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The Unicorn - Medieval French songs The bestiary of love Philippe DE THAON (c.1130)Serena
en mer hante [2:10] ANONYMOUS (13th
century) En mai au douz tens nouvel [3:55] The four-legged Narcissus Marie DE FRANCE,
(12th-13th century), ANONYMOUS (ed. Cohen) Issi avint qu'un cers [2:06]; D'un
gupil [1:17] Shira KAMMENLa
danse de gupil [1:35] ANONYMOUS (13th
century) Ensement com la panthere t'ui [4:21] Philippe DE THAON (c.1130) Monosceros
est beste [1:05] Thibault DE CHAMPAGNE (1201-1253) Aussi
come unicorne sui [6:10] Miracles and wonders • Miracles et merveilles Le Cycle de Sainte Leochade Gauthier DE COINCY (1177/8-1236) Que
de memoyre [1-47]; Las, las, las [3:56]; Quatre
jours plains [1:30]; Sour cest rivage [4:06]; N'est
pas merveille [1:31]; De sainte Leochade [5:57] The abbey of love or love betrayed ANONYMOUS (13th
century) / Cheryl Ann FULTONAu renouvel [3:10] ANONYMOUS (13th
century) Belle Doette [8:44] Moniot DE PARIS (13th
century) Je chevauchoie l'autrier [3'20]
Anne Azema
(soprano); Cheryl Ann Fulton (harps); Shira Kammen (vielle;
rebec; harp); Jesse Lepkoff (flute); Rainer
Thurau (gothic harp; Cithara Anglica); Fabrizio Reginato
(vielle); John Fleagle (rebec); Barbara Stanley (flute)
rec. Campion Center, Weston, Massachusetts, May 1993. DDD WARNER APEX 2564
62550-2 [56:57]
A slightly disappointing
start to this disc was soon made up for by good performances
later on. I was first put off by both the stilted - occasionally
almost incomprehensible - English translation of the introductory
notes (e.g. "To untangle these threads, which have been
so carefully intertwined, is foolish oversimplification"!),
as well as the minor errors in the sleeve-notes: references
to the song track numbers - where they appear - are incorrect
in a few cases. Secondly, I found the spoken introduction
to the opening track, mildly disturbing - it comes across
as quite irritatingly over-done, and the sing-songy style
didn't really work for me.
The notes explain, in
their curious manner, that although most of France had been
dominated by the male troubadour song, in sophisticated places
in Northern France there was a taste for women's songs, as
represented here. They were called chansons de toile,
as they were both sung by ladies as they worked at the spinning
wheel, and also because characters in the songs are often
to be found
weaving
and
performing similar women's work. Although the songs generally
follow strong conventions, we occasionally come across an
unusual song - as indeed, with troubadour songs - that seems
to defy the usual principles. For example, in the haunting Belle
Doette, the protagonist spends her time reading instead
of spinning, her lover is killed not in the traditional war
but in a tournament, and the she doesn't die but builds an
abbey. Many of the songs are about love, springtime, nature,
birds and animals (sweet-smelling panthers!) and similar
topics.
The transcriptions of
the songs rely a great deal on realisations and improvisations
- so, for example, we find two fables (Issi avint qu'un
cers and D'un gupil), written by a Marie de France
in the twelfth century, which the performer has chosen to "recite" to
an anonymous tune of c. 1200, in a curious half-sung, half-spoken
method. A number of other tracks are also spoken, such as Monosceros
est beste, as well as a series of narratives from the
Benedictine monk, Gauthier de Coincy's Miracles de Notre
Dame (Que de memoyre, Quatre jours plains and N'est
pas merveille), where the narrative relating the Virgin's
miracles is interspersed with poems - here sung - in her
honour.
I am not, however, convinced
that the spoken tracks work that well, and certainly find
them less pleasing than the actual songs and instrumental
tracks - many of which, such as Shira Kammen's syncopated,
dance-like, and folksy realisation of La danse de gupil,
are quite delightful. Azema has a good voice for this repertoire
- pleasingly robust, yet evocative and clear, with a rather
apt, slightly austere and harsh quality. She also has a nice
sense of atmosphere, as demonstrated in the well-known Aussi
come unicorne sui, where her dramatic singing is excellently
complemented by the sparse and simple accompaniment. The
concluding Je chevauchoie l'autrier is a charming
track, and a good one to finish on, showing Azema's ability
to characterise with contrasts in her voices according to
the different characters she plays. Yet even this could be
a little more sensitively done, with greater variety and
insight.
Although I was slightly
put off this disc by the spoken tracks, it is nonetheless
an interesting and enjoyable listen. The accompaniment is
extremely sympathetic, the singing pleasant, and the works
themselves a fascinating insight into mediaeval France.
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