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Track(s) taken from CDA67549

Can vei la lauzeta mover

composer
author of text

Catherine Bott (soprano), Mark Levy (fiddle)
Recording details: April 2001
Angel Studios, Islington, London, United Kingdom
Produced by Catherine Bott & Stephen Henderson
Engineered by Steve Price & Mat Bartram
Release date: January 2006
Total duration: 7 minutes 15 seconds

Cover artwork: The Meeting on the Turret Stairs by Frederick William Burton (1816-1900)
The National Gallery of Ireland
 
1
Can vei la lauzeta mover  [7'15]

Other recordings available for download

Paul Hillier (baritone), Stephen Stubbs (medieval lute), Lena-Liis Kiesel (portative organ)
Sinfonye, Stevie Wishart (conductor)
Leigh Nixon (tenor)

Reviews

'The vivid ambience of the recordings, the quality of the chosen compositions, the incisive, animated, full-toned precision of the fiddle playing and performances by Bott make for 62 minutes of pure pleasure … these performances must rank amongst Bott's best (and that's saying something)' (BBC Music Magazine)

'Delectable is just about the right word for this sequence of pieces sung by Catherine Bott, with and without the fiddles of Pavlo Beznosiuk and Mark Levy. … the simplicity and spontaneity of the pared-down and often improvisatory approach enormously enhances the emotional impact of the music, and brings the listener extraordinarily close to the characters whose deepest feelings are being voiced' (The Daily Telegraph)

'The outstanding CD of the month' (Early Music Review)

'This is some of the most elegant singing I have heard and certainly some of the best fiddle playing now available … it is an excellent single-disc anthology of medieval song' (American Record Guide)

'In every respect this CD is an utter delight. The music is charming, the performances infectious, the recording is simply outstanding and the booklet complete with full texts and translations into modern English, is a real pleasure to read … this disc is a source of unreserved pleasure' (International Record Review)

'A sublime survey of music and textual conceits from a remote yet immediately communicative past … soprano and string players wear their classical training lightly, catching the folk flavour of this beguiling repertoire' (Classic FM Magazine)

'We had to wait five years for its release. Believe me, it was worth the wait. Hear this haunting music' (Fanfare, USA)

'Charmingly and effectively done, it is well worth hearing' (Scotland on Sunday)
Ah, courtly love—a particularly male emotion this. You worship a pale and beautiful lady of noble birth, but cannot ever hope to make her yours. She is out of your reach and usually married. And round this symbol of unattainability grew a whole genre of music and poetry in the Middle Ages. The troubadours and trouvères of France were the chief exponents of this art form, and very heart-rending it is too, this exquisite marriage of beautiful melody and hopelessness. Far be it from me to point out that putting a woman on a pedestal, declaring her virtue to be beyond price and languishing after her gives said woman absolutely no opportunity, should she fancy it, of actually stepping off her pedestal without incurring your total revulsion. See how quickly Bernart de Ventadorn despairs of the whole sex in his Can vei la lauzeta mover. But it is a beautiful and tragic song.

from notes by Catherine Bott © 2006

Ah, l’amour courtois: une émotion toute masculine que celle-là. Vous adorez une pâle et belle jeune fille de noble extraction, mais jamais vous ne pourrez la faire vôtre: elle est hors d’atteinte, généralement mariée. Au Moyen Âge, ce symbole de l’inaccessibilité a suscité tout un genre musicalo-poétique, dont les troubadours et les trouvères de France furent les grands apôtres—très touchant, aussi, que cet exquis mariage d’une belle mélodie et de la désespérance. Loin de moi l’idée de souligner que mettre une femme sur un piédestal, décréter sa vertu sans prix et languir après elle ne donne absolument aucune occasion à ladite femme de descendre, s’il lui en prend l’envie, de son piédestal sans encourir votre totale révulsion. Voyez comme Bernart de Ventadorn désespère rapidement du sexe tout entier dans son Can vei la lauzeta mover. Mais c’est une belle et tragique chanson.

extrait des notes rédigées par Catherine Bott © 2006
Français: Hypérion

Ach, die Minne—eine spezifisch männliche Gefühlsäußerung. Man betet eine blasse und schöne Dame edler Herkunft an, ohne je hoffen zu können, sie zu erobern. Sie ist unerreichbar und gewöhnlich verheiratet. Und um dieses Symbol der Unerreichbarkeit wuchs im Mittelalter ein ganzes Genre von Musik und Dichtung heran. Die französischen Troubadours und Trouvères waren die Hauptvertreter dieser Kunstform, und sie ist ja auch besonders herzzerreißend, diese exquisite Verbindung von wunderbarer Melodie und Hoffnungslosigkeit. Nichts läge mir ferner, als festzustellen, dass diese Praxis der Vergötterung einer Frau, bei der ihre Tugend als unangreifbar dargestellt wird, während man zugleich nach ihr schmachtet, besagter Frau keinerlei Gelegenheit gibt (sollte sie so geneigt sein), von ihrem Göttersockel herabzusteigen, ohne den Abscheu des Mannes zu erregen. Man beachte, wie rasch Bernart de Ventadorn in seinem Can vei la lauzeta mover an dem ganzen Geschlecht verzweifelt. Aber es ist ein schönes und tragisches Lied, hier von Marks improvisierter Begleitung stimmungsvoll gefärbt.

aus dem Begleittext von Catherine Bott © 2006
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

The Courts of Love – Music from the time of Eleanor of Aquitaine
CDH55186
The Marriage of Heaven and Hell
CDH55273
Troubadour Songs & Medieval Lyrics
CDA66094Archive Service
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