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Track(s) taken from CDA68008

Rose, lis, printemps, verdure

composer
4vv; Rondeau 10
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 20 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
 

Other recordings available for download

Gothic Voices, Christopher Page (conductor)

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)
The beautiful rondeau Rose, lis, printemps, verdure (Rondeau 10) seems to have circulated after Machaut’s death, though no copies of the song itself survive in manuscripts other than the ‘central’ Machaut collected works sources. However, an anonymous rondeau found in two northern Italian sources from around 1400, Rose sans per (‘Rose without equal’), quotes the opening of Machaut’s rondeau, clearly inspired by the shared metaphor of the rose representing the lady. The composer of this anonymous song also drew upon one of the most striking musical features of Rose, lis, printemps, verdure: the alternation between two metrical patterns, a procedure known as hemiola, that gives the song its beautiful lilting quality. This rhythmic play was innovative at the time Rose, lis, printemps, verdure was composed (by 1350), and the anonymous composer of Rose sans per seems to have drawn on this innovation, and expanded upon it, in his own song, which combines not two but three different metres.

from notes by Anne Stone © 2015

Source «centrale», les œuvres complètes de Machaut sont les seules à conserver une trace manuscrite du magnifique rondeau Rose, lis, printemps, verdure (rondeau 10), qui paraît toutefois avoir également circulé après la mort du compositeur. Rose sans per («Rose sans pareille»), un rondeau anonyme présent dans deux sources d’Italie du Nord datées de 1400 environ, en cite ainsi l’ouverture, manifestement inspiré, lui aussi, par la métaphore de la rose incarnant la dame. Son auteur s’appuya en outre sur l’une des caractéristiques musicales les plus saisissantes de Rose, lis, printemps, verdure: l’alternance entre deux schémas métriques, un procédé appelé hémiole et qui confère à l’œuvre sa splendide qualité chantante. Il semble s’être inspiré de ce jeu rythmique, novateur au temps de Rose, lis, printemps, verdure (1350), et l’avoir développé dans sa propre chanson, qui combine non pas deux mais trois mètres différents.

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

Das wunderschöne Rondeau Rose, lis, printemps, verdure (Rondeau 10) scheint ebenfalls nach Machauts Tod im Umlauf gewesen zu sein, obwohl Kopien des Liedes selbst nur in den „zentralen“ Werksammlungen Machauts überliefert sind. Ein anonymes Rondeau taucht allerdings in zwei norditalienischen Quellen von etwa 1400 auf, Rose sans per („Rose ohne ihresgleichen“), wo der Beginn des Rondeaus von Machauts zitiert und das offensichtlich von der Metapher der Rose, die die Dame repräsentiert, inspiriert ist. Der Komponist dieses anonymen Liedes machte zudem Gebrauch von den auffallendsten musikalischen Charakteristika von Rose, lis, printemps, verdure—das Alternieren zwischen zwei metrischen Mustern, eine sogenannte Hemiole, die dem Lied sein wunderschönes Wiegen verleiht. Dieses rhythmische Spiel war innovativ, als Rose, lis, printemps, verdure um 1350 herum entstand, und der anonyme Komponist von Rose sans per scheint sich auf diese Innovation bezogen und sie in seinem Lied noch etwas erweitert zu haben, da hier nicht nur zwei, sondern drei verschiedene Metren zum Zug kommen.

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

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