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Adam DE LA HALLE Le Jeu De Robin Et De Marion

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Adam DE LA HALLE Le Jeu De Robin Et De Marion 557337 bk Robin US 13/2/06 17:19 Page 12 1 Motet: Mout / Robins m’aime / PORTARE 1:03 Scene 3 Adam 2 Pilgrim’s Prologue after LI JUS DU PELERIN 2:46 ¢ Robin rounds up guests for the party. 1:54 ∞ Motet: Mout / Robins m’aime / PORTARE 1:02 DE LA HALLE LI GIEUS DE ROBIN ET DE MARION Scene 4 Scene 1 § The Knight returns to find his bird... 2:09 Marion is happily minding her own business... ¶ J’oi Robin flagoler (Marion) 0:21 Le Jeu de Robin et de Marion 3 Robins m’aime (Marion) 3:02 • ...beats up Robin and kidnaps Marion... 2:35 4 Je me repairoie (Knight) 0:39 ª Hé resveille toi Robin (Gautiers li Testus) 0:37 5 Hé Robin (Marion) 0:22 º ...but Robin is aroused to the point of valour. 1:03 TONUS PEREGRINUS 6 ...when along comes a Knight on the lookout... 4:33 ⁄ Rondeau III: Hareu 0:41 7 Vous perdés vo paine (Marion) 0:22 8 ...but Marion means no when she says so... 0:30 Scene 5 9 Bergeronnete sui (Marion) 0:22 ¤ Marion sees off the Knight, her friends roll up... 3:54 0 ...and the Knight leaves empty-handed. 0:12 ‹ Aveuc tele compaignie (tous) 1:01 ! Trairi deluriau (Marion + Knight) 2:07 › ...and it’s time for all kinds of party games. 10:21 @ Rondeau II: Li dous regars 1:04 # Rondeau XV: Tant con je vivrai 1:40 Scene 6 fi Robin rescues a sheep, declares his love... 4:54 Scene 2 fl J’ai encore un tel pasté (Robin) 0:29 Robin makes his way to Marion... ‡ ...and promises some delicacies of his own... 0:07 $ Hé Robechon leure leure va (Marion + Robin) 1:09 ° Que jou ai un tel capon (Robin) 0:27 % ...and tastes some of her fare... 3:13 · ...when he returns. 0:32 ^ Vous l’orrés bien dire (Robin) 0:13 ‚ Motet I: A Dieu / Adam / SUPER 2:00 & ...and tests her fidelity... 0:39 * Bergeronnete douche baisselete Scene 7 (Robin + Marion) 1:48 a Robin brings a pair of horns to the party... 2:40 ( ...and she tests his dancing prowess... 0:17 b Audigier (Gautiers li Testus) 0:07 ) Robin par l’ame (Marion + Robin) 1:11 c ...gets over his jealousy and gets ¡ ...and Robin goes for reinforcements... 1:29 everyone on their feet. 1:48 ™ ...his manly cousins. 0:54 d Venés apres moi (Robin et al) 1:31 £ Motet II: De ma dame / Dieus / OMNES 3:13 e Motet: Mout / Robins m’aime / PORTARE 1:26 8.557337 12 557337 bk Robin US 13/2/06 17:19 Page 2 ¶ MARION TONUS PEREGRINUS J’oi Robin flagoler au flagol d’argent Hear Robin piping now, on his silver pipe, au flagol d’argent on his silver pipe. Mary Remnant: bells, drum, fiddle, gittern/citole, harp, pipe and tabor, rebec, shawm, symphony, copy of Whitecastle pipe ª GAUTIERS John Crook: Adam li Bochus/Pilgrim/Narrator, voices Hé resveille toi Robin Hey, wake up Robin, wake up, Alexander Hickey: Aubert li Chevaliers/Sir Albert, tenor Car on en maine Marot (Car on en maine Marot) Marion has been kidnapped! (x2) Richard Eteson: Baudons/Baldwin, tenor, coconuts Francis Brett: Gautiers li Testus/Walter the Mule, bass ‹ LI COMPAIGNIE Joanna Forbes: Huars/Howard, soprano Aveuc tele compaignie Oh let’s party, what a party! Kathryn Oswald: Marion, alto Doit on bien joie mener We are gonna have some fun! Rebecca Hickey: Péronnelle, soprano Alexander L’Estrange: Robin, countertenor, tambourine fl ROBIN Antony Pitts: Rogaus/Roger, bagpipe drone, copy of Billingsgate trumpet, J’ai encore .i. tel pasté I’ve a wonderful pâté cowhorns, portative organ, tambourine, director Qui n’est mie de lasté Cordon bleu, or so to say: Que nous mengerons Marote We can feast together, Mary, Recorded from 22nd to 23rd September and on 3rd October, 2003, at Sedgwick Park, West Sussex Bec a bec et moi et vous Cheek to cheek, just me and you, Chi me ratendés Marote Wait for me right here, dear Mary, (except for Motet II, recorded on 28th September, 2004, at Finchcocks, Goudhurst, Kent) Chi venrai parler a vous I’ll be back so don’t be blue! Producers: Joanna Forbes, Geoff Miles, Antony Pitts • Engineer: Geoff Miles • Editor: Antony Pitts ° ROBIN Music by Adam de la Halle edited and arranged by Antony Pitts Que jou ai un tel capon I’ve a capon – oh so rare! – (except for Motet II, edited by Rebecca A. Baltzer with additional alterations by TONUS PEREGRINUS) Qui a gros et cras crepon With a very tender rear: Que nous mengerons Marote We can feast together, Mary, English versions of Li Jus du Pelerin and Li Gieus de Robin et de Marion by Rosemary Pitts and Antony Pitts, Bec a bec et moi et vous Cheek to cheek, just me and you, directed by Joanna Forbes and Antony Pitts Chi me ratendés Marote Wait for me right here, dear Mary, Chi venrai parler a vous I’ll be back so don’t be blue! Music and performance notes by Antony Pitts and John Crook b GAUTIERS Some alternative titles for LE JEU DE ROBIN ET DE MARION: Audigier dist Raimberge bouse vous di Audigier, says Raimbergé, you complete ass! LI GIEUS DE ROBIN ET DE MARION d ROBIN LI JEUS DU BERGER ET DE LA BERGIERE MARIAGE DE ROBIN ET DE MAROTE Venés apres moi venés le sentele Come on, it’s time to follow ever onwards, Le sentele le sentele les le bos Ever onwards, going down beside the woods. 