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Track(s) taken from CDA67727

Puis qu'en oubli

3vv; Rondeau 18
author of text

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: 1 minutes 45 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)
Puis qu’en oubli (Rondeau 18) is not explicitly named in the Voir Dit but it is included here because it seems a good candidate for a song that is alluded to in one of the letters. At his lady’s request, Machaut adds accompanying voices to a melody he had earlier supplied for one of her poems; this successive compositional approach may well account for the unusually low register and the rather awkward lines and chordal effect of the lower parts of Puis qu’en oubli.

from notes by Yolanda Plumley © 2013

Bien que n’étant pas explicitement mentionné dans le Voir Dit, Puis qu’en oubli (rondeau 18) est inclus ici car il convient bien à un chant auquel une des lettres fait allusion. À la demande de sa dame, Machaut ajouta des voix accompagnantes à une mélodie déjà fournie pour un poème de la belle; cette approche compositionnelle par étapes pourrait expliquer le registre inhabituellement grave, les vers assez gauches et l’effet en accords des parties inférieures de Puis qu’en oubli.

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

Puis qu’en oubli (Rondeau 18) wird im Voir Dit nicht explizit aufgeführt, liegt jedoch hier vor, da die Möglichkeit besteht, dass es sich hierbei um ein Lied handelt, auf das in einem der Briefe angespielt wird. Auf die Bitte seiner Dame hin fügt Machaut Begleitstimmen einer Melodie hinzu, die er zuvor für eines ihrer Gedichte bereitgestellt hatte; dieser kompositorische Ansatz in Etappen mag durchaus der Grund für das ungewöhnlich tiefe Register, die recht heiklen Linien und den akkordischen Effekt der tieferen Stimmen in Puis qu’en oubli sein.

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

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