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Track(s) taken from CDA67727

Longuement me sui tenus 'Le lay de Bon Esperance'

1vv; Lai 13/18
author of text
late 1360s; from Le Voir Dit, VD47

The Orlando Consort
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: July 2012
Parish Church of St John the Baptist, Loughton, Essex, United Kingdom
Produced by Mark Brown
Engineered by David Hinitt
Release date: October 2013
Total duration: 21 minutes 2 seconds

Cover artwork: The anatomy of Man and Woman (Tres Riches Heures du Duc de Berry, Ms65/1284 f14v) by Pol de Limbourg (dc1416)
Musée Condé, Chantilly, France / Giraudon / Bridgeman Art Library, London


'Le Voir Dit is considered the masterpiece of the 14th-century French poet and composer Guillaume de Machaut. Whether or not it is a 'true' or autobiographically accurate tale, as the title implies, the nine songs embedded in Machaut’s anthology of verse and music speak plaintively and in a personal way of the pains and pleasures of love. Hauntingly and mellifluously sung by the four (but sometimes solo) voices of The Orlando Consort, this music still sounds as flavoursome as it must have done 650 years ago' (The Daily Telegraph)

'Here is a project for which Machaut fans have been waiting for a long time … this is an important and rewarding album that any lover of medieval music will want to own' (International Record Review)
Longuement me sui tenus (Lai 13/18) illustrates the form of the lai, which Machaut supposedly perfected. The lai, although archaic, continued to be revered in the fourteenth century as the most challenging and virtuosic of the lyric forms; Machaut was apparently amongst the last to set the form to music. These large-scale works were not just a challenge for the poet-composer, but also for the (usually) solitary singer who performs them: stamina, control, and endurance is required to deliver the twenty-four unaccompanied stanzas, as well as expressive powers to engage the audience throughout this technical tour de force.

from notes by Yolanda Plumley © 2013

Longuement me sui tenus (lai 13/18) illustre la forme du lai que Machaut, dit-on, perfectionna. Quoique archaïque, le lai continua d’être révéré au XIVe siècle comme la forme de poésie lyrique la plus stimulante et la plus virtuose; Machaut fut apparemment l’un des derniers à mettre cette forme en musique. Ces œuvres d’envergure défièrent le poète-compositeur comme elles défient l’interprète (généralement) solitaire qui les chante: résistance, maîtrise et endurance sont requises pour livrer les vingt-quatre strophes sans accompagnement, tout comme est nécessaire une puissance expressive à même de rendre ce tour de force technique séduisant pour le public.

extrait des notes rédigées par Yolanda Plumley © 2013
Français: Hypérion

Longuement me sui tenus (Lai 13/18) illustriert die Gattung des Lai, die Machaut angeblich vollendete. Der Lai wurde, obwohl es sich dabei um eine bereits altertümliche Form handelte, im 14. Jahrhundert als eine der herausforderndsten und virtuosesten lyrischen Gattungen betrachtet und Machaut war offensichtlich einer der Letzten, der sie vertonte. Diese großangelegten Werke stellten nicht nur für den Dichterkomponisten eine Herausforderung dar, sondern auch für den (meistens) einzelnen Sänger, der sie ausführt: Ausdauer, Kontrolle und Durchhaltevermögen sind hier vonnöten, um die vierundzwanzig unbegleiteten Strophen vorzutragen, und zudem eine gewisse Ausdruckskraft, mit dem das Interesse des Publikums während dieser technischen Tour de Force aufrechterhalten werden muss.

aus dem Begleittext von Yolanda Plumley © 2013
Deutsch: Viola Scheffel

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