant to his genius. Being
the first or last to do
anything is no measure of
greatness. Machaut’s
monophonic music is seldom
discussed and still less often
performed. Yet it was one of
his favourite areas of work,
and clearly reveals essential
features of his art.
We must recognize that Machaut
was a songwriter whose great
breadth of genius, spanning
areas of experimentation and
areas of tradition, nearly
always brings three things
into focus: text, music and
structure. He was a master
craftsman in dealing with his
words and music, and a
balanced perception of his
contribution requires an
understanding of his work, in
the area of monophony and of
polyphony; for in spite of
everything, polyphonic song is
not simply monophonic song
with the addition of
accompanying parts (his
correspondence with Perronne,
seemingly to the contrary,
notwithstanding). A careful
look at his melodies reveals a
different approach to melodic
writing as between these
contrasting techniques, in the
use of rests and leaps, and
more particularly in affect.
We have selected for this
recording monophonic works
that reflect the broad
spectrum of his monophonic
composition. How different and
how remarkable are these
works! What an array of forms:
planctus, cantus coronatus,
lai and virelai. Needless to
say, the texts are of high
literary quality: not
indulgently expressive in the
manner of a Byron, for Machaut
addressed himself to a courtly
French audience possessing the
sensitivity required to
appreciate his spectacular
virtuosity, through which
words served functions of
imagery and structure as well.
With a word, he can create or
shatter an ambience, he can
delight and move. When he
brings his texts into music,
they are set off with a touch
of objectivity that results
from absolute control of all
structural details.
Some sense of his structures
he has imparted in the Remede
de fortune, an
intriguing if rambling
poetical work containing seven
musical illustrations. Three
of these are included here,
and we have provided just a
snatch of his verse before
each of the three pieces, so
as to offer the listener the
opportunity of hearing the
sound of his language and his
poetry. The several spoken
lines are not part of the
music of course, but an
introduction.
It is
perhaps questionable to
suggest that a piece of music
requires any introduction, yet
I feel the hurried listener
will appreciate a word about
the pieces. The lai Of the
fountain is a lai of
about average length for
Machaut. It consists of twelve
sections alternating, as I
believe was his intention,
between solo and chorus. The
chorus sections, marked chasse,
are written as three-part
canons (and form the most
intriguing canons of the 14th
century). Even the solo
sections are so designed to
permit canonic performance, an
observation which has been
taken into consideration in
the shaping of the
accompaniments. As is
customary with Machaut's
lais, the final section is
like the opening section but
transposed down a fourth.
This is not true of one lai by
Machaut, Loyauté. In
this piece there are only two
sections of music; they serve
two poetic structures which
alternate in an irregular
pattern of pairs. A
followed by B or A
and B followed B
or A. There are twelve
such pairs, but we found it
necessary to cut part of the
text in order to fit it on
this record; we feel the
essence of the piece and its
structure rest intact.
The text of another piece is
also cut, the planctus Tel
rit, which with its 36
strophes would fill a whole
record by itself. This
striking melody, so clearly a
complainte, must be
included even if it means
shortening it by many
strophes. The recitation of
some strophes follows the
documented practice of the
13th and 14th centuries of
reciting the texts of songs in
conjunction with the musical
performance of them. There is
no polyphonic form even
vaguely similar to the complainte,
although in the virelais we
find both polyphonic and
monophonic examples. They are
similar in both length and
style (after all they are
virelais) for Machaut was
careful to relate subject
matter with structure and
style. This relationship is
not a matter of word-note
correlation, but consists of a
much more abstract and subtle
suggestiveness.
The chanson royale Joye
plaisence, which we hold
to be the sort of song Grocheo
called cantus coronatus
because of the structure of
the melody, is written to make
possible the ornaments
described by Grocheo (which
the above-mentioned
complainte cannot
accommodate). The
accompaniments are our own,
following a principle
unstated but undeniable: each
instrument through its own
characteristics places its
peculiar stamp on the
accompaniment, which thus
develops out of the playing
technique of the instrument
rather than the rules of
counterpoint. The neuma
or instrumental tails which
conclude some of the pieces,
on the other hand, are taken
from Grocheo’s list and are
related only to the mode of
the melody. Grocheo, writing
in Paris about 1300, is no
contemporary of Machaut’s
however it is difficult to
imagine any pertinent changes
in this matter.
The instruments employed are
those of Machaut’s
time and place. He mentioned
them all many times, along
with dozens more. But alas
there is not time on a single
disc to bring in the wealth of
14th-century French
instruments, and thus we have
kept the number to a minimum
so that the concentration is
upon Machaut’s
genius rather than on the
colourful instruments of his
time. Voices are instruments
too, of course, and we have
taken cognizance of the head,
throat and chest voices
discussed by the theorists of
the time. Also, we invited
some young girls from
Marseilles to sing with us
(which is one reason why we
made the recording there). We
feel Machaut would have liked
that idea, and the listener
will be grateful for the
timeless sound of these French
voices.
Another reason for selecting
Marseilles was the ancient
abbey of St Victor on the hill
overlooking the bay. Machaut
must have known the abbey: he
may have visited it on his way
to Cyprus, and St Victor,
quite apart from Machaut, has
secured for itself an
important place in still
earlier music history. We set
up the microphones in the
humid crypt a few yards from
where recent excavations
uncovered 5th-century
Christian-Roman stonework and
not much further from the
entrance to a secret
passageway running beneath the
sea across to the other side
of the bay. The ambience was
most rewarding - a far cry
from modern studios - with the
result that the whole project
was completed in a very short
time.
Let this
recording be the basis of a
new understanding of a great
composer and song writer,
great because of his unusual
artistic genius, and let us
cease to enquire
whether he ever did
anything first or last.
Thomas
Binkley
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EMI Electrola
"Reflexe"
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