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Forgotten Provence: Music-making
in the South of France, 1150-1550
Martin Best Consort
rec. Concert Hall of the Nimbus Foundation,
6-10 November 1994. DDD.
Booklet with notes in English. Translations,
but not original texts, included.
NIMBUS NI5445 [64:19]
Women and Men
Ne l’oserary-je/Voulez-vouz que je vous
dise? [2:39] Dessus la rive: from Les Airs
de Cerveau, carole in ballade form
(c.1550) [2:26] Beatriz de
Dia (b. c.1140) A chanter
m’er: Canso (c.1200) [4:31] Vecy le mai: Carole in rondeau
form (c.1550) [3:39] Ma charmante cadet: Traditional
pastorela, Limousin [1:56]
Sequence in Free Organum Alleluia Justus: School of St.
Martial, Limoges (12th Century) [2:49]
Troubadours and Dances A l’entrada del tens clar: dance-song
in carole form (12th Century) [2:15]
Li gelos: Anonymous troubadour
dance-song [1:19] Air de Cheval-Jupon: Traditional
Languedoc dance (instrumental) [1:34]
Jaufre Rudel
de Blaye (d.c.1160) Lancan
li jorn: Canso [7:24] Ara Lauzatz: Anonymous troubadour
vers (12th Century) [2:04]
Sequence to St. Peter and St. Paul Laude Jocunda: School of St.
Martial, Limoges (12th Century) [2:09]
Motets at Montpellier Pucelete - Je languis- Domino
(c. 1250) [3:10] Petrus de Cruce
(d.c.1300) Aucun ont trouvé
- Lonc tans - Annuntiantes [4:09]
Alle Psallite cum luya (c. 1250)
[1:57]
Nightingales Rossignolet du bois: Carole in
Ballade form (1st half of the 16th Century)
[3:14] Rossignolet du bois: Traditional,
Bas-Languedoc [2:59] Lo Sodard: Traditional, Bas-Limousin
[4:15]
Sequence for Epiphany Epiphaniam Domino: School of
St. Martial, Limoges (c.1150) [3:53]
Awakening Guiraut de
Bornelh (1165-after 1220)
Reis glorios [5:57]
The very welcome resurgence of the Nimbus
and Lyrita labels has restored many
treasures to the catalogue. This is
emphatically one of them – an hour of
music from medieval and early-Renaissance
Provence on a recording to sit back
and enjoy. Technically, this and the
other recordings made by the Martin
Best Consort and Ensemble are not reissues,
since they are again available with
their original catalogue numbers and
still at full price. Almost five years
after Nimbus got back on its feet, it
is incredible that their recordings
are not featured in the 2008 editions
of either the Penguin Guide or
the Gramophone Guide. I hope
that the current review will partly
redress that unfortunate situation.
The recording covers a number of themes,
as stated in the sub-titles. The overall
tone of the programme is lively, though
with some reflective interludes. The
texts are in Occitan, the medieval language
of Provence, and Latin.
The first section deals with love, not
always of the courtly type. In Ne
l’oseray-je the woman laments that
she is to be married off to an uncouth
peasant; the man complains that everything
in the home seems to be for his wife’s
benefit. In Dessus la rive a
sailor tries to have his way with a
young girl, who appears to get the better
of him.
Track 3 brings us to the theme of fin
amors or courtly love, but with
the boot on the other foot – the woman’s
rather than the man’s. Beatriz, La Comtessa
de Dia, or Comtesse de Die, was one
of several independent-minded medieval
Provençal women who fought their
corner in a male-dominated world. In
A chanter m’er de so qu’ieu non volria
(I must sing of that which I would rather
not), the only piece by any of the trobairitz,
or female troubadours, to have survived
with its melody, she adopts the role
usually taken by the male lover, complaining
that she is compelled to sing about
a love that consumes her for someone
who does not value her.
This work is also included on an excellent
Hyperion recording, Bella Domna:
The Medieval Woman (Stevie Wishart
with Sinfonye on the budget-price Helios
label, CDH55207
review – a well-deserved Musicweb
Bargain of the Month). Sinfonye perform
the work unaccompanied and at a slightly
more leisurely pace. Both performances
work well, capturing a tone of regret,
rather than anger, at the indifference
of the beloved. If I marginally prefer
the Hyperion, it is a very close call
– Lilly Crabtree on Nimbus sings excellently.
