medieval.org
Arion ARN 68064
CD compilation 1988
Since its creation in 1970, the «MUSICIENS DE PROVENCE» ensemble,
has continued to broaden its activities, extending them to all popular
instruments of Provence whose richness of timbre was worthy of
preserving. The use of these instruments had become more or less lost
down through the centuries.
Members of the ensemble also
undertook a detailed reconstitution of documents, iconography and
instruments still preserved in museums. The universality of their
instruments — fifty in number — (instruments of French folklore are the
relics of those played in Europe during the Middle Ages and the
Renaissance) allows them to play — quite apart from seventeenth and
eighteenth century traditional Provençal music which they like so much
and play on flutet, tabor, Provençal timbale, timbalons, cymbalettes —
all European music, with preference given to pieces retaining the
popular character to which the ensemble is so attached: songs and dances
of the Middle Ages, Provençal Noels and Renaissance dances. Recordings
by the «MUSICIENS DE PROVENCE» meet with immediate success as soon as
they are issued.
INSTRUMENTS
1. DUCTIA «Gentle lamb, kind lamb, spotless lamb,
The instruments playing this version are: harp, recorders, mandora, psaltery, side drum and «timbalons»
When the fine weather doth appear,
Voice, flutets, rebec, marine trumpet, hurdy-gurdy, side-drum, percussion instruments.
One day at break of day
Instruments: hurdy-gurdy, side drum, flutets, recorders and percussion instruments. «I must
sing that which I do not wish to, I am so saddened by the object of my
love, for I love him more than anything, but neither my grace, nor my
beauty, nor my worthiness, nor my spirit counts in his eyes, and I am
cheated and betrayed as if I were contemptible...»
It is in these
terms that the Countess, as passionate lover, addresses herself to Count
Raimbaud of Orange who has deserted her. She lived most probably
between 1135 and 1189 and was, perhaps the daughter of Guigues IV,
Dauphin de Viennois, or of Guillaume the First of Poitiers, Count of
Valentinois. «Quand l'erba fresc...»: «When the
fresh grass and leaves appear, when the blossom flowers in the orchard
and the nightingale raises his voice loud and clear in song, he and the
blossom fill me with joy, I am happy for myself, but even more for my
Lady, I am surrounded by joy, but that which comes to me from Her
surpasses all others».
Instruments: psaltery, side drum. «Neither May festivals, nor the leaves of the beech, nor the song of
birds, nor the gladiola, nothing can charm me, beautiful Lady, until I
have received a messenger from you...»
Instruments: Chalumeau, rebec, flageolet, side drum. «Jesus Christ, son of the living God, who was born of the
Virgin, Lord despised and betrayed, I beg you to give me such good
counsel that I may know the better how to love, to hate sin and live
according to your will».
Instruments: psaltery and hurdy-gurdy. «Rose of all roses, flower of all flowers,
The
melody — transcribed by H. Anglès — is remarkable for its purity and
its refined simplicity. In this recording it is played by an ancient transverse flute, recorders an a side drum.
STRINGS
· The psaltery. A T-shaped soundboard over which strings are stretched. (Reconstitution M. Fabre).
· The hurdy-gurdy. The bow is here replaced by a wheel. The model used is diatonic.
· The mandora. A kind of small, four-stringed lute. A lower pitched example is also used.
· The harp. Fifteenth century, small sized model.
· The marine trumpet. A one-stringed instrument playing harmonics. It is shown in two different sizes (1m and 1m.60). (Reconstitution M. Fabre).
· The rebec. A kind of small-sized, piriform violin with three strings. It has a dry, rather sharp sound.
FLUTES
· The flutets.
Three-holed recorder playing with an interval of a twelfth, accompanied
by the tabor. Three models: Provençal small flute or «galoubet» (25cm
long approximately), soprano flute (45cm), bass flute (70cm).
(Reconstitution M. Fabre).
· The recorders. Six sizes (small sopranino, sopranino, soprano, alto, tenor, bass).
· The flageolet. A six-holed reed recorder, very simple.
· The fresteu. Provençal panpipe, whose pipes are simple reeds.
REEDS
· The chalumeau. A kind or primitive, reed clarinet.
· The crumhorns. Curved instruments with a cupped double reed. Three models: soprano, alto, tenor.
· The cupped oboe.
