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Medieval, Early and Baroque Music

golfdelta21

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Music of the Troubadours : Tant m'abelis

The troubadours (male) and the trobairitz (female) were composers and performers during the High Middle Ages (1100 - 1350 CE) in Occitania (present day Southern France & part of Spain). Originally they were universally of the noble classes, though in the later period, troubadours appeared among commoners and even clergy. They traveled throughout the land, spreading news and writing and performing lyric poetry and music. They were distinguished from jongleurs, who were performers of the music and poetry that others had written. The earliest known troubadour is the Duke of Aquitaine.

Most of the work of the troubadours and trobairitz was concerned with Courtly Love, which was a code of behaviour that emphasized love as the highest virtue, and the celebration of life as the holiest act. Eleanor of Aquitaine popularized the ideal of Courtly Love in the courts of Europe.In Courtly Love, the lady held the power in the relationship, deciding when the lovers would meet, how far things would proceed, etc. She was encouraged to make it difficult for her lover to win her: "The easy attainment of love makes it of little value. Difficulty of attainment makes it prized." - Andreas Capellanus, The Art of Courtly Love.

As a result, there were a significant minority of trobairitz as well as troubadours, though only one song known to have been written by a trobairitz survives with its music.

Love poetry was often composed in honour of forbidden loves that had no hope of attainment. Wandering troubadours/trobairitz confessed their love for high peers of the land, clergy, and even those of the same gender.

The troubadours sparked similar movements all over Europe, but they never recovered from the Albigensian Crusade, which was called against a Zoroastrian and Buddhist-influenced heresy that was popular in Occitania, especially in the city of Albi. France saw this as an opportunity to increase their lands and holdings, sanctioned by the Pope, and many native Occitan troubadours were considered to be criminals by the occupying French Crown. What was left of the troubadour culture was destroyed by the Black Death.

The music and poetry of the troubadours/trobairitz was likely influenced by Islamic ecstatic poetry, which filtered in from nearby Muslim-controlled Iberia.

There are specific formats of songs and poetry which they utilized. It is difficult for us to recreate their music, because medieval music had no signatures for rhythm or tempo. This is why fans of medieval music may hear the same song performed many different ways.

TANT M’ABELIS
Tant m'abelis jois et amors et chans
ert alegrier deports e cortezia,
que l'mon non a ricor ni manentia
don mielhs d'aisso'm tengues per benonans
doncs, sai ieu ben que midons ten las claus
de totz los bes qu'ieu aten ni esper
e ren d'aiso sens lieys non puesc aver.

Sa gran valors e sos humils semblans
son gen parlar e sa bella paria,
m'an fait ancse voler senhoria
plus que d'autra qu'ieu vis pueys ni dabans;
e si'l sieu cors amoros e suaus
e sa merce no'm denha retener,
ja d'als amors no'm pot far mon plazer.

Tant ai volgut sos bes e sos enans,
e dezirat lieys e sa companhia
que ja no cre, si lonhar m'en volia
que ja partir s'en pogues mos talans;
e s'ieu n'ai dit honor ni be ni laus,
no m'en fas ges per messongier tener,
qu'ab sa valor sap ben proar mon ver.

Belha domna, corteza, benestans,
ab segur sen, ses blasme ses folhia,
so tot no'us vey tan soven cum volria,
mos pessamens aleuja mos afans,
en que'm delieyt e'm sojorn e'm repaus
e quan no'us puesc estiers dels huelhs vezer
vey vos ades en pessan jor e ser.

Sabetz per que no'm vir ni no'm balans
de vos amar ma belha dous'amia?
Quar ja no'm cal doptar, si ieu'us avia,
que mesclessetz falsia ni enjans;
per qu'ieu am mais, quar sol albirar n'aus
que vos puscatz a mos ops eschazer
qu'autra baizar, embrassar ni tener.

Doncs sí' eu ja'm vey dins vostres bratz enclaus
si qu'ambeduy nos semblen d'un voler,
meravil me on poiria'l joy caber.

*SO MUCH I LOVE (English translation):

So much I love joy and love and song,
mirth, sport and courtesy,
that in the world there is no wealth nor riches
that could make me feel happier.
Therefore I know well that my lady holds the keys
of all the good that I expect and hope for,
and none of this can I have without her.

Her great courage and her modest look,
her gentle speech and her fair company
have made me always love her dominion
more than any other's I have seen before or since;
and if her loving and tender heart
deigns not to keep me under her mercy,
love cannot please me with anything else.

