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Telefunken "Das Alte Werk" SAWT 9567-A [LP-Stereo]
1970
Peire VIDAL (um 1160—um 1205?)
1. Baron, de mon dan covit [9:52]
Countertenor, Lira
Giraut de BORNELH (um 1138—um 1215)
2. Leu chansonet' e vil [4:22]
Tenor, Chitarra saracenica
3. Saltarello [3:12] Instrumentalstück, anonymus
Teil I: Schnabelflöte, Lira, Glocken, Timbrel (Schellen), Trommel
Teil II: Flöte (Querflöte), Schalmei, Vielle (Fidel), Rebec, Timbrel (Schellen), Trommel, Laute
Bernart de VENTADORN (um 1125—um 1295)
4. Can vei la lauzeta mover [6:32]
Tenor (solo)
5. Veris ad imperia [1:04] anonymus
Mezzosopran, Countertenor, Tenor
6. A l'entrada del temps clar [2:14] anonymus
Mezzosopran, Countertenor, Tenor
Flöte, Schalmei, Vielle (Fidel), Lira, Nakir (Kl. Trommel), Laute
Raimbaut de VAQUEIRAS (um1155-1207?)
7. Kalenda maia [7:14]
Countertenor, 2 Fideln
Comtessa de DIA (um 1160)
8. A chantar m'er de so qu'eu no volria [11:52]
Mezzosopran, Lira, Laute, Timbrel (Schellen)
STUDIO DER FRÜHEN MUSIK
Thomas Binkley
Andrea von Ramm, Mezzosopran
Richard Levitt, Countertenor
Sterling Jones, Lira, Vielle (Fidel), Rebec
Thomas Binkley, Laute, Chitarra saracenica
mit
Nigel Rogers, Tenor
Johannes Fink, Vielle (Fidel)
Max Hecker, Flöte
Robert Eliscu, Schalmei
David Fallows, Schlagzeug (Nakir)
Übertragungen, Bearbeitungen und Gesamleitung: THOMAS BINKLEY
Wissenschaftliche Ausarbeitung und Überwachung der Texte: Dr. André de Mandach
Aufnahme: Klosterkirche St. Ottilien, Müschenfeld bei München, 7.1970
Titelseite: Wandgemälde im Palazzo Publico in Siena von Ambrogio Lorenzetti (14. Jahrh.)
Teilstück: „Tanz der jungen Mädchen" (Archiv für Kunst und Geschichte)
Instrumente:
Lira: Jugoslavien
Chitarra saracenica: Ankara (3)
Flöte: Günter Körber, Berlin 1970
Schalmei: Günter Körber, Berlin 1969
Fideln: Eugen Springer, Frankurt 1956 – Schweiz 1935 (2)
Rebec: Eugen Springer, Frankurt 1959 (1)
Laute: Marokko (4)
Glocken: Whitechapel Bell Foundry, London 1964
Nakir, Schellen und Trommel: Marokko (5)
The few Troubadour song manuscripts
that contain music give only a melodic scheme for the poem with little
indication as to its rhythm. What interests us however is the full sound
picture of Troubadour music, and this must be reconstructed with the
help of three kinds of evidence. First, the notation: we must not be
confused into thinking that this represents the entire music. Second,
our knowledge of Arab performance practice today; the importance of
Islam influence on European culture in the 10th to 13th centuries
applies to music no less than to poetry. Third, our knowledge of
mediaeval French and Italian performance styles as derived from the
Greco-Roman traditions, particularly that of the church.
The
accompaniments of the songs were not written, but devised by the
performers in keeping with the character and subject matter of the poem.
The Arab Nuba has been taken as a model for the creation of the
accompaniments since it is a form which seems to have changed little
since the time when Arabian culture exerted such a positive influence on
Western Europe. The Introduction (Mayalia) in the Nuba begins with a free section (Burguia) which presents the material of the song, its mode and the salient characteristics of its melody; this is followed by a Tuxia in which the rhythm is established. The interludes between the stanzas (Atuachi)
are either formed from the same material as the song or independently
conceived. In the song "A chantar" the interludes used are pieces that
occur elsewhere in the Troubadour manuscripts. These earliest preserved
examples of pure instrumental music are scarce, but they do have precise
stylistic characteristics; thus the "Saltarello" (No. 3), which comes
from a manuscript somewhat later than the Troubadour period, has been
included on the record because it belongs to the same tradition.
The accompaniment to "Kalenda maia" is played on two vielles, as described in the Razo
which tells of the song's composition (see enclosed text sheet). The
contemporary German writer Wirnt von Gravenbere tells of vielle players
improvising together on a similar occasion as follows: "neither let any
note that the other played go unnoticed in his own playing". It is
reasonable to assume that something similar occured in the performance
of "Kalenda maia".
Our knowledge of the instruments used by the
Troubadours comes from two main sources: references to instruments in
the poems and pictures of them in manuscript illuminations. The
instruments are mostly of Arab derivation: the Lute (Ud), the Vielle (Kimancha), the Lira (Rebab), the Nakers (Nakir) and others.
More information on this and other matters relevant to realising the
foull sound picture of Mediaeval lyrics in the Troubadour region and
other parts of Europe can be found on the following records: Minnesang
und Spruchdichtung, SAWT 9487-A, Carmina Burana, SAWT 9455-A,
Carmina Burana - Zweite Folge, SAWT 9522-A, and Weltliche Musik
um 1300, SAWT 9504-A.
Thomas Binkley
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Troubadours & Trouvères
Troubadours · Trouvères · Minstrels