medieval.org
wikipedia.org
Al Segno as 2015 2
1997
medieval.org
wikipedia.org
Al Segno as 2015 2
1997
CD 1. Hommage à l'Amour
Al Segno as 2005 2
1. Mihi confer venditor [2:22] Codex Buranus, 12. Jh.
CB s.16 — Greatest Hits 3, A1
2. O admirabile Veneris ydolum [1:30] 12. Jh. — Greatest Hits 3, A5
3. Tempus est iocundum [1:36] Codex Buranus, 12. Jh.
CB 179 — Greatest Hits 3, A3
4. Veris dulcis in tempore [1:38] Codex Buranus, 13. Jh.
CB 85 — Hommage à l'amour, A5
5. Ecco la primavera [1:47] Francesco LANDINI, 1330-1397 — Hommage à l'amour, A3
6. Souvent souspire [3:44] 13. Jh. — Hommage à l'amour, B6
7. Ce fut en Mai [2:06] Moniot d'ARRAS, c. 1220. — Hommage à l'amour, A2
8. Tant con je vivrai [3:01] Adam de la HALLE, 13. Jh. — Hommage à l'amour, B2
9. Maienzit [2:28] Neidhart von REUENTAL, c. 1230 — Hommage à l'amour, A7
10. Como poden [2:44] Cantiga de Santa Maria, 13. Jh.
CSM 166
— Greatest Hits 3, A8
11. Stella splendens [2:10] Llibre Vermell de Montserrat, 14. Jh.
LV 2
— Hommage à l'amour, B4
12. Serbian traveller melodies [4:27] 13. Jh. — Hommage à l'amour, B1
13. Oxford estampie [1:45] 13. Jh. — Greatest Hits 3, A7
14. Bagpipe tune [1:17] -- — Greatest Hits 3, A9
London Ms, Add. 29987, 12, Jh.:
15. Trotto [2:19] — Hommage à l'amour, A1
16. Manfredina e rotta [3:22] — Hommage à l'amour, A6
17. Saltarello 2 [1:36] — Greatest Hits 3, A2
18. Saltarello 3 [1:24] — Greatest Hits 3, A6
19. Lamento di Tristano e rotta [3:23] — Greatest Hits 3, A4
20. Ghaetta [6:23] — Hommage à l'amour, A8
Tracks not taken from Hommage à l'amour:
— A4. Salterello II [1:43]
— B3. Salterello III [3:10]
— B5. Lamento di Tristano e rotta [4:09]
The versions from Greatest Hits 3 were selected instead for tracks 17-19.
CD 2. Mon Amy
Al Segno as 2004 5
1. 'Pase el agoa, ma Julieta' [1:49] c. 1500 —
Mon Amy, A1
2. Danza 'Alta' [3:40] c. 1600 —
Mon Amy, A9
3. 'Adoramoste Señor Dios' [1:47] Cancionero de Palacio, 15. Jh. — Greatest Hits 3, B1
4. Suite 'La Magdalena' [6:06] c. 1529 — Greatest Hits 3, B8
5. Branle de Champaigne [1:25] c. 1600 — Greatest Hits 3, B2
6. Branle double 'La vieille' [2:04] 1547 — Greatest Hits 3, B7
7. Branle de Bourgogne [2:15] 1551 — Greatest Hits 3, B6
8. 'Ma belle, si ton ame' [2:10] J.B. BESARD, 1567-1625 — Mon Amy, A2
9. Branle de village [2:42] J.B. BESARD, 1567-1625 — Mon Amy, B7
10. Passamezzo [2:27] c. 1550 — Mon Amy, B1
11. 'So ben, mi, c'ha bon tempo' [2:15] O. VECCHI, 1550-1605 — Mon Amy, A5
12. Saltarello [1:38] c. 1610 — Mon Amy, B5
13. 'Take, o take, those lips away' - 'Light o 'Love' [4:22] c. 1600 — Mon Amy, A7
14. 'The Earl of Essex galiard' [2:30] J. DOWLAND, 1562-1626 — Mon Amy, A8
15. 'Song of Fool' [1:41] 'King Lear', 17. Jh. — Greatest Hits 3, B3
16. 'Kemp's jig' - [1:10] c. 1603 — Greatest Hits 3, B4
17. 'Tobacco is like Love' [2:59] T. HUME, ?-1645 — Mon Amy, B2
18. 'Jolly Robin' [2:44] c. 1603 — Mon Amy, B6
19. 'My Lady Hunsdon's Puffe' [1:51] J. DOWLAND, 1562-1626 — Mon Amy, B4
20. Moresca [1:23] 1551 — Greatest Hits 3, B5
21. Ronde 'Pour quoy' [1:54] T. SUSATO, ?-1563 — Mon Amy, B3
22. Ronde 'Mon amy' [2:28] T. SUSATO, ?-1563 — Mon Amy, A6
23. Ronde et saltarelle [2:19] T. SUSATO, ?-1563 — Mon Amy, A3
24. Balletto e volta [2:48] M. PRAETORIOUS, 1571-1621 — Mon Amy, A4
25. Pavane 'La bataille' [4:15] T. SUSATO, ?-1563 — Mon Amy, B8
Performers:
Vojka Djordjevic — soprano
Dragana jugovic — mezzosoprano
Miroslav Markovic — baritone
Dragan Mladjeliovic´ — tenor, recorders, krummhorn, rauschpfeife, percussion, saz, vielle a roue
Georges Grujic — recorders, rauschpfeife, krummhorn, cornamuse rackett, bass-dulcian, gemshorn, castagnets
Miomir Ristic — fiddle, rebec, viola da gamba, cornamuse, recorders, percussion
Vladimir Ciric — vielle, rebec, baroque-violin, percussion, Arabian lute, psaltery
Zoran Kostadinovic´ — rebec
Ceca Madzarevic — lute, vihuela, saz, percussion
Slobodan Vujisic — lute, Arabian lute, percussion
Dragan Karolic — recorders, cornamuse, rauschpfeife, travers-flute
Ljubica Grujic — spinet
Boris Bunjac — percussion