Also called the «hautbois de Poitou», it has the shape of an oboe but
has a cupped mouthpiece, like the crumhorn. Two models: sopranino,
soprano.
BRASS
· The sackbut. Forerunner of the trombone. Two models: alto, tenor.
PERCUSSION INSTRUMENTS
· The string tabor. Still played in Bearn, this drum is composed of a soundbox over which strings are stretched and struck with sticks.
· The tabor
(of Provence). Indispensable companion to the flute, it is played with
one hand only with the help of a stick. Unlike the Provençal tabor, the
tabor of the Middle Ages is small in size (approximately 40cm high).
· The Medieval tabor. Held vertically against the stomach, beaten on both sides with drumsticks.
· The Provencal timbale (kettledrum)
Often
found in the company of the traditional tabor, the timbale is a small
tabor, without timbre, made of two thick skins held in position by iron
circles. The sound is muffled and short, quite different from the
sustained vibrations of the tabor. Formerly, it was the prerogative of
the chief of the «band of tabors».
· The timbalons. Two small pottery timbales, traditional in Provence.
· The darabuka. A pottery drum.
· The guimbarde.
The guimbarde or Jew's harp works on the principle of a flexible, metal
strip which, when struck by the right index finger, produces a
fundamental note. Depending on the position of the lips, tongue and jaw,
five to ten harmonics can be obtained.
· The cymbalette. Small brass cymbals.
· The cliquettes. Very primitive castanets consisting of two small blocks knocked together.
· The carillon.
A collection of bells, rung by hand, very much in favour in the high
Middle Ages. In this recording there is a carillon of twelve bells.
· The rossignol
(nightingale). A terracotta instrument, manufactured close to
Marseilles, which imitates the sound of the nightingale by means of
water contained within the instrument.
(Anonymous, XIII c.)
According to the theoretician, Jean de Grouchy, the ductia was a dance which, more than any other called for the rhythm of percussion instruments. The ductia
recorded here comes from an English manuscript, at the British Museum.
Its having been written for two voices is a quite unusual refinement in
instrumental music of the end of the XIII century. The instruments used
are essentially «Hlauts Instruments» («High» Instruments), that is to
say «plain air» instruments:
«Hautbois à capsule» (cupped oboe or pirouette), chalumeau (shepherd's pipe), sackbut, to which are added, «vielle à roue» (hurdy gurdy), piccolo, «cymbalettes» (small cymbals) and tabor.
2. «AGNIAU DOUS...»
(Anonymous, XIII c.)
If
courtly love dominates songs in popular languages of the Middle Ages,
it later gave precedence to religious inspiration and poet-composers
willingly used their talent in the service of religion. The later
troubadours were to provide fine examples of this in southern France
(the Midi) and Spain. It seemed quite natural then to celebrate divine
love in the same terms as those used for courtly love. «Agniau dous...»,
an anonymous virelay written in the French language, probably dates
from the XIII century. Its subject is the lamenting of the Virgin at the
foot of the cross; lamenting with which the poet associates himself:
Lamb who, for us, was born in a crib,...
I bear more grief for you this day
Than ever I felt before...»
3. AU RENOUVIAU
(Anonymous, XIII c.)
One
knows to what extent the troubadours liked to evoke nature and the
spring in their compositions. The anonymous trouvere who composed Au renouviau
in the XIII century begins his story, as he should, in the springtime.
To a music reminiscent of a light-hearted dance, two ladies debate this
important question: should one prefer a young, handsome, brave lover —
although poor — to one less young, but rich...
One hears in turn: flutes, soprano flutes, crumhorn, piccolo, hurdy-gurdy, chalumeau accompanied by the side drum and «timbalons».
4. «QUEM A OMAGEM DA VIRGEN...»
(Alfonso X, «El Sabio», 1221-1284)
Towards
the middle of the XIII century, the art of the troubadour straddled
frontiers and found new life in Spain. Alfonso X, «El Sabio» (the
learned), King of Castille and Leon from 1252 to 1284, was to become the
undisputed master of this Iberian school. He has rightly been called
«El Sabio» (the learned): apart from his interest in the sciences, he
was also a renowned troubadour in the Galician language. His works,
dedicated exclusively to the Virgin, are collected in the Cantigas de Santa Maria
manuscripts, whose illuminated riches provide us with precious
information about XIII century instruments. The song, «Quem a omagen...»
tells of a miracle which took place in a monastery. According to
legend, the statue of Christ appeared to a saintly child, inviting him
to a heavenly meal: «Whosoever honours the image of the Virgin and her
son shall be honoured by them in their kingdom unlike any other. I will
tell you, if you would seeks nothing but our well-being...»