All the versions which I know give the
text as chantar, which would
seem to be correct Occitan, but Crabtree
clearly sings chanter, as per
the booklet.
Those wishing to know more about the
trobairitz should consult Klinck
A L and A M Rasmussen (eds.), Medieval
Woman’s Song: Cross Cultural Approaches
(Philadelphia: University of Pennsylvania
Press, 2002). References to A chanter
m’er are on p.8. Vecy le mai is a carole
in rondeau form, one of those
countless medieval celebrations of the
month of May, "the merry month
which stirs our hearts." Ma
charmante cadet belongs to the chanson
d’aventure type, though it omits
the usual prefatory matter in which
the man’s riding out is described; it
represents a dialogue between a knight
and a peasant girl who, as so often
in such chansons, is his intellectual
superior.
The sequence of free organum
which follows allows a temporary respite
from secular concerns. The term organum
refers not to an organ accompaniment
but to an early kind of polyphony in
which the voices move at an interval
against each other, usually at a fifth;
in this case the technique is applied
to a sung Alleluia into which
the psalm text Justus ut palma
has been inserted – "the righteous
shall flourish like a palm tree."
Those seeking to understand terms such
as organum and polyphony will
find lucid explanations in the Oxford
Companion to Music. In any case,
don’t be put off by these technical
terms; just enjoy the music. A l’entrada del tens cler takes
us back to familiar troubadour territory,
the return of Spring. Li gelos
chastises jealous men, while the Air
de Cheval gives us a brief instrumental
interlude.
Lancan li jorn is one of the
most celebrated of troubadour cansos;
in Jaufré’s text the lover longs
with what the notes aptly describe as
Michelangelo’s ‘divine discontent’,
for his beloved in a far-off country.
This piece is no less effective for
its being viewed from the conventional
male perspective. The note-writer thinks
that Beatriz’s female-orientated version
in A chanter m’er is somehow
more ‘real’, but long experience has
taught me never to be wholly convinced
by circumstantial detail in literature
– as when Rousseau retells Montaigne’s
account of being knocked out by a rampaging
animal, as if it were his own experience.
Jaufre is just as convincing when his
canso is sung as affectively
as it is here.
In Ara Lauzata a lascivious monk
wishes that the pretty girl he sees
could be a beautiful nun encloistered
in his house; he is obviously second
cousin to some of the worldly clerics
in the Carmina Burana, best known
in Carl Orff’s arrangement, though the
original medieval music has survived.
The Sequence to St Peter and St Paul
recalls us to the joyful praise which
the monk should have been offering to
the saints instead of the scurrilous
thoughts to which he has given voice.
The Montpellier Motets are not all religious
pieces – the term did not have that
limited meaning originally. Pucelete/Je
languis, Aucun and Lonc
tans are all secular motets but
Alle Psallite, which closes the
sequence, is another eked-out Alleluia
in praise of God. If you would like
to investigate further the manuscript
from which these pieces came, you could
do much worse than to try the Anonymous
4 in Love’s Illusion: Music from
the Montpellier Codex – a different
style from that of Martin Best but equally
enjoyable (Harmonia Mundi HMX290 7109,
budget price).
Nightingales figured largely in medieval
poetry and music. The first of the pieces
entitled Rossignolet du bois
asks if the nightingale has heard the
voice of a village boy who wishes to
be married but doesn’t understand how
to behave in love. In the second the
nightingale announces the arrival of
Spring-time and love. In le Sodard,
the soldier hears the nightingale sing
that his love is dead. The lyrics are
worthy of Housman’s Shropshire Lad
and the music a rousing martial theme,
played here with gusto, which contrasts
with the soldier’s loss.
The Epiphany sequence Epiphaniam
Domino is one of many such pieces
contained in medieval missals, lengthy
pieces which replaced the Gradual between
Epistle and Gospel, very few of which
survived the reforming zeal of the Council
of Trent.
The final piece, Reis glorios,
is a dawn-song, alba in Occitan,
aubade in standard French. The
words are spoken as if by the watchman
who has been keeping guard over his
master as he made love, but they are
religious words, in praise of the Glorious
King and His Holy Mother. The fine performance
of this wonderful alba by Guiraut
de Bornelh, named by Dante as the Master
of the troubadours, makes an excellent
conclusion to a very worthwhile programme,
combining the secular and the spiritual,
as the medievals did effortlessly.
