Carmina Anglica  /  Ensemble Labyrinthus

English Latin conductus and motets of XIII-XIV cc.
2019 Danil Ryabchikov
2021 Bestiarium Music

1. Anglia planctus itera  [5:03]
Florence, Bibliotheca Medicea-Laurenziana, Ms. Pluteus 29

2. Trahis suspirium / Mordax detractio / Epiphaniam Domini  [3:09]
Paris, BNF, fonds français 25408

3. Salve Symon Montisfortis  [1:11]
Cambridge, Jesus College, Ms. QB5

4. Samson dux fortissime  [13:43]
London, British Library, Ms. Harley 978

5. Orbis pium primordium / O bipertitum peccatum  [2:02]
Chicago, University Library, Ms. 654

6. Qui passus est pridie  [1:41]
Oxford, Bodleian Library, Ms. Bodley 937

7. Vide miser et iudica / Vide miser et cogita / Wynter  [1:53]
Tours, Bibliothèque Municipale, Ms. 925

8. Processit in capite  [3:05]
Oxford, Bodleian Library, Ms. Bodley 937

9. In hac die Dei  [2:40]
Oxford, Bodleian Library, Ms.Bodley 937

10. Omnis caro peccaverat  [10:13]
Paris, BNF, fonds français 25408

Ensemble Labyrinthus:

Hanna Marti /Ханна Марти - vocal/vocal, medieval harp/средневековая арфа
Witte Maria Weber/Витте Мария Вебер – vocal/вокал,
Anastasia Bondareva/Анастасия Бондарева - vocal/вокал,
Danil Ryabchikov/Данил Рябчиков - citole/цитоль, artistic director/художественный руководитель

Звукозапись/Sound recording - Илья Карпов/Ilya Karpov
Продюсирование/Produced by - Данил Рябчиков, Илья Карпов/ Danil Ryabchikov, Ilya Karpov
Обложка/ Sleeve design - Анна Завьялова/Anna Zavialova
Лого ансамбля Labyrinthus/Ensemble Labyrinthus’ logo - Светлана Молодченко/Svetlana Molodchenko
Дизайн буклета/Booklet design - Ольга Игнатьева/Olga Ignateva

© 2019 Danil Ryabchikov/
© all rights reserved

released December 24, 2019

CARMINA ANGLICA. English Latin conductus and motets of XIII-XIV cc.

New sounds of polyphonic music as well as gothic as a style we invented on the continent, but soon (at the beginning of XIII c.) they can be found in Britain. Many musical genres of that time (rondellus, conductus, motet) were well known and popular on both the banks of the English channel. But English versions were quite apart from French originals and counterparts.

Motet in France in XIII c. usually had a melody taken from a Gregorian chant in Latin in its tenor, while upper voices (motetus, triplum and quite rare quadruplum) were often in French and dedicated to secular subjects. English motet “Vide miser et iudica/Vide miser et cogita/Wynter” turns this scheme upside down. Its tenor is in Middle English and apparently secular, while upper voices are in Latin and devotional and penitential by nature. Motet “Orbis pium primordium/O bipertitum peccatum” is not a motet per se, but a conductus-motet, something in between these two genres.

Musically English polyphony of XIII-XIV also differs for the continental one. Less ornamental, more restrained and homogeneous. As an architecture English gothic music has at least no less Romanesque  influence than its continental counterpart.

For more details please see the booklet article, written by Dr. Helen Deeming.