Chalumeau and recorder take it in turn to play this beautiful melody.
5. THE QUEEN OF APRIL BALLAD
(Anonymous, XII c.)
The
troubadours do not seem to have concerned themselves much with songs to
dance to. This would explain why the Queen of April ballad enjoyed such
success, the more so since the melody is particularly rousing. It
appears that this is the first song in ballad form written to be danced
to. Its melody poses serious problems of transcription for
musicologists. In quite classical opposition, often used by the
troubadours, the text describes the merry society surrounding the Queen
of April and the Jealous Husband, that is the husband who does not
accept the conventions of courtly love. The verses are punctuated by the
vigorous exclamation of «Eia!», and the refrain, «A la via» (be off
with you!) is particularly significant.
Translation:
Let joy recommence
And to annoy the Jealous Husband,
The Queen doth show
How much she ¡s in love.
Be off with you, be off with you Jealous Husband,
Leave us to dance amongst ourselves.
She has summoned everyone
From far and wide.
Their is neither maiden nor youth
Who will not come to dance
In this merry dance.
Seeing her dancing
As her soft body sways,
One can say in truth
That she has no equal in the world
The joyous Queen.
5. PASTOURELLE «A UNE AJORNÉE...»
(Moniot de Paris, XIII c.)
Nothing
is known about the life of the trouvere Jehan Moniot of Paris, except
that he was active at the beginning of the XIII century. Only nine of
his songs in very lively style survive, with life in Paris and the
countryside as their setting. These songs seem to have been extremely
popular as there exist no less than twenty eight musical versions. The
theme of the pastourelle «A une ajornée...», is one much used by the trouveres, that of a knight courting a shepherdess.
I was riding my horse
In a valley
Not far from my path
I found a shepherdess
Grazing her sheep...
7. PLANG
(Beatrice de Die, XII c.)
The Plang
(Lament) of the Countess Beatrice de Die is, without question, one of
the most moving creations of Provençal lyrics of the XII century,
as much from the literary as from the musical point of view.
This plang is played on the transverse reed flute and side drum.
8. QUINTE ESTAMPIE REALE
(Anonymous, XII century)
The pieces discovered and published by Aubry under the title Estampies et Danses Royales
constitute the earliest example of purely instrumental music. These
anonymous works which can be dated approximately between the XII and
XIII centuries, are without words and of an aspect that suggests without
any doubt instrumental style. They are all modelled on the same form: a
formula-refrain is inserted in between the different «points» which
take the place of verses. One estampie may contain between four and seven «points». It should be remembered that the estampie — a term whose origin remains obscure, probably comes from the Provençal «estampir»
— to tap the foot — and refers to a dance no one now knows
how to perform, or perhaps merely a piece of instrumental music.
The Quinte estampie reale is played by flutets, recorders, piccolo, crumhorn, side drum and darabuka (Arabic drum).
9. CHANSON À LA VIERGE
(Gautier de Coincy, 1177-1236)
The
monk-trouvere Gautier de Coincy, born at Coincy l'Abbaye, was well
known for his devotion to the Virgin. A skilled trouvere but essentially
a man of the Church, he was not only renowned as a musician, but as a
writer too. His major narrative in verse on the Miracles of Notre Dame
is interspersed with songs among them, «Ma vièle viéler veut un beau
son...» (My old vielle longs to make a fine sound...) which is played
here on recorders and the side drum.
10. TRAI-RI-DELURIAU/ROBIN M'AIME
(Adam de la Halle, 1245/50-1285/88)
With
his famous Jeu de Robin et Marion, Adam de la Halle created, as early
as the XIII century, a form of profane, sung theatre. Developing the
theme of the pastourelle, dear to trouveres, that of the shepherdess
being courted by a knight, he wrote a veritable comedy sprinkled with
short songs.
Extremely interesting for the light it throws on the
history of theatre in the Middle Ages, the work of Adam de la Halle is
also of great value to musicians. Indeed, the songs are written on
«timbres», that is to say familiar tunes which have thus survived to the
present day. Often they were tunes to dance to as in Marion's spiritual
song, «Robin m'aime», whose «timbre» is heard here in an instrumental
version. The «plein air» melody is used for the knight's song, in the
form of an introduction, and in contrast.
