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Guillaume Du Fay Les Messes À Teneur

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Guillaume Du Fay Les Messes À Teneur GUILLAUME DU FAY Les Messes à teneur Cut Circle Jesse Rodin - direction GUILLAUME DU FAY (ca. 1397 – 1474) Les Messes à teneur CD1 CD2 Missa Ecce ancilla Domini/Beata es Maria [Soli : CB/BG/DM ; incipits : MB] 1 Se la face ay pale – Guillaume Du Fay 02’53 1 Kyrie 05’12 Missa Se la face ay pale [Soli : CB/LJ/PT ; incipits : BG] 2 Gloria 04’57 2 Kyrie 03’09 3 Credo 08’10 3 Gloria 07’57 4 Sanctus 05’55 4 Credo 07’41 5 Agnus Dei 03’58 5 Sanctus 05’43 6 Ave regina celorum – anonyme, antienne en plain-chant 01’47 6 Agnus Dei 04’11 7 Ave regina celorum III – Guillaume Du Fay 07’13 Missa L’homme armé [Soli : MG/SS/DM ; incipits : MB] Missa Ave regina celorum [Soli : MG/SS/PT (Christe II : MG/CB/PT) ; incipits : LJ] 7 Kyrie 03’47 7 Kyrie 05’40 8 Gloria 07’17 8 Gloria 06’22 9 Credo 10’58 9 Credo 08’57 10 Sanctus 08’04 10 Sanctus 06’47 11 Agnus Dei 05’38 11 Agnus Dei 05’09 TT : 67’21 TT : 70’08 4 5 Cut Circle Jesse Rodin – direction Carolann Buff [CB] – soprano Mary Gerbi [MG] – soprano Lawrence Jones [LJ] – contreténor Steven Soph [SS] – contreténor Michael Barrett [MB] – ténor Bradford Gleim [BG] – ténor David McFerrin [DM] – basse Paul Max Tipton [PT] – basse www.cutcircle.com 6 Cut Circle, © Seth Torres7 2014 Légendes des illustrations : Remerciements Couverture : Musique en Wallonie tient à remercier Émilie Corswarem, Marie-Alexis Colin et Barbara Bong ; Guillaume Du Fay, Missa Ecce ancilla Domini, Kyrie [détail], Capp. Sist. 14, fol. 76v [© Biblioteca Apostolica Vaticana] Christophe Pirenne, Jesse Rodin et Philippe Vendrix. Notice : Jesse Rodin et Cut Circle remercient Heinrich Christensen et Gregg Sorensen, Daphna Davidson, 1. Petrus Christus, L’annonciation, 1452, Staatliche Museen, Berlin [© bpk/Gemäldegalerie, SMB/Jörg P. Pamela Dellal, Kaye Denny, Sean Gallagher, Jérôme Gierkens, Frank R. Herrmann, T. Frank Anders] Kennedy, Charles Kronengold, Alia Rejeb Radjeb Meddeb, Herbert Myers, Mark Nye, Helen Palmer, Alejandro Enrique Planchart, Andy et Emily Richmond-Pollock, Sonora Rose, Craig Sapp, 2. Chanson Se la face ay pale, Chansonnier Laborde, fol. 64v-65r [© Library of Congress] Anna Schultz, Susan Sommer, Philippe Vendrix, Helen Ward Mannix et Kurt Werner. 3. Guillaume Du Fay, Missa Se la face ay pale, Kyrie, Capp. Sist. 14, fol. 27v [© Biblioteca Apostolica Cet album est dédié à Alejandro Enrique Planchart – musicologue, maître de chœur, mentor et Vaticana] muse.. 4. Guillaume Du Fay, Missa L’homme armé, Kyrie, Capp. Sist. 14, fol. 101v [© Biblioteca Apostolica Vaticana] Production : Musique en Wallonie, ULg – quai Roosevelt 1B à 4000 Liège – Belgique (http://www.musiqueenwallonie.be) 5. Le couronnement de la Vierge, extrait de Les Très Riches Heures du duc de Berry, Ms. 65, fol. 60v [© Co-producteurs / Coproducers : Pamela Dellal et Jesse Rodin Musée Condé, Chantilly] Enregistrement / Recording : janvier (CD1) et août (CD2) 2014, Church of the Redeemer, Chestnut Hill, Massachusetts, USA 6. Guillaume Du Fay, Missa L’homme armé, Kyrie I, facsimilé, Lucca Codex, fol. 39r [© University of Prise de son / Recording Engineer : Seth Torres Chicago Press] Montage / Editing : Jesse Rodin et Derek Czajka Mixage et mastering / Mixing and Mastering : David v.R. Bowles (Swineshead Productions, LLC) 7. Marie, Reine des Cieux, ca. 1485-1500, National Gallery of Art, Washington DC [© Samuel H. Kress Direction artistique / Artistic Direction : Jesse Rodin Collection] Graphisme / Lay out : Valérian Larose – Quidam 8. Guillaume Du Fay, Missa Ecce ancilla Domini, Kyrie, Capp. Sist. 14, fol. 76v [© Biblioteca Apostolica Réalisé avec le concours du Ministère de la Fédération Wallonie-Bruxelles (Service général des Arts Vaticana] de la scène – Service Musique) et le soutien de la Wallonie. 8 9 solidement fixées ; dans les années 1470 en revanche, la messe était devenue le genre le GUILLAUME DU FAY plus prestigieux – et Du Fay était sans aucun doute conscient qu’il faisait figure d’autorité Les Messes à teneur dans une arène pleine de jeunes talents. De plus, la Missa Se la face ay pale fut probable- Que cela signifiait-il pour Guillaume Du Fay ment composée quand Du Fay était à la cour (ca. 1397-1474), expert caméléon de tous les de Savoie, alors que les autres messes datent genres musicaux de son époque, de composer de ses dernières années à Cambrai. Ainsi, quatre versions de l’ordinaire de la messe vers contrairement à Haydn et à Beethoven, Du Fay la fin de sa vie ? Du point de vue de la géné- ne composa pas ces œuvres en lien les unes ration suivante, lorsque la messe polyphonique avec les autres, pas plus qu’il ne les composa régnait en maître, il