The singing and instrumental playing
throughout are excellent, in both the
lively music – the courtly and the not
so courtly – and the more reflective
pieces. I leave aside the thorny issue
of the extent to which such music should
be accompanied. Regular readers will
know that I have consistently given
the highest praise to Hyperion’s budget-price
Helios reissues of the recordings of
Gothic Voices, who very rarely include
an instrumental accompaniment. I trust
that I shall not seem illogical in praising
the Martin Best Consort, who do regularly
employ such an accompaniment, in equal
measure. There is certainly room for
both approaches when such fine performers
are involved; in any case, the accompaniments
here are not overdone. Apart from the
fact that the Gothic Voices reissues
are at budget price, comparisons are
odious – and there is no overlap, as
far as I am aware, between this Nimbus
recording and anything that Gothic Voices
recorded: they concentrated on a mainly
Northern French repertoire.
The recording is good – a little close,
but that is not inappropriate in such
music. The notes are informative, offering
a general overview and individual notes
on the separate tracks.
Nimbus offer translations of all the
works, but not the original texts. If
only one could be included, I suppose
that is the right way round, but I still
think it a pity – medieval Provençal
is not exactly a common enough skill
for the listener to pick it up from
hearing the CD. Hyperion are more generous
in this matter: they always offer texts,
albeit in minuscule form, including
that of A chantar m’er in the
booklet accompanying Sinfonye’s recording
of Bella Domna. For convenience
of those who buy the recording – many
of you, I hope – I have included such
original texts as I have access to,
in an Appendix to this review.
Until recently, this CD was available
with other Martin Best medieval recordings
in a bargain collection. If you hurry,
you may find that some dealers are still
offering that set – a wonderful bargain.
It was the original intention that I
should review the collection but, although
it is deleted in that form, Nimbus have
kindly sent me the individual CDs to
review. Watch out for reviews of the
remaining volumes in due course.
Brian Wilson
Appendix:
The text of Chanter m’er is available
at Songs-Lyrics.net:
A chantar m’er de so qu’eu no volria,
tant me rancur de lui cui sui amia;
car eu l’am mais que nuilla ren que
sia:
vas lui no.m val merces ni cortezia
ni ma beltatz ni mos pretz ni mos
sens;
c’atressi.m sui enganad’ e trahia
Com degr’ esser, s’eu fos dezavinens.
D’aisso.m conort, car anc non fi faillensa,
Amics, vas vos per nuilla captenenssa;
ans vo am mais non fetz Seguis Valensa,
e platz mi mout quez eu d’amar vos
vensa,
lo meus amics, car etz lo plus valens;
mi faitz orgoil en digz et en parvensa,
et si etz francs vas totas autras
gens.
Meraveill me cum vostre cors s’orgoilla,
amics, vas me, per qui’ai razon queu.m
doilla;
non es ges dreitz c’autr’ amors vos
mi toilla,
per nuilla ren que.us diga ni acoilla.
E membre vos cals fo.l comensamens
de nostr’amor! Ja Dompnedeus non voilla
qu’en ma colpa sia.l departimens.
Valer mi deu mos pretz e mos paratges
e ma beutatz e plus mos fins coratges;
per qu’eu vos man lai on es vostr’
estatges
esta chanson, que me sia messatges:
e voill saber, lo meus bels amics
gens,
per que vos m’etz tant fers ni tant
salvatges;
no sai si s’es orgoills o mal talens.
Mais aitan plus voill li digas, messatges,
qu’en trop d’orgoill an gran dan maintas
gens.
Texts of all Jaufre Rudel’s works are
available online at trobar.org, including
that of Lancan
li jorn:
Lanquan li jorn son lonc e may
M’es belhs dous chans d’auzelhs de
lonh,
E quan mi suy partitz de lay,
Remembra’m d’un’ amor de lonh.
Vau de talan embroncx e clis
Si que chans ni flors d’albespis
No-m valon plus que l’yverns gelatz.
Be tenc lo Senhor per veray
Per que formet sest’ amor de lonh,
Mas per un ben que m’en eschay
N’ai dos mals, quar tant suy de lonh.
A! quar no fuy lai pelegris,
Si que mos fustz e mos tapis
Fos pels sieus belhs huelhs remiratz!
Be’m parra joys quan li querray,
Per amor Dieu, l’ostal de lonh,
E, s’a lieys platz, alberguarai
Pres de lieys, si be’m suy de lonh,
Qu’aissi es lo parlamens fis
Quan drutz lonhdas et tan vezis
Qu’ab cortes ginh jauzis solatz.