8.557337 2 11 8.557337 557337 bk Robin US 13/2/06 17:19 Page 10 ROBIN Adam de la Halle (13th century): Le Jeu de Robin et de Marion Marot par l’ame me mere Marionnella, by my mother, The thirteenth-century trouvère Adam de la Halle was also including, perhaps, the political tension surrounding the J’en venrai mout bien a chief It is sooner done than said: known as Adam d’Arras and Adam le Bossu, thus giving us French Angevin court at Naples where it is thought Robin et I fait on tel chiere bele Isn’t this amazing, gorgeous? both the place of his birth in Northern France and the Marion was first performed in the late 1280s. They would I fait on tel chiere Isn’t this amazing? striking nickname/surname “the Hunchback”, although probably also have been familiar with the tune of Robins Adam himself claimed that it was a name not a description. m’aime, Marion’s first song (track 3), and set by someone, MARION Adam was both composer and poet, a blending of métiers if not by Adam himself, in a polyphonic version (tracks 1, most famously seen in his compatriot of the following ∞, e). The customary love-story, outlined in the detailed Robin par l’ame ten pere Robin, by your dear old father, century, Guillaume de Machaut. As well as numerous track-listing on the back page of this booklet, tells itself, but Car nous fai le tour des bras Show us how you shake your arm. chansons, jeux-partis, motets (tracks £, ‚) and rondeaux in Adam’s version it is the shepherdess Marion who comes (tracks @, #, ⁄), Adam wrote a small number of plays of across as the strongest character, able both to fend off the ROBIN which Le Jeu de Robin et de Marion is perhaps the earliest Knight’s unwelcome advances and to twist her fiancé Robin surviving combination of music and secular drama: the first round her ring finger. Marot par l’ame me mere Marionnella, by my mother, opera, no less, coming a century or so after Hildegard of Much has changed in the last three-quarters of a Tout ensi con tu vaurras Your desire is my command: Bingen’s sacred music-drama Ordo virtutum. Adam de la millennium, but perhaps the most readily-felt areas of Est chou la maniere bele Have I caught your fancy, gorgeous? Halle moved in courtly circles, including the company of development, even for the aristocratic audience cultivated Est chou la maniere Have I caught your fancy? Robert II, Count of Artois (his traditional peasant hero by Adam de la Halle, are in home improvement and home Robin, diminutive both in name and in courage, may have entertainment: we now take central heating and television MARION been taken as a droll reference to his patron); and like the for granted, whether or not we submit to their comforts. Pilgrim of our Prologue Adam travelled long and far from Performing Robin et Marion for a multi-cultural audience Robin par l’ame ten pere Robin, by your dear old father, his native Arras. listening to a compact disc in the privacy of a car or living- Ses tu faire le touret Can you do a pirouette? Le Jeu de Robin et de Marion was written in the later room presents a number of challenges that were not present part of the thirteenth century and the various titles in the for the late thirteenth-century trouvère or troubadour. The ROBIN manuscript sources (Li Gieus de Robin et de Marion, Li original play as it survives is mostly (spoken) text with an Jeus du Berger et de la Bergiere, Mariage de Robin et de uneven spread of simple, unaccompanied melodies. The Oïl par l’ame me mere Oh, yes, by my dear old mother, Marote) tell us something more of the subject matter, text itself is recognizable as a cousin of modern French, but Ra il en moi biau vallet Am I not the finest yet? shepherds and love, and that the work survived in different hard even for a native French speaker to follow in its Devant et derriere bele Front and back, good-looking, gorgeous, dialects of mediaeval French.
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