Jovan Horvat — percussion
Marko Stegelmann — bagpipe
Sound engineer: Zoran Jerkovic; Dragoslav Laza Lazarevic
Musical producer: Miomir Ristic
Recorded at Studio 10 and 6 Radio Beograd 1983-1985
Greatest Hits 3, 1984
Mon Amy, 1988
Hommage à l'Amour, 1990
Anthology
Ensemble Renaissance
With this album Ensemble Renaissance is proud to present an anthology of music of the Middle Ages and Renaissance.
I. Hommage à l'Amour (CD 1)
The
music of the Middle Ages is as adventurous, exciting and colorful as
the secular society - or "folk" - for which it was written. Today we can
reconstruct fairly well what the 12th and 13th century "jongleur" or
"ménéstrel" had at his disposal. In addition Ensemble Renaissance
makes use of many of the "oriental flavors" derived from the Crusades,
the Moorish occupation of Spain as well as the Turkish invasion of the
Balkans, since there is reason to believe that they helped introduce
Eastern instruments and playing techniques to Europe. We also did our
best to recreate the art of Serbian-Byzantine traveling
players-jongleurs "skromasi" by including two melodies (CD1/12) dating
back to the founding of the Serbian State by Stefan Nemanja in 1169.
In
this album Christian (Byzantine, Italian, German, French, English...)
and Eastern (Persian, Arabic, Turkish, Moorish...) music elements join
together proving this page in musical history a highlight of striking
and at the same time intimate quality. Medieval music is so directly
emotional in appeal that even after several centuries it has lost none
of its freshness and charm.
Latin Songs (1- 4): In the
Middle Ages the music of the goliards - students and footloose clerics
who put Latin verse about the eternal trinity of masculine interest:
wine, girls and weather to secular song - was the favorite genre among
the well-educated. The student songs of the 11th and 12th centuries are
the earliest manifestation of these, "Carmina Burana" (Songs of the
Beuren monastery in Bavaria) being the largest and most famous
collection because of its religious, political, moral, satirical,
drinking and love songs, which with few exceptions belong to the 12th
century (1, 3, 4). The probably oldest collection of Latin love songs is
a 12th century manuscript which can be found in the Cambridge
University Library. It includes songs like "O admirabile Veneris idolum"
(2), probably written in the 10th century by an anonymous Veronese
cleric, which satirizes the pilgrim's song "O Roma nobilis" with its
somewhat lewd innuendos:
"O lovely image of Venus, in whom there
is no blemish, may the Lord who made the stars and the heavens and
fashioned the seas and the earth - protect thee; may no thievish cunning
ever come nigh thee, and may Clotho who bears the distaff love thee."
Trouveres (6 - 8):
At the end of the 11th century a new code of courtly love and in turn a
style of song which replaced the "chanson de geste" evolved in the
south of France. Today we know the names of 460 troubadours
("inventors") who left behind some 2,600 songs in Provençal "langue
d'oc" - of which only 263 are notated - dealing with love and the cult
of woman. These songs travelled to the north of France where in the
second half of the 12th century they were sung in the vernacular "langue
doll". In the town of Arras the troubadours went so far as to found a
guild for poet-musicians. Moniot d'Arras (7) and Adam la Halle
are the most well-known. The latter holds a position on the borderline
between an old and a new school of music in that he was one of the last
to cultivate the monophonic songs of the trouvere period and one of the
first to transfer them to the field of polyphonic music especially in
the form of the rondeau (8).
The German minnesinger movement (Minne = "amour courtois",
courtly love) originated around 1150 under the influence of the
Provençal troubadours. Neidhart von Reuenthal
(ca. 1190-1240) is an exception both because so many of his songs still
are extant and because his poems tend to be earthier and more oriented
towards nature (9).
