7"--5 Early Alte Musik ,,,,pq MUSIC OF THE Ensemble Unicorn Michael Posch Music of the Troubadours

The poems and songs of the troubadours pmvide a included. The latter is an olh[r. s composition that marks repenoire of early European secular song. It is i~sualto the paning of a couple at dawn (olhn). after a night distinguish the lxxts and musicians of the Occitanian together. perhaps observed by a thirtl party. a tradition of souther^^ from those who flourished watchman. The music by Giraut is one ol' only two slightly later in the north, the first as nnrth~tclottrsand surviving musical examples, whilc thcrc are nine the second as rroitvi.rrs.The trouhadours themselves. in surviving examples of the texts. Giraut was born at the twelfth ant1 thirteenth centuries, were. in general. Excideuilh. near Wrigoeux in ;~hout 1140 ant1 tlicd at not the wandering minstrels of nineteenth-century the turn of the century. Of relatively In~mblcparellrage. imagin;~tion,hut often of high social position, kings, he rose to be respected as the master of the troobadours princes ant1 lords, however limited their domains. and quotations fmm his work arc incl~~tled.witli those Among these poets. however. there were individuals of of other poets, in Dantc's Dc, vrtlgctri lower social status. sons of shopkeepers and tradesmen. ebqrtet~ticr.evidence of his contemporary reputation. All. though, wcrc influcnced by a tradition and by Four of his 79 surviving poems arc preserved \\pith thcir coavc~~tiorisof the court and by courtly notions of music. No prresc sofiir consists of ten eight-syllable itlealiscd love, its joys and sorrows. Other subjects of all lines, rhyming ABABCDDCDD. The ~(n~frti~~cttrr~:II~ kinds occur. political. satirical. apologetic or bawdy. imitation, following current practice. follows the same The language of the troubadours. the Intrjirre d'oc, is pattern, using the same rhyme-sclic~~ieand same Provcnqal and closely related variants, to be greatly rhyming syllables, in a series of five stanzas (r.oh1fr.x). distorted by the rro~t)~l.res.The activities of the with a final three-line envoi (tornncln). This is by tlie tmtlbadours extended into Cntalonia and into . A poet Peire Cardenal, probably born about the ycar I 180 large number of troubadour poems survive and a fairly at Le Puy-en-Velay in the Haate-Loire. Thrcc of his s~~hstantialbody of monodic music, offering a single surviving ninety poems are extant with thcir music and melodic line following the rhythm and pattern of the two of these are co~irrqfoc!o. Peire Cardenal livctl a verse set. remarkably long life and seems to have died at thc agc The present anthology of troubadour music and of nearly a hundred at Montpellier. whcrc Jacqucs I. verse opens wirh 7irrrret irhelis by Berenguier de Palou, Kil~gof Aragon had his resitlence until his death in who tlo~~rishedin the early twelfth century. His place of 1276. The verbal intricacies of the poem arc of binh seems to have been Palol, near Elne, in the district pariicular interest, with an excursion into s~lli~cr:~tionin or Ko~~sillon,at the modern border between France and each line of the final stanza. Spi~in.The son of an i~npoverishedknight, he is one of A bagpipe improvisation on the nietlieval hltjo is the earliest of the Calalx~ntroubadours. Toni nt'cthe1i.s followed by Raimon tle Miraval's Rcl 11r'cs fltt'i~rr co~isists01' five seven-line stanias, each line including chcr~rt.The Provenqal tro~~badoar,whose name ktals to ten syllables. These decasyllabic lines rhyme in the possible conti~sionwith his fhther. making the tla~tingof pattern ABRACDD. with the same rhymes continued in his birth difficult, flo~~rishedbetween I IXI) ant1 12 1.5. each stanza. There is a funher example of his work in Ai His castle at Miraval, to the north of Carc;~ssonne. held rol clotnno. a setting of an eight-line stanza of seven- by him together with his three hrothers. was seizctl hy syllable lines. rhyming ABABCCDD. There follows an the Albigcnsian cn~sadersin 1209 or 121 l sntl in tlie instrumental version of the anonymous twelfth-century present poem he looks fonvard to its recapture. Rainlon Do~nncr.p~s vos i:h~tifsi~lu. de Miraval's patrons inclutled Count K;~itnon\'I of No pitesc sfflir is the work of the troubadour Ciraut Touloose, defe;~tetlby the cmsatler Sinion dc 1Monlfort de Rornclh, whose esrcrrnpie. Reis glorios is also in 1213. and Raimon-Rogier of Reiiers. who appear 8.554257 2 under pseudonyms in his poems, as do other members Ventadorn, in Limousin, between about 1130 and 1140 of the nobility. 