In this recent release
from Ricercar, Millenarium attempt to reconstruct typical
troubadour and jongleur performances, recreating their songs
and dances. Texts have been cut, and an improvisatory air
added, as the ensemble give an impression of all the various
sounds, instrumentations and styles that the troubadours
might have assimilated in their travels, and used in their
music.
Composers
featured include Bernard de Ventadorn, Beranguier de Palol
and Gaucelm Faidit – names that may not be unfamiliar to
lovers of early music.
In
the opening, anonymous Dananza
amoroso, Millenarium bring the music to life in
a spirited display of vivacity and vitality. This is one
of a number of instrumental works on the disc, along with Improvisation
sur Quis dabit occuli mei, an improvisation on
an anonymous Latin planctus from the twelve century, and Comminciamento
di goia, from the famous fourteenth century loferntine
manuscript. The performance of this is here slower and slightly
tamer, less effusive, wild and virtuosic than the Dufay Collective’s
version - on their fantastic A L’estampida disc – although
I like the inclusion of the bell towards the end of Millenarium’s
recording. All instrumental works on this disc are played
with great proficiency and understanding.
Bernard
de Ventadorn was one of the most famous troubadours. He worked
for an illustrious line-up of the Viscount of Vantedour,
Eleanor of Aquitaine, and then Raymond, Count of Toulouse,
before taking up the mantle of a Cistercian monk on Raymond’s
death. His moving Can
vei la lauzeta mover is
unusual, in that it is about renunciation of both
love and music, when the lover, his affections unrequited,
goes into a self-imposed exile, turning his back on his previous
existence entirely. The song is full of a bitter-sweet melancholy,
and Carole Matras’s strong voice suits it, and sets the mood
very well indeed. Ben
m an perdut is another song about a rejected lover
and his exile. The percussion is particularly atmospheric
and renders the music quite haunting.
Gaucelm
was nicknamed “Faidit”, meaning “the exiled one”, probably
a reference to his penchant for travelling, as he went from
court to court through all of Italy, France and Hungary,
and even took part in the fourth crusade at the end of his
life before returning to his birthplace of Limousin. Fortz chausa es was written as an elegy
for Richard the Lionheart who had been his patron, and in
typical laudatory Troubadour style, Richard is here likened
to Alexander the Great, Charlemagne and King Arthur. The
song is extremely poignant, and brilliantly performed, with
its long instrumental introduction climaxing as more and
more percussion instruments join the fray, before the organetto
enters with sad but almost malevolently melancholic chords.
The voice weaves a laments and sometimes, very movingly,
almost chants a threnody above the instruments. This was
the highlight of the disc for me.
In Tantm'abelis the knight Beranguier
de Palol, eulogises his beloved in an upbeat, almost frenetic
song full of joy, love and hope. Two contrasting works by
Gaucelm Faidit precede the concluding improvisation - the
joyful Jamais nuill terns and the gently lamenting Lo rossinholet selvatge in
which the nightingale’s song comforts the poet, who, despite
the fact that his beloved does not return his affections,
decides to remain faithful to her nonetheless.
This
is an enjoyable disc – a good collection of beautiful songs
and dances. The performances are of a consistently high standard,
and include some amazing virtuosity from Thierry Gomor on
percussion.
Em Marshall
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Millenarium
(Carole Matras (voice and harp), Christophe Deslignes (organetto),
Thierry Gomar (percussion)) 