The music of the European "Ars nova" started
to flourish around 1316 and found its most poetical expression in the
works of Italian court musicians. Francesco Landini (1325-97), a
blind organ-player at the church of San Lorenzo in Florence, was the
most famous. 155 of his works can be found in the largest manuscript of
the 14th century, the "Squarcialupi codex", which includes the works of
12 other composers. The rhythmically strong "ballata" is the prevalent
form (music - ABBAA, words - ABCDA) (5).
The notation of dance or
folk music is even more rare. The jongleurs, unable to read or write,
played pieces which were handed down from master to pupil or those they
heard on their extensive travels (13, 14). This folk heritage is
demonstrated in the melodies played by Serbian traveling jongleurs known
as "skomrasi" in medieval Serbia (12). Often t hey simply improvised on
simple commonly known tunes. Though referred to as "estampies" -
one-part dances - the most important 14th century codex from Upper Italy
which has survived and can now be found in the British Library in
London, contains two types one of which is less complex (15, 17,18) the
other being relatively long, highly stylized and obviously meant for
listening rather than dancing (16, 19, 20).
The largest collection of Spanish medieval songs
is "Cantigas de Santa Maria", more than 400 devotional hymns, the
majority of which are addressed to the Virgin Mary or recount miracles
attributed to her. The "Cantigas" were collected in three or four
sumptuously executed manuscripts for King Alfonso el Savio ("The Wise")
of Castile and Leon (†1284). He is said to have written some of the
poems himself. Many of his cantigas are similar in style to the songs of
the troubadours though their melodic idiom is clearly Spanish (10).
Another collection of songs, the "Llibre Vermell", includes 10 examples
of early 14th century hymns and round dances performed by pilgrims
honoring the black Virgin found miraculously in the Catalan mountains
(11).
II. Mon Amy (CD 2)
During the European
Renaissance there was as much musical variety as today There was worldly
music, sacred music, ceremonial music, theater and dance music as well
as music for easy listening and "rock" and "pop", if you like. The
differentiation between "serious" and "light" music did not exist, a
musician composed whatever the occasion demanded of him - he was
considered a craftsman. This also led to music being performed in a much
more informal manner than today, it was an integral part of everyday
life, whether during meals, feasts, private or church ceremonies. Around
the turn of the 15th century one also encounters upper-class amateurs
and municipally sponsored town pipers making music. The general
atmosphere was a friendly one, which made us choose a rondeau by Tilman Susato, "Mon Amy" (dear friend) (22), as a title for this CD.
A
modern attempt at a more or less accurate reproduction of the sound of
this music is a stimulating task. Instrumentation as well as the
differentiation between instrumental and vocal music hardly existed. Our
knowledge of the philosophy of the times and material resources as well
as our fantasy and sensitivity are the tools with which we hope to
obtain audible results which are satisfying from a musicological point
of view as well as being artistically convincing.
During the Renaissance the development of instruments and instrumental (mostly dance) music was prolific. France stands out in terms of the amount that was published. Between 1530 and 1557 Pierre Attaingnant,
the leading French music publisher of the first half of the 16th
century, published twelve collections of dances. The faster dances such
as the "Bransle" or "Brawl" were more rustic in origin with numerous
local variations (5, 7, 9). Jean-Baptiste Besard (ca.1567- 1625), a physician and lawyer, rendered some in a polished and elegant drawing-room version (6, 8).
In 1547 the German printer, trumpeter, publisher and arranger Tielman Susato
acquired land in Antwerp where he set up his printing works and music
shop "In de Kroom-horn". Four years later the "Danserye" was issued,
containing a broad selection of typical Flemish music supposed to be
"pleasing and appropriate to be played on musical instruments of all
kinds" (20, 21, 22, 23, 25).
Representative of Spanish music are
the 458 pieces composed and collected at the court of King Ferdinand and
Queen Isabella in the "Cancionero Musical de Palacio". Aside from one
purely instrumental piece it includes 379 "folk" villancicos and 30
religious ones (1, 2, 3).
Throughout the 16th century virtuoso
lute players and composers abounded (John Dowland, (19), 1562-1626, is
probably one of the most famous), due to the brilliant technique and
expressive qualities lute playing developed. This in turn led to as big a
solo repertory, which included numerous transcriptions from other
genres. The most popular dance music for lute comes from Italy
(10, 12).
The English
army officer, composer and bass violist Tobias Hume (†1645) published
numerous pieces for his instrument in addition to humorous songs (13,
14, 15, 16, 17, 18). Other gems of Renaissance court music are the works
of German Michael Praetorius, 1571-1621, (24) and the Italian "pop"-composer Orazio Vecchi (11) (1550-1605).
Text: Dragan Mldjenović, Eva Lipton