Iratz e dolens m’en partray,
S’ieu no vey sest’ amor de lonh.
No’m sai quora mais la veyrai,
que tan son nostras terras lonh.
Assatz hi a pas e camis,
e per aisso no’n suy devis.
Mas tot sia cum a lieys platz.
Jamai d’amor no’m jauziray
Si no’m jau d’est’ amor de lonh,
que mielher ni gensor no’n sai
ves nulha part, ni pres ni lonh.
Tant es sos pretz ricx e sobris
Que lai el reng dels Sarrasis
fos hieu per lieys chaitius clamatz.
Dieus que fetz tot quant ve ni vay
E formet sest’amor de lonh
Mi don poder, que cor be n’ai,
Qu’ieu veya sest’amor de lonh,
Verayamen en luec aizis,
Si que las cambras e’l jardis
Mi resemblo novels palatz.
Ver ditz qui m’apella lechay
e deziros d’amor de lonh,
que nulhs autres joys tan no’m play
Cum jauzimen d’amor de lonh.
Mas so qu’ieu vuelh m’es tant ahis,
Qu’enaissi’m fadet mos pairis
Qu’ieu ames e nos fos amatz.
The same website also offers Guiraut de
Bornelh’s Reis
glorios, verais lums e clartatz:
Reis glorios, verais lums e clartatz,
Deus poderos, Senher, si a vos platz,
Al meu companh siatz fizels aiuda!
Qu’eu no lo vi, pos la nochs fo venguda,
Et ades sera l’alba
Bel companho, si dormetz o velhatz,
No dormatz plus, suau vos ressidatz!
Qu’en orien vei l’estela creguda
C’amena.l jorn, qu’eu l’ai be conoguda,
Et ades sera l’alba
Bel companho, en chantan vos apel!
No dormatz plus, qu’eu auch chantar
l’auzel
Que vai queren lo jorn per lo boschatge
Et ai paor que.l gilos vos assatge
Et ades sera l’alba
Bel companho, issetz al fenestrel
E regardatz las estelas del cel
Conoisseretz si.us sui fizels messatge!
Si non o faitz, vostres n’er lo damnatge
Et ades sera l’alba
Bel companho, pos me parti de vos,
Eu no.m dormi ni.m moc de genolhos,
Ans preiei Deu, lo filh Santa Maria,
Que.us me rendes per leial companhia,
Et ades sera l’alba
Bel companho, la foras als peiros
Me preiavatz qu’eu no fos dormilhos,
Enans velhes tota noch tro al dia.
Era no.us platz mos chans ni ma paria
Et ades sera l’alba
Bel dous companh, tan sui en ric sojorn
Qu’eu no volgra mais fos l’alba ni
jorn,
Car la gensor que anc nasques de maire
Tenc et abras, per qu’eu non prezi
gaire
Lo fol gilos ni l’alba.
The (slightly abbreviated) text of Epiphaniam
domino, as sung on the CD is:
Epiphaniam domino canamus gloriosam,
qua prolem Dei vere magi adorant.
Immensam Chaldaei cuius Persaeque
venerantur potentiam,
Quem cuncti prophetae venturum
cecinere gentes ad salvandas.
Cuius maiestas ita est inclinata,
ut assumeret servi formam
Ante saecula qui Deus et tempora,
homo factus est in Maria.
Deum et hominem mira potentia.
Balaam de quo vaticinans,
exibit ex Iacob rutilans,
inquit, stella.
Et confringet ducum agmina
regionis Moab maxima potentia.
Huic magi munera deferunt praeclara:
aurum simul thus et myrram.
Thure Deum praedicant
auro regem magnum,
hominem mortalem myrra.
In somnis hos monet angelus,
ne redeant ad regem commotum propter
regna.
Pavebat etenim nimium regem natum,
verens amittere regni iura.
Magi stella sibi micante prae via,
pergunt alacres itinera,
patriam quae eos ducebat ad propriam,
linquentes Herodis mandata.
Qui percussus corda nimium prae ira,
ex templo mandat eludia magica
non linqui taliter impunita,
sed mox privari eos vita.
Omnis nunc caterva tinnulum iungat
laudibus organi neuma.
Mistice offerens regi regum
Christo munera pretiosa.
Poscens ut per orbem
regna omnia protegat
in saecula sempiterna. Amen.
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