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Track(s) taken from CDA68008

Sans cuer, m'en vois / Amis dolens / Dame, par vous

composer
3vv; Ballade 17
author of text

The Orlando Consort
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: January 2013
Parish Church of St John the Baptist, Loughton, Essex, United Kingdom
Produced by Mark Brown
Engineered by David Hinitt
Release date: February 2015
Total duration: 4 minutes 37 seconds

Cover artwork: May: courtly figures on horseback (Très riches heures du Duc de Berry). Pol de Limbourg (dc1416)
Musée Condé, Chantilly, France / Giraudon / Bridgeman Images
 

Reviews

‘The programme is nicely varied in mood and scoring, ranging from four-voice ballades and motets to a single-voice virelai, and every combination in between … a thoughtful essay by Anne Stone makes audible sense of the many connections between the pieces on this valuable, impressive recording’ (Gramophone)

‘The performers seem most at home in the motets with secular words … fluently and sweetly performed’ (BBC Music Magazine)» More
RECORDING
PERFORMANCE

‘The Orlando Consort … celebrate the fourteenth-century French composer-poet Guillaume de Machaut with a selection of his numerous motets and songs … on the theme of courtly love and its diversions … Machaut, in the skilled hands of these musicians, turns … brutalities into music of ethereal purity, pulsating with poised, almost jaunty rhythms. Music for quiet concentration’ (The Guardian)» More

‘The artistic merits of The Orlando Consort are legendary, and these four male singers deliver performances of great beauty and expressiveness … full of elegant fluency, verve, and nuanced inflection’ (American Record Guide)

‘The second anthology in The Orlando Consort’s Machaut marathon…[is] characterised by supreme text—sensitivity and beauty of tone. One marvels at their trademark exquisite balance and their ability to reveal even the most complex of Machaut’s structures with enviable agreement and ensemble’ (Early Music Today)

‘The Orlando Consort perform these works with matchless purity of tone and clarity of diction’ (Limelight, Australia)» More

‘The Orlando Consort … do their best to make the music as accessible to the modern listener as it would have been to Machaut’s contemporaries without compromising on authenticity … lovers of Machaut’s music are becoming more fortunate all the time’ (MusicWeb International)» More

‘[This recording] offers a greater mix of pieces which amply demonstrate just why Machaut occupies such a crucial position in medieval music … the listener is transported into a richly rewarding and endlessly fascinating soundworld in which poetry and music are entwined as they can only be when they flow from the same pen … deeply satisfying while still whetting one's appetite for more’ (The Europadisc Review)» More

«La séduction so british des Orlando aura ses partisans» (Diapason, France)» More

'Limpide e calde sono le voci dell’Orlando Consort, a loro agio nella frequentazione del repertorio tre-quattrocentesco, al quale hanno dedicato numerose e importanti incisioni. Esemplare risulta l’equilibrio sonoro, frutto di un approfondito lavoro interpretativo, che I quattro solisti offrono interagendo con preziosi melismi e un approccio vocale consono a questo repertorio' (Musica, Italy)
Sans cuer, m’en vois / Amis dolens / Dame, par vous (Ballade 17) is an unusual experiment in polytextuality in the song repertoire: its three voices sing three different ballade texts simultaneously in exact canon. This triple ballade is designed as a dialogue, as the first voice is that of a man addressing a woman, the second is a woman’s voice replying to the man, and the third again is the man’s voice. The shared refrain changes only in the identity of the person addressed: ‘In place of the heart, lady/lover, that remains with you/me.’

from notes by Anne Stone © 2015

Sans cuer, m’en vois / Amis dolens / Dame, par vous (ballade 17) expérimente la polytextualité, une rareté dans le répertoire de la chanson: ses trois voix chantent simultanément, en canon strict, trois textes différents. Cette triple ballade est conçue comme un dialogue: une voix d’homme s’adresse à une femme, une voix de femme répond à l’homme puis, de nouveau, c’est la voix de l’homme. Le refrain commun ne diffère que par l’identité de l’interlocuteur: «En lieu du cœur, dame/ami, qui vous/me demeure».

extrait des notes rédigées par Anne Stone © 2015
Français: Hypérion

Sans cuer, m’en vois / Amis dolens / Dame, par vous (Ballade 17) ist ein ungewöhnliches Experiment mit Polytextualität im Liederrepertoire: die drei Stimmen singen drei verschiedene Balladentexte gleichzeitig in einem exakten Kanon. Diese dreifache Ballade ist als Dialog angelegt, wobei zunächst ein Mann spricht, der sich an eine Frau wendet, dann die Frau dem Mann antwortet, und schließlich der Mann wieder das Wort hat. Die einzige Veränderung im gemeinsamen Refrain wird nur jeweils auf die Identität der angesprochenen Person vorgenommen: „An der Stelle des Herzens, Dame/Geliebter, das bei dir/mir bleibt.“

aus dem Begleittext von Anne Stone © 2015
Deutsch: Viola Scheffel

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