Instruments: pipes of Pan, guimbard (Jew's harp).
11. «QUAND L'ERBA FRESC...»
(Bernard de Ventadour, C. 1150-1200)
Bernard
de Ventadour, of humble origin, was born in the Castle of Ventadour in
the Limousin. He was considered, during his lifetime, as the finest
example of a troubadour, one of the most inspired, if not the most
scholarly. His talent was held to be perfectly balanced for he excelled
as much at writing verses as composing music to accompany them. Typical
of his art is the melody of the song,
12. «DOUCE DAME JOLIE...»
(Guillaume de Machault, c. 1300-1377)
Born
in 1300, died around 1377, Guillaume de Machault was canon of Rheims.
He is best known as the greatest exponent of a new polyphonic style in
the XIV century, Ars Nova, particularly scholarly and
complicated. But it is less well known that he was also one of the
greatest and last trouveres, poet and musician at the same time. Lays,
virelais and roundeaux, before becoming polyphonic compositions were
also written for one voice.
«Douce Dame Jolie...» is one of these monodic virelais, particularly renowned when played on the psaltery, a stringed instrument related to the zither, chosen here for the poetry of its sound quality.
13. CALENDA MAIA
(Rambaud de Vacqueiras, c.1155-c.1205)
Legend has it that the celebrated troubadour, Rambaud de, Vacqueiras on hearing jongleurs perform an estampie,
improvised a song in honour of his Lady on the music of that dance.
This melody is played on popular instruments of the Middle Ages.
14. «JHESU-CRIST, FILH DE DIU VIU...»
(Guiraud Riquier, c.1230-c.1292)
Born
at Narbonne, Guiraud Riquier is considered to be one of the last
troubadours. Adept at writing polished poetry, he wrote in every genre
notably religious song, modelled on those of Alfonso X of Castille, who
was his protector for a time. Jhesu-Crist, filh de Diu viu dates
from 1275:
15. PASTOURELLE «DEHORS LONC PRÉ...»
(Anonymous trouvere, XIII c.)
The pastourelle
is a kind of song widespread among troubadours and in particular the
troubadours of northern France. It developed, as far as the words are
concerned, along the classic pattern of a chevalier who courts a
shepherdess only to be cheated in the end, suggesting a popular origin.
It is thought the genre was taken up by trouveres anxious to preserve
the picturesque while adapting their songs to more aristocratic
audiences. The music of the pastourelles, despite this skilful
«reprocessing» is generally fresher, more spontaneous and with a more
clearly marked rhythm than other songs by trouveres.
«Dehors lonc pré...» attributed to Jehan Erars or Gillebert de Berneville, is played on the hurdy-gurdy and flutets, accompanied by a side drum and percussion instruments, while at the repeat, the piccolo freely improvises variations.
16. MADRE DE DEUS
(Alfonso X «El Sabio»)
His works have come down to us thanks to a collection decorated with precious miniatures, the Cantigas de Santa Maria, a collection which includes Madre de Deus.
The miniatures often show Christian and Muslim musicians fraternizing
and playing together (or enjoying some poetical-musical jousting). One
should not be surprised therefore at the oriental aspect of this prayer
to the Virgin, a prayer in which mystical love is expressed in the
vocabulary of courtly love.
It is played on the chalumeau, recorders and percussion instruments (darabuka, timbale).
17. SEPTIME ESTAMPIE REALE
(Anonymous, XII - XIII c.)
The Septime estampie reale
(Seventh royal estampie) forms part of a set of dances which constitute
the oldest example of music specifically instrumental. These dances
date most probably from the end of the XII century. As for the term
«reale» (royal), this is generally taken as being an allusion to the
«King» of the minstrels, head of the guild, rather than suggesting a
courtly dance.
Instruments: flageolet and a Medieval type drum, beaten alternately by two drumsticks of different sizes.
18. «LAS, LAS, LAS, PAR GRAND DÉLIT...»
(Gautier de Coincy)
Most of his songs — «exclusively religious» —
are placed between the different books of an immense narrative in
verse: «Les Miracles de Notre Dame» (Our Lady's miracles). Nevertheless, the song «Las, las par grand délit...»
is exceptional and is set in a special cycle which refers to an «event»
of 1219: at Vic, thieves had stolen the relics of Saint Leocade, and
Gautier here expresses his indignation.
