JOSQUIN. Adieu mes amours —
Dulces Exuviae
[18.6.2019]
outhere-music.com |
amazon.com
Ricercar 403
Release: 28 June 2019
[18.6.2019]
medieval.org Remarks
http://www.medieval.org/emfaq/cds/remarks.html
16 Jul 2019
Todd M. McComb
———
To conclude a short series of discussions of a small flurry of
recent releases, a recent duo recording of
Josquin songs moves not only to somewhat later music (i.e. later
fifteenth century and into the early sixteenth), but evokes another
doubly retrospective view by engaging both later sixteenth century
practice as well as the 1980s discography — in an eerie
parallel to the new motet disc discussed
here late last year: Perhaps it's too easy for me to link this
sort of shift in perspective specifically to simultaneous shifts
in what one is presented by search engines (no doubt in part around
international politics & its "fake news" notions),
but this sort of production does seem to be another bow toward more
conservative (i.e. classical) audiences & their modern (in the
broad historical sense) orientation.
Before I get too embroiled
in that topic, though, I do want to note that arranging Josquin's
secular music for a single voice & single lute (or, in some
cases, lute solo) is a perfectly sensible thing to do: It wasn't
the orientation of Josquin's milieu, but it was to become a dominant
musical idiom during the sixteenth century, including via many
contemporary adaptations of Josquin's work (specifically), and
leading into the "new monody" as one fount of the baroque
(i.e. the "first global imperial" era). (Prior to the
new monody per se, the frottola took a similar approach to highlighting
the solo voice via — most often lute — accompaniment,
and various instrumentalists were creating tablatures of both
polyphonic music & various diminutions, etc....) So in that
sense, the recent Adieu mes amours is indeed a sort of
historically based production — but based in the period
following Josquin: In this, sonorities are carefully considered,
and instruments were built with appealing & detailed timbres,
including a "bray lute" with buzzing resonators based on
earlier harps, which appears (to good effect) on some tracks.
The
baritone voice is more rounded than I'd often prefer from medieval
singers, more in keeping with a baroque aesthetic, i.e. with a more
individual self-consciousness that the notes characterize as the
"art of singing." In other words, although not in any
way strident, the notes take on a similar tone to that on the prior
motet disc (which likewise seems more naïve than strident),
in that although they note uncertainties regarding Josquin's biography
& output (especially in the secular music in the latter case),
the sketch doesn't involve recent scholarship, but instead tends
simply to repeat what was said decades ago. Moreover, there is a
universalizing tendency at work in the notion of "composer"
the notes construct, and especially in remarks on "actual
art." It's thus another retro view, but also one that seeks
both to exclude earlier (i.e. medieval) music from the (modern)
category of "art" (& implicitly to elevate painting),
and to assimilate Josquin more fully to the modern regime: Curiously,
notions of Renaissance aren't actually articulated, but the perspective
is similarly one of anticipating later modernity.
And in another
strange parallel, the album isn't only a later sixteenth century-based
approach to Josquin — incorporating e.g. the sorts of ornaments
& rhythmic interpolations that he specifically decried in his
own era — but adopts the title of another 1980s
Harmonia Mundi album that likewise served as an early recommendation
here.... (So again, it seems almost like an attempt to make three
decades of medieval music scholarship vanish into a new sea of
conservatism & reorientation on universalist empire....) And
indeed, I've been talking about Josquin secular discs in this space
for a while, with a couple of others that I find more valuable...
actually also involving later music as well! The
"chapel" style album of five- & six-part music
takes a rather heavy-handed approach via vocal doubling, and includes
some later organ music by other composers (elaborating Josquin's
material). And the more broadly instrumentally
oriented program likewise includes some later lute music (plus
a short c.2000 piece, with concerns different from those of this
discussion) — as well as develops plucked string technique
in general. (The latter does also include many tracks with a smaller
instrumental ensemble, i.e. that don't involve intabulation, that
I hear as nicely idiomatic for the period. The larger vocal
renditions of Se congie prens likewise seem more overdone
than significant stylistic departures in terms of rhythm, ficta,
etc.
I should probably also mention the recent
Kaiser Maximilian I from an
ensemble similar to that on Les fantaisies de Josquin, there
in a simpler thematic program....) So why this sort of treatment
for Josquin? Beyond any desire to assimilate the music to later
styles & mentalities, it's also partly a matter of the uncertain
contours of Josquin's output, and the many similar secular works
distributed under his name, with no clear stylistic end point....
Or so I'll suggest. (Or is it more about the dated editions? That
hasn't prevented new approaches here or elsewhere....) Meanwhile,
people seem able to perform e.g. La Rue chansons with what seem
like ensembles & techniques of the c.1500 period.... Anyway,
beyond these broad considerations, I'd say that the result of this
new Adieu mes amours production involves some tracks that
work well, but that it never sounds much like Josquin. It's simply
a more modern approach than his own. (And again, in the very limited
sense of the latter statement, there's nothing inherently wrong
with that: Inspiration is & can be multifaceted. A different
sort of discussion would have been more welcome, though.)
[17.7.2019]