| “ | As in its previous productions, La Nef has created its own personal version of the myth of the Grail, a sort of original, timeless "collage,'' incorporating elements from medieval plays, Baroque Opera and more contemporary musical practice. The second part of the diptych sets the story of Perceval in strange, unreal places, where he meets enigmatic characters such as the Fisher King, the Maiden and her Dead Love, the Hideous Damsel, and the Hermit, who guide him on his quest. In contrast to volumen 1, where the actions were more down-to-earth in nature, the scenes of volume 2 seem blurred, imprecise, and usntable. Perceval experiences short-lived events that melt away almost as soon as they appear. The musical treatment is different from that in volume 1, with unusual melodic modes, dissonant harmonies and muted tone colors. | ” |
| “ | Alfonso VIII de Castilla (1158-1214) casó en 1170 con Leonor de Inglaterra, hija de Leonor de Aquitania y Enrique II, y por tanto bisnieta de Guillermo de Aquitania, el primer trovador. Esto facilitó la presencia de los cantos provenzales occitanos en Castilla y la amistad del rey con muchos trovadores contemporáneos. Algunos de esos trovadores se han incluido en esta grabación por estar sus poemas en relación directa con Alfonso VIII en sus contiendas contra los almohades. No se conservan las melodías de la mayor parte de estos poemas, por lo que para cantar sus versos se ha utilizado la técnica de “contrafacta”, con otras melodías de los mismos trovadores (y en algún caso de cantigas o melodías andalusíes). | ” |
| “ | El Poema de Almería es la parte final de la Crónica del reinado de Alfonso VII. Canta a los caudillos que participaron en la toma de Almería, con sus méritos y virtudes guerreras. Describe a las tropas con sus cualidades y características diferenciadoras según el territorio que representan. Su probable autor es Arnaldo, obispo de Astorga. El Poema de Almería está escrito en latín con hexámetros leoninos, de estructura de asonancias internas, con versos sin rima final ni ritmo cuantitativo, pero con ritmo acentual. Su modelo está en los Salmos más que en la poesía de los juglares y trovadores. El poeta escribe, libre de la estructura del clasicismo, bajo el influjo de la prosa rítmica usada en himnos, poemas y oraciones de la iglesia y en los textos bíblicos. Para cantar estos versos se han utilizado con la técnica de “contrafacta” melodías de la época. Obras del Camino de Santiago recogidas en el Códice Calixtino, mandado hacer por el papa Calixto II, hermano de Raimundo de Borgoña, padre de Alfonso VII. Melodías de las Cantigas de Alfonso X, del Códice de las Huelgas en Burgos y el denominado “cantar de Almería”, inspirado en cantos litúrgicos. Esta grabación es pionera en la aventura de poner música de la época para los cantos de la épica medieval -- notas del libreto | ” |
| “ | The present program is constructed entirely by La Nef, following the tweflth century story of Perceval and the Grail by Chrétien de Troyes. The original texts were not set to music (or do not survive with music), and so the music has been drawn from a variety of sources, including some traditional Celtic tunes. Unfortunately, the notes for the recording do not detail the individual sources with any precision. The performance style itself is dramatic, as is usual for La Nef, but besides some of the more standard medieval-style interpretations, there is a Baroque operatic coloring to many sections. It is a very original production. -- medieval.org | ” |
| “ | The Visitatio sepulchri, the play about the three Marys at Christ's grave, is found in a 13th century manuscript (Orléans, Bibl. de la Ville, Ms. 201) which comes from the library of the Benedictine cloister, St. Benoît-sur-Loire. The play is part of a long tradition; there are more than 400 works of this sort from the period between the 10th century and the late Middle Ages. The Fleury Easter play already had its place in 13th century Benedictine cloisters (St. Benoît-sur-Loire or St. Lomer in Blois). It was performed for the faithful on Easter Sunday in the morning following the Matins in accordance with the quotation from the Bible: "And very early in the morning the first day of the week, they [the Marys] came unto the sepulchre at the rising of the sun." (St Mark, 16,2). The instruments employed in this performance, harp, lute, rebec and soft shawn, are pervayers of mood and carriers of symbol. They are not required from the standpoint of completing an otherwise incomplete sound picture - indeed the play in no way requires their participation. They introduce action and they fill time taken up with actions that have no song, such as the discovery of the lintea in the tomb. | ” |
| “ | This is a dramatic recital, using troubadour and other 13th century music to illustrate some conceptual scenes from the Crusade against the Cathars (1209-1255). The Cathars were a well-entrenched heretical Christian sect in the South of France, advocating such things as the spiritual equality of man & woman. Many people have made some small links between the Cathars and the emergent troubadour repertory. If one is to designate their theology as a major motivation for the love poetry of the troubadours, one must keep well in mind that these poems are formally similar to classical Latin poems by such writers as Ovid. -- medieval.org | ” |