peut être tentant d’inter- dans des circonstances similaires. Et évidem- préter ces œuvres comme une forme de bilan ment, les messes de Du Fay n’étaient pas des- de sa carrière – un accomplissement semblable tinées au concert, mais à la liturgie. Néanmoins, aux symphonies londoniennes de Haydn ou aux faire l’expérience des messes à teneur comme quatuors à cordes tardifs de Beethoven. Sur un tout permet certains constats particuliers. un plan purement musical, ces comparaisons Au travers de ces œuvres, nous pouvons pister sont appropriées. Chaque messe émarge d’un les changements stylistiques sur une période terrain musical propre ; elles sont souvent éton- d’environ vingt ans ; observer la manière dont namment expérimentales et l’ensemble est un genre se développe pour devenir le plus magnifique du début à la fin, révélant ainsi un important de son époque, et enfin voir com- compositeur à la hauteur de ses talents. ment le principal compositeur de son temps assembla de courtes sections polyphoniques pour en faire des structures d’une admirable L’analogie a toutefois ses limites. Les messes ampleur. à teneur de Du Fay furent composées durant un long laps de temps : allant des années 1450 aux années 1470. Au début de cette période, Ces messes sont pleines de surprises – avant la messe cyclique était encore un jeune genre de les aborder une à une, il convient de se faire dont les conventions n’étaient pas encore une idée de ce qui les unit. En règle générale, 1. Petrus Christus, L’annonciation, 1452, Staatliche Museen, Berlin [© bpk/Gemäldegalerie, SMB/Jörg P. Anders] 10 11 les voix supérieures sont beaucoup plus actives binaisons pour les lister ici, mais vous pouvez Les riches harmonies et l’écriture magnifi- Ces questions de notation mises à part, il reste que les voix graves : le cantus et le contreténor écouter en particulier quelques duos imitatifs quement mélodique de la Missa Se la face ay beaucoup à admirer dans l’écriture de Du Fay. supportent l’essentiel de l’intérêt rythmique (2/3/2’06, 2/10/1’07), y compris certains dans pale ne doivent pas masquer un fait important Peut-être le plus impressionnant est-il la façon et mélodique, tandis que le ténor et la basse lesquels l’imitation est très resserrées (1/8/4’09) ; : cette œuvre est un tournant dans l’histoire dont la messe donne à entendre la chanson fournissent un soutien, le ténor «s’occupant» ou de saisissantes entrées des voix inférieures de la notation musicale. C’est la première dont elle s’inspire. La ballade Se la face ay du matériel pré-existant, lequel est chanté en après de longs duos des voix supérieures messe dans laquelle l’intégralité de la partie pale étant (exceptionnellement) strophique, valeurs longues. Et pourtant, en beaucoup (1/3/0’32, 2/1/1’09). de ténor repose sur une seule ligne musicale : les auditeurs ont trois chances d’entendre sa d’endroits, les voix inférieures occupent le ici, le ténor de la chanson de Du Fay Se la face très étrange conclusion. Dans le refrain de la devant de la scène, comme quand le ténor ay pale. Cela ne signifie cependant pas que chanson («Sans elle ne puis»; 1/1/0’40), les trois Plus aventureux encore sont les passages accélère, permettant de percevoir le maté- le ténor de la messe ressemble tout à fait à la voix se joignent en un long mélisme présentant rythmiquement intenses (1/8/2’26, 2/7/5’45, riel pré-existant (par exemple, CD1/Tr4/6’28, chanson ; au contraire, une série d’indications ce que nous pourrions appeler aujourd’hui une 2/9/3’24), les utilisations exotiques de triolets 1/7/3’26), ou quand la basse investit un registre lui imposent de modifier la durée de chaque « imitation triadique » : elles sautent de sol à (1/9/6’42, 1/11/0’44, 2/10/5’33), les longues plus aigu (1/9/9’36) ou même lorsqu’elle note. La plupart du temps, le ténor chante mi et à do, puis, après une pause, de sol à mi séquences (2/4/3’08), ou les recours à des chante seule (1/10/3’40). Le contreténor est deux fois moins vite, en doublant les valeurs et à sol (0’44). Comme dans un jeu de saute- dissonances qui feraient rougir tout compositeur généralement une quinte environ en dessous de note («crescit in duplo»). Dans le Gloria et mouton, les voix s’entrecroisent rapidement, se de la génération suivante (1/9/1’45). On trouve de la voix la plus aiguë, mais dans certains pas- le Credo, Du Fay opte pour un procédé plus dirigeant petit à petit vers la cadence finale. de plus subtiles touches encore dans d’auda- sages, il s’élève au-dessus du cantus (1/3/4’55, complexe : la première section de chaque Dans la messe, Du Fay retravaille ce matériel cieux ritardando (1/9/10’16, 2/10/3’32) ou dans 1/9/1’59).
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  • Program Notes
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