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Tracklist P. 4 English P. 8 Français P. 14 Deutsch P. 20 Lyrics P MENU — TRACKLIST P. 4 ENGLISH P. 8 FRANÇAIS P. 14 DEUTSCH P. 20 LYRICS P. 26 Th is recording has been made with the support of the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Service de la Musique) Recorded in April 2014: Beuggen, Schloßkirche Artistic direction, recording & editing: Jérôme Lejeune 2 Cover illustration Jan van Eyck (c. 1390-1441), Adoration of the mystic lamb (detail) Gent, St Bavo Cathedral Photo ©: akg-images, Paris Übersetzungen: Marc Lewon Traductions : Claire Foltzer, Baptiste Romain Translations: Caroline Ritchie ARNOLD & HUGO DE LANTINS SL. 14151430 SECULAR WORKS — LE MIROIR DE MUSIQUE Sabine Lutzenberger: soprano 3 Clara Coutouly: soprano Bernd Oliver Fröhlich: tenor Achim Schulz: tenor Elizabeth Rumsey: vielle Tobie Miller: hurdy-gurdy & recorders Silke Schulze: shawn & pommer Marc Lewon: lute & gittern Nathaniel Wood: slide trumpet Baptiste Romain: vielle, bagpipes & direction www.miroirdemusique.com 1. Per amor de costey Hugo de Lantins 4’47 DE soprano (SL), 2 tenors, 2 vielles, recorder 2. Un seul confort pour mon cuer resjoïr Hugo de Lantins 1’52 FR 2 sopranos, 2 tenors, 2 vielles, lute 3. Las, pouray je mon martire celer Arnold de Lantins 2’49 2 sopranos, 2 tenors 4. Ne me vueillés belle oblier Arnold de Lantins 3’44 2 tenors, 2 vielles, lute MENU EN 5. Hélas amour, que ce qu’endure Hugo de Lantins 3’45 soprano (CC), 2 vielles, lute 4 6. Amour servir et honnourer Arnold de Lantins 5’08 [Basse danse & Quaternaria] 2 vielles, recorder, guittern 7. Amour servir et honnourer Arnold de Lantins 2’16 2 sopranos, 2 tenors, 2 vielles, recorder, lute 8. Ce jour de l’an, belle, je vous supply Arnold de Lantins 2’46 2 vielles, lute 9. Chanter ne scay ce poyse moy Hugo de Lantins 2’33 bagpipes, hurdy-gurdy, shawm, slide trumpet 10. Celsa sublimatur victoria / Sabine, presul dignissime Hugo de Lantins 1’47 2 sopranos, 2 tenors 11. Tota pulchra es amica mea Arnold de Lantins 2’12 2 vielles, lute 12. Tota pulchra es amica mea Arnold de Lantins 2’44 2 sopranos, 2 tenors, 2 vielles, lute 13. Grant ennuy m’est, tres douce simple et coye Hugo de Lantins 3’33 bagpipes, hurdy-gurdy, pommer 14. Plaindre m’estuet de ma damme jolye Hugo de Lantins 6’05 soprano (SL), 2 tenors 15. Puis que je voy, belle, que ne m’amés Arnold de Lantins 5’24 soprano (CC), lute 16. Je suy exent entre aman pour amour Hugo de Lantins 4’31 soprano (SL), 2 tenors 5 17. Hélas emy ! ma dame et ma mestresse Arnold de Lantins 3’45 soprano (SL), 2 tenors, 2 vielles, lute 18. Mirar non posso ni conzerner Hugo de Lantins 2’04 2 vielles, recorder, guittern 19. Io sum tuo servo Hugo de Lantins 2’58 2 vielles, lute 20. Puisque je suy cyprianés Arnold de Lantins 2’11 2 sopranos, 2 tenors, 2 vielles, recorder, lute Sources : Oxford, Bodleian Library, Ms. Canon. Misc. 213 D E Bologna, Civico Museo Bibliografi co Musicale, Ms. Q15 We would like to thank MENU FR the Wesley-Haus Basel, Catherine Motuz, Véronique Gény, Chani Lesaulnier, Isabelle Fabre, David Fallows, Uri Smilansky, Alejandro Enrique Planchart, Daniel Donnelly, Giovanni Cantarini, René Foltzer, Judith Kraft. 6 All the instrumental pieces are adaptations of the chansons and motets by Hugo and Arnold de Lantins; these have been composed according to sources of instrumental music from the 15th century. Th e divisions on Mirar non posso are inspired by the Codex Faenza, compiled around 1420. Th e Buxheim organ book was used as a model for both Ce jour de l’an and for the prelude to Io sum tuo servo. Th e manuscrit 431 from the communal library in Perugia (c.1490), together with the Italian balli described by Domenico da Piacenza (c.1450), were the sources of inspiration for the basse-danse Amour servir and the saltarello Ne me vueillés. * Toutes les pièces instrumentales de cet enregistrement sont des adaptations des chansons et motets d’Hugo et Arnold de Lantins réalisées à partir des sources de musique instrumentale du XVe siècle. La diminution de Mirar non posso est inspirée du Codex Faenza, compilé vers 1420. Le livre d’orgue de la chartreuse de Buxheim (Buxheimerorgelbuch) a servi de modèle pour Ce jour de l’an et Io sum tuo servo. Le manuscrit 431 de la bibliothèque communale de Pérouse (c.1490) ainsi que les balli italiens décrits par Domenico da Piacenza 7 (c.1450) nous ont inspiré la basse-danse Amour servir et le saltarello Ne me vueillés. * Die Instrumentalstücke dieser Aufnahme sind Adaptationen von Liedern und Motetten Hugos und Arnolds de Lantins und wurden in Kenntnis und unter Berücksichtigung überlieferter Instrumentalmusik des XV. Jahrhunderts komponiert. Der Diminutionstil von Mirar non posso ähnelt dem des Codex