48 chansons survive, 22 of them with and was influenced by the example of Eble I1 and his their music, an unusually large number. The four successor, both Viscounts of Ventadom and proponents stanzas of Be1 m'es qu'ieu chant consist of nine seven- of the traditional courtly traditions of troubadour poetry. syllable lines, with a repeated rhyme scheme for each It appears, from various allusions elsewhere and from stanza, ABBACDDCC, reflected in the music. the usual surviving vida, the customary and sometimes Cantahen els ocells is the work of Ramon Llull imaginative biographical notice of the lives of (Raymond Lull), distinguished as a Catalan troubadours, that he was the son of a baker or a foot- philosopher, theologian, poet and mystic. Born about soldier. Whatever his origins, he left Ventadorn to enter the year 1232, he died in 1315. A prolific writer, he left the service of Eleanor of Aquitaine, who married the some 243 works, in Latin and in Catalan, to the second future Henry 11 of . He was later in the service of which he gave scholarly respectability. His passing of Raimon V, Count of Toulouse, and after the latter's and varied references to music have a distinct bearing death in 1194 is said to have entered a monastery in the on contemporary practice. From a land-owning Dordogne, where he died in the last decade of the Barcelona family, he was bom in Palma de Mallorca, century. 45 poems survive, with music to eighteen of possibly in 1235, but at the age of thirty turned away them. Quan vei la lauzeta mover is not only the most from secular poetry to a life religious activity urging the famous of Bernart de Ventadom's songs, but among the foundation of colleges to study other religions. A figure most widely known in troubadour repertoire, variously of the greatest importance in Catholic Europe, Ramon imitated and a possible influence on the northern French Llull devoted much of his life to missionary activity, the trouvere repertoire, deriving from the troubadours. The cause of his death in 1315. His short poem is recited to a poem consists of seven eight-syllable eight-line stanzas, characteristic musical accompaniment. with a rhyming scheme ABABCDCD. The final four Ara lausatz, lausat, lausat is an anonymous work of lines form an envoi. bawdy suggestion from the Monastery of Sant Joan de Jaufre Rudel, who flourished in the mid-twelfth les Abadesses in Catalonia, its collegiate church century, is known in particular for his poems to his founded in 887 by Count Wilfred the Hairy (el Velloso), distant love. He took part in the second crusade in 1147 whose daughter was the first of the abbesses. and it has been suggested that the distant love was the A native of Narbonne, where he was born about the Countess of Tripoli or even, metaphorically, Jerusalem year 1230, Guiraut Riquier is regarded as the last of the itself. The derivative and imaginative vida repeats the troubadours. His 89 surviving poems can be dated story of Rudel, described as prince of Blaye, and his through frequent topical references and fall between the infatuation with the Countess, seemingly known only years 1254 and 1292. He was in the service of by repute. As a pilgrim, he set out to see her but was Amalrich IV, Viscount of Narbonne, and then of taken ill on the ship, to die in the arms of the Countess, Alfonso X of Castile. In 1279 he entered the service of once he had reached Tripoli. At his death she took the Henry 11, Count of Rodez, and died at the turn of the veil. Of seven poems attributed to Rudel, four survive century. 48 of the poems survive with their music, an with their music. Lanquan li jorn has a particular unusually large number. Humils, forfaitz, repres e interest in that it was imitated by the German penedens consists of two eight-line stanzas with a final Minnesinger Walther vou der Vogelweide in his three-line envoi. The rhyme-scheme is ABBACCD, Palastinalied (Naxos 8.553442). The poem itself with the final three rhymes echoed in the envoi, consists of seven eight-syllable seven-line stanzas, matched by the repeated melodic formula, with its followed by a three-line envoi. The rhyme-scheme is ornamentation. ABABCCD, with the word loing (distant) ending the Bernart de Ventadorn was born in the castle of second and fourth lines of each stanza. 3 8.554257 The Interpretation The music and language of the troubadours, this music is part of a living tradition has come a together with their content have, over the centuries, in confluence, in interpretation, of elements from the field no way lost their importance. Still in our own time, of early music with the continuing traditions of particularly in the field of folk-music, their effects can Mediterranean music. The collaboration of the be observed in the musical and poetic culture of Ensemble Unicorn with the Oni Wytars Ensemble as Southern France and Catalonia. In our search for a representatives of these two stylistic trends has proved person who would be for us an ideal interpreter, with a very effective, as in the release On the Way to true understanding of this repertoire, we settled on Bethlehem (Naxos 8.553132). Well founded historical Maria LaAtte. She is one of the most important singers research and general freedom for improvisation, with of Cans6 Catalana and combines with long experience the use of a varied group of instruments and strictly in early music ensembles the experience of intensive text-related , offer, in this recording, a research in the field of medieval romance languages and refreshing wealth of colour, together with poetic a deep engagement w~ththe int~r~rctat~on~ofrelated profundity. methods of poetic expression. From the convict~onthat Michael Posch and Marco Amhmsini

