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Guillaume de MACHAUT (ca. 1300-1377)
Guillaume de Machaut et l'art des Trouvères
Vièles et voix du Moyen Age
Anon.

1.La quarte estampie roial (5 vielles & rebecs)
Gautier de Coincy

2.Chanson: Ma vièle vièler veut un biau son (voice, 5 vielles & rebecs)
Anon.

3.Conductus: Ave Maris Stella (3 vielles)
Gace Brulé

4.Chanson: Cil qui d'amors me consoille (voice, citole)
Anon.

5.Motet: In seculum viellatoris (3 vielles)
6.Motet: In seculum (3 vielles)
Colin Muset

7.En mai (rebec, voice)
Anon.

8.La tierche estampie roial (5 vielles & rebecs)
9.Motet: L'autrier joer m'en alai (voice, crwth, 2 vielles)
10.Rondeau de carol et motet: Tuit cil qui sunt enamourat (4 voices, 5 vielles & rebecs)
11.Chanson: Apris ai qu'en chantant plour (voice)
Alfonso el Sabio (attr.): Cantigas de Santa Maria

12.Cantiga 42: A Virgen mui groriosa (rebec)
Chastelain de Coucy

13.Chanson: La douce voiz du rosignol sauvage (voice, bowed citole)
Anon.

14.Motet: Ne m'oubliez mie (voice, vielle)
Jehannot de Lescurel

15.Belle comme loiaus amans (5 vielles & rebecs)
Adam de la Halle

16.Rondeau: Fi maris (3 voices)
17.Rondeau: Li dous regars (3 vielles)
18.Chanson: On demande mout souvent qu'est amours (voice, vielle)
Jehannot de Lescurel

19.Chanson: Gracieusette (5 vielles & rebecs)
20.Chanson: Amour trop vous doit cherir (5 vielles & rebecs)
Guillaume de Machaut

21.Le lay mortel (voice, crwth, psaltery)
22.Chanson roial (5 vielles & rebecs)
Emmanuel Bonnardot, (voice, bowed strings: vielle, rebec, bowed citole, crwth),
Barnabé Janin, Jean-Loup Descamps, Susanne Meyer, Valérie Ingert (bowed strings, voices, citole),
Hélène Moreau (psaltery)
Rec: June 2001, Église de Sergines
CALLIOPE 9308 [67.41]

 


Guillaume de Machaut was one of the great composers of a pivotal period at the intersection between the late medieval times and the Renaissance. His works include sacred compositions, such as his Messe de Nostre Dame, which took polyphonic music to new summits, as well as popular dances and songs that reveal the influence of the trouvères.

Yet this disc actually contains little music by Machaut. Only the last two pieces are by him. This leads to a bit of confusion: is Calliope trying to use Machautís name to sell a compilation of medieval music? This barely seems necessary, yet there is clearly some ambiguity.

In any case, this recording features a selection of music from the trouvères period, ranging from instrumental works to solo chants. This disc covers a wide range of material, from the oriental influence of works like La quarte estampie roial, with its droning vielles and lively rhythm, to the more restrained Ne míoubliez pas, a bittersweet song with a subtle voice singing over a gentle accompaniment.

The music of this period was diverse, and shows influences from the Arab culture of Spain, as well as the European culture of northern Europe. Emmanuel Bonnardot has made an excellent selection of music, varying style, rhythm and instrumentation, to present a program of medieval music that avoids the overly-common mistake of being too specific. Polyphonic music, such as Adam de la Halleís song for three voices, Fi maris, is side-by-side with a delightful instrumental piece by Lescurel, Belle comme loiaus amans, providing contrast and curiosity. The long lai by Machaut, Le lay mortel, is a memorable work. This strophic song for voice, crwth and psalterion combines arabesques of oriental-influenced melodies with Emmanuel Bonnardotís earthy voice in a haunting, melancholy song of love and loss.

This is one of the finest collections of music by the trouvères to be released in a long time. The excellent selection of music (though little is by Machaut), the variety of instrumentations and Emmanuel Bonnardotís simple, expressive voice make this an essential recording for discovering this music that is so old, yet so pertinent to our time.


Kirk McElhearn

 


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