The psaltery, an instrument considered at this period as a particularly religious one, plays this song as a solo, accompanied by the side drum.
19. CHANSONS DE TROUVÈRES
«Voulez-vous que je vous chant...» (Anonymous, XIII c.)
«Quand il rossignols...» (Anonymous, XIII c.)
«Chanson de Mai» (Moniot d'Arras)
These
songs, all three inspired by the Spring, figure among the most elegant
and the most famous of the genre. They are attributed to trouveres of
the XIII century, the first two being anonymous. Moniot d'Arras is known
as being among the most prolific poet-musicians of his time.
The songs are played on flutets soprano, piccolo, flutes, flageolet and marine trumpet.
20. THREE PROVENCAL SONGS (Anonymous)
«Plang de Nosto Demo» (XIV c.)
«La nourrico dòu rei»
«La cansoun de Mau-Gouvèr» (end XIV c.)
This very beautiful Plang de Nosto Damo)
(Our Lady's lament) has been preserved in a manuscript in the Méjanes
library of Aix-en-Provence. It is difficult to know what to admire most;
the dramatic intensity of the poem — The Virgin at the foot of the
cross — or the perfection of the melodic line. Instruments include recorders and mandora.
«La nourriço dòu rei»
(The king's nurse) has come down to us through popular folklore and
cannot be dated with any accuracy. It is a cradle song which tells the
story of a miracle: the poisoned child revived, proves his nurse's
innocence and accuses his murderers. It is played on the frestèu (panpipes).
The cansoun de Mau-Gouvèr
(the song of «Bad Government»): in Provençal «Mau-Gouvèr» is a mythical
personage, symbol of social disorder and administrative abuse. The cansoun de Mau-Gouvèr
forms part of a group of vicious satirical songs: the songs of
Carrateyron (the little carter). They were written at Aix-en-Provence
towards the end of the XV century, probably for the Fête Dieu (Corpus
Christi). During this huge festival — as much pagan as religious — which
lasted for several days, performances of the «Farce de Momus» by clerks
was used as an excuse for voicing protests, or denouncing abuses. This
resulted finally in their being banned in 1670. A rustic chalumeau plays this song with a side drum for accompaniment.
21. «OR LA TRUIX...» (Anonymous trouvere)
«QUAND JE VOY IVER RETORNER...» (Colin Muset, c. 1200-1230)
Distinction
is made — a little artificially perhaps — between troubadours and
trouveres on the one hand, jongleurs and minstrels on the other. If the
former were author-composers, the latter were more public entertainers,
and had rather the role of performer. All the same, some of them were
able to take part in meetings, as did Colin Muset, a «popular» trouvere
whose songs tell of the wandering life, often humorously, thereby
prefiguring our modern singer-composers. In the song, «Quand je voy ¡ver retorner...», he dreams of finding a host who will give him «pork, beef and mutton, duck, pheasant and venison...»
It is played by flutets, recorders, hurdy-gurdy and rustic chalumeau.
In the instrumentation of the song, «Or la truix...» composed by an anonymous trouvere, notice the use of a marine trumpet to play the bourdon.
22. «QUAN VEI L'ALAUZETA...»
(Bernard de Ventadour)
«Quan vei l'alauzeta...» is definitely one of his most
famous songs and rightly so for the beauty of its melody, played here
on flutet, side drum and small marine trumpet.
23. ROSAS DAS ROSAS (Alfonso X «El Sabio.)
In
this song to the Virgin, King Alfonso the Learned has employed all the
refinement of courtly vocabulary in the service of mystical love:
Lady of all ladies, sovereign among sovereigns,
Rose of beauty and majesty,
Flower of lightness and pleasure,
Lady who succours, who removes wounds and pain...»
24. ESTAMPIE AND UNGARESCA
(Anonymous XIII and XVI c.)
Two
pieces of instrumental music which remain close to their popular
origins. The first is music for jongleurs, which one can easily imagine
being played by the flutet-tabor ensemble so widespread and useful for dances in the Middle Ages and XVI century. The Ungaresca,
whose title reveals its origins (its theme is still extremely popular
in Hungary), is quite difficult to date. It was published in the XVI
century by Pierre Phalèse but is certainly much older.
Instruments: flutets soprano, piccolo, flageolet, recorder side drum and tabor.