Oni Wytars The internationally renowned ensemble Oni Wytars was formed in 1983 to perform music of the Middle Ages and as well as classical and traditional Arab and Turkish music. The ensemble seeks to unite the many traditions that have influenced and enriched European musical culture for centuries by building a bridge between ancient and still-thriving musical traditions, between east and west. Performing on instluments from the European Middle Ages and Renaissance, on contemporary Arabic and Eastern European instruments and blending elements from both the rich cultural heritage of Medieval Europe and from their own diverse backgrounds, the instrumentalists and singers come from , , Italy ,Iran, Hungary, , England and the U.S.A. Oni Wytars has appeared in concerts and festivals throughout Europe, Canada and the Middle and Far East. Ensemble Unicorn Under the direction of Michael Posch, the Ensemble Unicorn has undertaken the task of making the music of the Middle Ages and early Renaissance more accessible to a wide audience through refreshingly new interpretations. At the heart of this international ensemble are musicians fmm Austria, Italy and Germany, skilled in lively performance practice and historically based improvisation. The work of the Ensemble Unicorn is further enriched by the research and varied interests of its members. With the encouragement of the Federal Ministry for Education and the Arts and Austrian Embassies and Cultural Institutes, the ensemble has acted as a vehicle for cultural promotion, to which may be added a highly siiccessful series of recordings. The group has appeared in countries throughout the world, often in major festivals. Marco Ambrosini Marco Ambrosini was born in Italy. He studied the , viola and composition at the Pergolesi Institute in and the Rossini Conservatory in . In 1983 he founded the ensemble Oni Wytars, to focus on the synthesis of many traditions from both the East and the West that have influenced and enriched European musical culture for centuries. He works with many of the leading early music ensembles, as well as writing about music, giving master-classes and participating in jazz performances, both as a performer and . 8.554257 4 Michael Posch Born in Austria in 1969, Michael Posch studied recorder at the Carinthian State Conservatory, the Vienna Academy of Music and Performing Arts and at the Tmssingen Academy. He won the competition Jugend musiriert and now has a reputation as a performer of a wide repertoire of recorder music in a career that has taken him to countr~esthrouehout the world. His activities have broueht a laree number of recordings. broadcast\ and television appearances an; collaboration with ensembles that inzude ~Lntus,Oni Wytars, keClemencic Consort and Concentus Musicus. He has won equal distinction as a teacher in master-classes and is director of the Department of Early Music at the Vienna Conservatory.

Ensemble Unicorn / Oni Wytars

Maria D. Lafitte voice Katharina Dustmann dawl, zarb, , deff Thomas Wimmer fiddle, laud Wolfgang Reithofer tenor drum, bowl drum, Riccardo Delfino Gothic harp, hurdy-gurdy, tambourine bagpipe Marco Ambmsini fiddle, keyed fiddle, Peter Rabanser gaita, bujo, ud, nay, saz Michael Posch (director) recorder, -flute