Faenza (niedergeschrieben um 1420). Das Buxheimer Orgelbuch wurde bei Ce jour de l’an und Io sum tuo servo als Vorlage verwendet. Die Handschrift 431 der kommunalen Bibliothek in Perugia (c.1490) und die italienischen Balli, die Domenico da Piacenza um 1450 notierte, dienten als gemeinsame Inspirationsquellen für die Bassa Danza-Version über Amour servir und den Saltarello über Ne me vueillés. ARNOLD & HUGO DE LANTINS, DE SECULAR WORKS Our best information about the two composers here lay unrecognized for many years. It is in a poem set to music by the most famous composer of the era, Guillaume Dufay, whose Spring-song Hé , MENU FR compaignons names various colleagues, encouraging them to join in the celebrations: Quant est de moy je boy a vous, Huchon, Ernoul, Humblot, Henry. Th at seemed just a harmless list of names until it was noticed that in 1423 Malatesta di Pandolfo 8 Malatesta da Pesaro sent a supplication to the pope for benefi ces for some of his chapel members, among them Arnoldus de Lantins (Ernoul), cleric of the diocese of Liège, Hugonus de Lantins (Huchon), cleric of the same diocese, and Johannes Humblot, cleric of the diocese of Liège. Dufay was associated with various Malatesta courts during the early 1420s, and there can be no real doubt that in the song he was referring to the two composers de Lantins from the diocese of Liège as well as Johannes Humblot. Th at was helpful, since there was already plenty of information to link at least Hugo with Dufay. Hugo’s song Tra quante regione seems to celebrate the same Malatesta wedding as Dufay’s motet Vasilissa ergo gaude; Hugo’s motet Celsa sublimatur honours St Nicholas of Bari, like Dufay’s motet O gemma lux, and the scholar Alejandro Enrique Planchart has recently off ered powerful arguments to suggest that they were for the same occasion or at least closely related; and two manuscripts contain a Gloria by Hugo directly followed by a Credo by Dufay, the two works having closely related musical materials as though composed in close collaboration. It was also helpful because for Hugo we have no other documentation of his life. Arnold is a slightly diff erent case, because he is recorded in the papal chapel from September 1431 to June 1432, when Dufay was also there — though in July 1431 we have a document from another composer of that generation, Guillaume Malbecque, requesting the benefi ce left vacant by the death of Arnold de Lantins. Given that Arnold at this point appears to have had only one benefi ce, whereas most papal singers in those years had three, it seems likely that he was fairly young when he died. Whether Hugo and Arnold were brothers, we shall never know, but their careers and musical styles are remarkably similar. Also at Liège there was a singer named Berthold de Lantins at the church of St Jean l’Evangéliste: he died in 1413 and could therefore well be the father of our two composers. Older reference works also name a ‘Ray. de Lantins’; but a recently discovered fragment ascribes the Credo of 9 the famous mass of Arnold de Lantins to ‘Raynaldus de Lantins’, and we must conclude that Raynaldus is a version of Rinaldo, which is a homonym for Arnold (as suggested by Margaret Bent). Even so, all the indications are that their music was composed in the years 1420-1430 and that they were active in northern Italy. Th eir music is known almost exclusively from three northern Italian manuscripts, the two famous books now in Bologna and the one in Oxford — manuscripts that are also our main source for the early music of Dufay and Binchois. It is therefore very likely that they came south among the eighteen thousand clerics who assembled from all corners of Europe at the Council of Constance (1414-18). Reports tell us much about the music that was performed there, most particularly about the English musicians who evidently had a major impact on their colleagues from the continental mainland. It has long been assumed that Guillaume Dufay was there in the entourage of Cardinal Louis Aleman, then bishop of Cambrai, and that he then moved on to various north Italian courts; many others must have done the same, perhaps including Arnold and Hugo. In total: we have 14 songs from Arnold, along with the mass cycle, two mass pairs and three smaller sacred pieces; from Hugo we have 18 songs (four of them in Italian) alongside ten sacred works. Both composers composed music that looks and sounds much like Dufay’s early work, though with a slightly greater emphasis on melodic beauty; and Hugo is much the earliest composer (apart from another Liègeois, Johannes Franchois de Gemblaco) to have used imitation systematically and constantly, generally at the interval of a fi fth.
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