So have I wanted her good and her renown,
and so have I desired her and her company
that I believe if she wanted me to leave her
I could never be able to part from her;
and if I declare her honour, her good and her fame,
I could not be held to be a liar,
since her worth proves my honesty.

Fair lady, courteous, kind,
of sure judgement, without blemish or folly,
although I do not see you as often as I would,
my fancy lightens my desire
in which is my delight, my ease and my repose,
and when my eyes cannot see you,
I see you in my thoughts, day and night.

Do you know why I do not turn aside or hesitate
in loving you, my fair, gentle friend?
Because if I had you, I should not fear
that you put forward any falsehood or deceit;
for I prefer, although I only presume it,
that you could some day be mine
than kiss, embrace or hold another woman

So if I ever am held in your arms
so that both of us are of one mind,
I wonder how I could contain my joy

 

golfdelta21

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A love song from the 12th century

A love song from the 12th century, written by Gaucelm Faidit ( 1172-1203 ) in old provencal laguage.
Lyrics:
S'om pogues partir son voler
De so don plus a·l cor volon,
Can no·n pot jauzimen vezer,
L'uns dels grans sens fora del mon!
Car, de las grans foudatz que·i son,
Es be la maier, qui s'enten
Segre son dan ad escien,
Car doblamen
Fai faillimen --
Pero greu er fis amics drutz privatz
Si·l bes e·l mals e·l jois e·l dan no·il platz.

Tot aisso mi vengr'a plazer,
Si tot sui el maltraich prion,
S'Amors mi volgues tant valer
Que l'amoros cors deziron
Mi pagues d'un joi jauzion,
Qu'assatz par que for'avinen
Qez agues del ben qui·l mal sen!
Q'ie·n preira cen
Malstraitz sofren,
E fora·m jois e plazers mout onratz,
S'apres cen mals en fos d'un joi pagatz

 

golfdelta21

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Tempus est Iocundum "Codex Buranus, 179"

El tiempo está alegre, ¡Oh jovencitas!
venid a regocijaros, ¡Oh jovencitos!

¡OH! ¡OH!, FLOREZCO ENTERO
ME ABRASO POR COMPLETO EN UN AMOR VIRGINAL,
¡UN NUEVO, NUEVO AMOR ES, POR EL QUE PEREZCO!

Canta el ruiseñor tan dulcemente
y se le oye melodiosamente, ardo por dentro.

Flor de las muchachas, a las que yo escojo,
y rosa de las rosas, a la que veo a menudo.

Mi promesa me conforta,
mi negativa me desola.

Mi virginidad juega conmigo,
mi simplicidad me preserva.

¡Calla ruiseñor, un momento!
¡Surge, cantinela en mi pecho!

En el tiempo invernal el hombre es paciente,
con el ánimo primaveral es lascivo

¡Ven, jovencita, con alegría!
¡Ven, ven, hermosa, ya perezco!




The time is pleasing, o virgins,
you youths rejoice in this manner.

Refrain: Oh, oh, I bloom completely
Now I burn completely
on account of the virgin love.
It is the new, new love
for which I perish.

Philomena sings thus more sweetly
and she is heard playing.
I burn within.

It is the flower of girls
which I love
and the rose of roses
which I see often.
I burn within.

My promise delights with me,
my denial carries me away.

My virginity plays with me,
My stupidity thrusts me down.

Be silent Philomena
as the time demands,
Rise old song from the breast.

The man suffering in the winter time,
being wanton with a spring soul.

Come, little mistress, with joy,
Come, come beautiful one,
Now I perish.


Performers: ARTEFACTUM
Tempus est iocundum
Artists Artefactum, Jose Manuel Vaquero Ruiz, Vicente Gavira
Album
De la Taberna a La Corte
 

golfdelta21

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Renaissance Music in a Castle. Ancient Music in the Loire Valley.

Renaissance Music with Le Banquet du Roy.Ancient medieval music from the end of the middle ages.Enjoy these great musicians playing in a chateau.