| “ | Many of the symbols and practices of the Celtic midwinter celebration known as Yule (probably several thousand years older than the festival of Christmas) have come down to us in a curious amalgamation of mythologies, pagan and Christian. The traditional music associated with the midwinter festival is also interwoven with threads of pre-Christian ritual and folk-customs. The concerns of an ancient people dependent upon the whims of nature for food and shelter are expressed not only in imagery of the natural world, but even in the form of the songs themselves. The word “carol” (from Old French “carole”) originally meant a dance performed in a circle, the dancers also singing a verse with a recurring refrain. This was probably derived from ancient ritual dances with call-and-response chanting, used at magical ceremonies throughout the cycle of the year. Even by the Middle Ages, the carol was not limited to the winter season; only much later did the term take on its present meaning of a song for the Christmas season. -- Johanna Maria Rose | ” |
| “ | The Laudario di Cortona is a 13th c. manuscript consisting of a sequence of religious songs, simple and naive, after the praise songs, or lauds, of the poet and mystic Francis of Assisi. Lauds were in Italy a popular form of sacred singing quite separate from the Church's liturgy and its musical requirements. The music is a monody, occasionally sustained simply with a continuous note at the bass. It is quite distinct from Gregorian chant and foreshadows the tonalities of 14th and 15th c. Italian music. Marcel Pérès contributed to working out the musicology of the Laudario as well as to providing some of the music with harmonic parts. The Estaing Salve Regina and the Chant de l'An Mille, or Prose de Montpellier, have been added to the Laudario di Cortona because they also pertained to the medieval mystery plays. The Chant illustrates the distressing approach to the Millenium 1000, with the associated threat that this world would come to an end. | ” |
| “ | This recital of courtly songs and dances is drawn from the repertoire of the trouveres of Northern France, with named composers such as Cohn Muset, Thibault de Chimpagne and Adam de Ia Halle, but also a host of other musicians of whom we can only catch glimpses through their music. Anne Azema is herself responsible for the research, the selection, the transcriptions and their interpretation. She is also the prime performer, singing and declaiming with her customary verve and spirited delivery. Her pronunciation of the courtly French in the spoken items is quite delight- ful and her vocal timbre, with its lively edge, is one of which I never tire. She sings of the courtly game of love, with its rules and sophistication, but also of the more unruly pastoral delights of May Day celebrations, the "caroles" and "rondels". One of the most stun- ning pieces is the fully developed Lai del Kievrefuel - the Lay of the Honeysuckle, traditionally the love-song composed by Tristan for Isolde and so- called because no plant in the woodland is sweeter or more fragrant. It begins with a long instrumen- tal introduction, followed by fiery, passionate singing and one section comes across as hoarse semi-speech. Instruments - fiddles, rebec, flute, recorder, harp - play a large part, both independently, as introductions or interludes, and as discreet accom- paniments, to complement the voice. But there are also a number of unaccompanied songs, and this variety is refreshing. The sound quality is excellent. Delightfully entertaining and instructive. -- MB, Gramophone | ” |
| “ | Les jeux liturgiques étaient faits pour être vécus, c'était une façon de s'exercer à être; de s'initier à la portée transcendante de l'histoire. Ils proposaient aux spectateurs comme aux acteurs d'entrer dans la densité réelle de la fête, de la renouveler chaque année. Le jeu des TROIS MARIE a ceci de aptivant qu'il est inclus dans un «coutumier» et non dans un processionnal comme le sont la plupart des jeux. On sait donc exactement: - pour quel lieu ce jeu a été conçu: un monastère royal de femmes, fondé par Hermantrude, première femme de Charles le Chauve (9e siècle), dont les offices étaient desservis par des chanoines, ce qui a autorisé la juxtaposition de voix d'hommes et de femmes dans ce jeu. - à quel moment précis de l'office il se plaçait : "et doit-on faire les Marie la nuit de Pâques, entre le derrain (dernier) respons et Te Deum Laudamus", ce qui est d'usage courant pour les jeux. - de quelle manière les participants se préparaient et quelles coutumes locales accompagnaient les offices des jours précédents et suivants. Les indications de jeu sont données en «francien» ce qui est unique par rapport à tous les manuscrits connus et qui laisse penser que les dames de l'abbaye ne «pratiquaient» pas le latin en dehors des offices. | ” |
| “ | Mediterránea es un grupo musical dedicado al estudio e interpretación de la música y el arte de las antiguas culturas del Mediterráneo. Transcriben manuscritos, se inspiran en las tradiciones orales y arreglan e instrumentan las piezas musicales. Su primer trabajo discográfico es Soñando al-Andalus, un recorrido musical por el universo sonoro de las tres culturas que convivieron en al-Andalus medieval. Melodías eternas, instrumentos antiguos o propios del folklore de los pueblos del Mediterráneo, ritmos orientales... | ” |
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