Le Moyen age vit sa fin pour laisser sa place à une nouvelle naissance musicale.
Quelques compositeurs de la Renaissance :
Thoinot Arbeau , William Byrd, Antonio de Cabezón, John Bull, Pierre Attaingnant, Jacques Arcadelt, Eustache du Caurroy, John Dowland ,Guillaume Dufay Giles Farnaby, Heinrich Finck, Claude Gervaise, Nicolas Gombert, Francisco Guerrero, Paul Hofhaimer Heinrich Isaac, Luis de Milán, Thomas Morley, Diego Ortiz, Luys de Narváez, Alonso Lobo, Claudio Merulo, Claude Le Jeune, Peter Philips

 

golfdelta21

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Pachelbel Canon in D Major - the original and best version

Pachelbel's Canon--the original version based on the earliest original manuscript and performed on instruments from the time of Pachelbel--listen to the authentic baroque sound!
About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel's time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century. The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the "Voices of Music."
 

golfdelta21

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G.F. Handel Lascia ch'io pianga (Aria from Rinaldo)

Handel's signature aria from his Opera Rinaldo HWV 7 (1711), performed on original instruments by Voices of Music, with soprano Kirsten Blaise.


and G. F. Händel, Lascia Ch'io pianga. Soprano; Julia Lezhneva, Trondheim soloists, artistic director: Øyvind Gimse. Samuelsen Productions, Hamardomen
 

golfdelta21

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Giovanni Battista Lulli, Marche pour la Cérémonie des Turcs

Giovanni Battista Lulli, Marche pour la Cérémonie des Turcs, from Le Bourgeois Gentilhomme
 

golfdelta21

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Carmina Burana (Anon.11-13th c.)

Carmina Burana (Anon.11-13th c.) - CB 200: Bache, bene venies


Bache, bene venies
gratus et optatus
per quem noster animus
fit letificatus.

refrain: Istud vinum, bonum vinum, vinumnum generosum, reddit virum curialem, probum, animosum.

Iste cyphus concavus
de bono mero profluus
siquis bibit sepius
satur fit et ebrius.

Hec sunt vasa regia
quibus spoliatur
ierusalem et regalis
babilon ditatur.

Ex hoc cypho conscii
bibent sui domini
bibent sui socii
bibent et amici.

Bachus forte superans
pectora virorum
in amorem concitat
anImos eorum.

Bachus sepe visitans
mulierum genus
facit eas subditas
tibi, o tu Venus.

Bachus venas penetrans
calido liquore
facit eas igneas
Veneris ardore.

Bachus lenis leniens
curas et dolores
confert iocum, gaudia,
risus et amores.

Bachus mentem femine
solet hic lenire
cogit eam citius
viro consentire.

A qua prorsus coitum
nequit impetrare
Bachus illam facile
solet expugnare.

Bachus numen faciens
hominem iocundum
reddit eum pariter
doctum et facundum.

Bache, deus inclite,
omnes hic astantes
leti sumus munera
tua prelibantes.

Omnes tibi canimus
maxima preconIa
te laudantes merito
tempora per omnia.
-----------------------------------
Welcome Bacchus,
esteemed and long-desired,
making our hearts
full of joy.

refrain: Wine, good wine in liberal amounts ennobles, purifies and revitalises a man.

This hollowed-out goblet is flowing
with goodness for the toper:
he who drinks wisely
will be well-filled and merry.

Here are the regal glasses
by which Jerusalem
was despoiled
and Babylon's throne enriched.

Let all the company
drink from the cup,
toast their masters,
their workmates, their friends.

Bacchus dominates
men's hearts,
stirs them
to thoughts of love.

Bacchus often visits
the female sex,
making them susceptible
to you, 0 Venus.

Bacchus' hot liquor
penetrates their veins,
setting them
on fire with love.

Gentle Bacchus soothes away
cares and sorrow,
substituting joy,
laughter and love.

Bacchus has winning ways
with women,
making them consent
to the wishes of men.

Bacchus
makes conquest easy --
though she might have said
"No" before.

Under Bacchus' influence
men are happy
and correspondingly
witty and scholarly.

illustrious Bacchus, all of us here
can enjoy ourselves after just one sip.
All sing the praises of your gifts:
and you deserve them for eternity.
 

golfdelta21

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Carmina Burana (Anon.11-13th c.) - CB 179: Tempus Est Iocundum

 

golfdelta21

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Carmina Burana (Anon. 11-13th c.) - CB 37: In Gedeonis area

 

HenryHig

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Medieval Early and Baroque Music

Sir Paul didnt read Music. And you forgot to say please.

"Humility like the darkness, reveals the heavenly lights." H.D. Thoreau
 
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