Tant m'abelis So much I love Tant m'abelis jois et amors et chans So much I love joy and love and song, err alegrier deports e corteria, mirth, sport and courtesy, oue l'mon non a ricor ni manentia that in the world there is no wealth nor riches hnmielhs d'aisso'm renguesper benunans that could make me feel happier. doncs. sai ieu hen aue midons sen /as ciaus Therefore I know well that mv lady holds the kcvs. de to&. 10s bes qu'i;u aten ni esper of all the good that I expect and hop for, e ren d'aiso sens lieys non puesc aver. and none of this can I have w~thoulher. Sa gran valors e sos humils semblans Her great courage and her modest look, son gen parlar e sa bella paria, her gentle speech and her fair company m'an fait ancse voler senhoria have made me alwavs love her dominion plus que d'autra qu'ieu vispueys ni dabans; more than any othe2s I have seen before or since; e si'l sieu cors amoros e suaus and if her loving and tender heart e sa merce no'm denha rerener, deigns not to kGp me under her mercy, ja d 'als amors normpotjar mon plarer. love cannot please me with anything else. Tant ai volgut sos bes e sos enans, So have I wanted her good and her renown, e dezirat lieys e sa companhia and so have I desired her and her company que ja no ere, si [onhar m'en volia that 1 believe if she wanted me ro leave her que ja partir s'en pogues mos tolam; I could never be able to pan from her: e s'ieu n'ai dit honor ni be ni laus, and if I declare her honour, her good and her fame, no m'en fas ges per messongier tener, I could not be held to be a liar, qu'ab sa valor sap ben proar mon ver. since her worth proves my honesty. Belha domnu, corteza, benesrans, Fair lady, courteous, kind, ah segur Aen, ses blasme ses folhia, of sure judgement, without blemish or folly. so tor no 'us vey tan soven cum voln'a, although I do not see you as often as I would, mo.spessamens aleuja mos afans, my fancy lightens my desire en que'm deheyt e'm sojorn e'm repuus in which is my delight. my ease and my repose, e quan no'us puesc estiers dels huelhs vezer and when my eyes cannot see you, vey vos ades en pessan jor e ser. I see you in my thoughts, day and night. Sabetz per que no'm vir ni no'm balans Do you know why I do not turn aside or hesitate de vos umar ma belha dous'umia? in loving you, my fair, gentle friend? Quar ja no'm caldoptar, ri ieu'us aviu, Because if I had you, I should not fear que mesclessetzfalria ni enjans; that you put forward any falsehood or deceit; per qu'ieu am mais, quar sol albirar n'aur for I prefer, although I only presume it, que vos puscan a mos ops eschazer that you could some day be mine qu'autru baizar, embrassor ni tener. than kiss, embrace or hold another woman. Doncs si'eu ja'm vey dins vostres brarz enclaus So if I ever am held in your arms si qu'ambeduy nos semblen d'un voler, so that both of us are of one mind. meravil me on poiria'l joy caber. I wonder how I could contain my joy.

Domna, pos vos ay chausida Lady, for you (Instrumental)

No puesc sofrir qu'a la dolor I cannot prevent with pain Non putsc sojrir qu'a la dolor I cannot prevent with pain de la dent la lenga no'm vir; in a tooth my tongue returning to it; e'l cbr amb la nov.klapor, so does my hean to the new flower, lanqrrand vei 10s ramdlsflorir when I see the boughs blossom e'lh chant son pel boscatge and through the woodland sounds the song dels auselets enamorals; of birds in love; e si tot m'esau apensats although 1 am pensive ni pres per malaururge, and sad in my thoughts, quand vei chants e vergiirs eprats, when I see these songs and meadows and fields, ieu renovPl e m'as,rola$. I am rencwed and comforted. Ar me puesc ieu lauzar dYAmor Now I can he satisfled with Love Ar me puesc ieu lauzar d'Amor. Now 1 can be satisfied with Love, que no 'm to1 manjar ni dormir; for he takes from me neither eating nor sleeping; ni'n senfriedura ni calor nor through him do I feel cold or heat, ni no'm badall ni so'm sospir nor do I yawn or sigh, ni'n vauc de nuex arratge, nor do 1 wander at night, ni'n soi conquistz ni'n soi cochutz, nor am I conquered or weighed down, ni'n soi dolenz ni'n soi irak, nor am I sad or vexed, ni no'n logi messatge; nor do I hire a messenger; ni'n soi trazitz ni enganarz, nor am I betrayed or deceived, que partitz m'en soi ab mos darz. since I am paned from her by cast of dice. 8.554257 Aurre plazer ndi ieu maior, Ihave a greater pleasure, yue no'n traisc ni fauc trair, since Ibetray not nor am betrayed, ni'n tem tracheiris ni trochor, nor fear Waitress nor traitor, ni brau gilos yue mhazir; nor do 1 fear fierce jealousy; ni'n fauc fol vassallntge. nor do I suffer angry servitude, ni'n soi feritz ni derocatz, nor am Iinjured nor overthrown, ni'n soipres ni derauhatz, nor am I ca~tivenor caumred. ni no'nfauc long budage, nor do I suffer long-deiryedhope. ni dic qu'eu soi d7Amorforsatz, nor do I sav that 1 am forsaken bv Love. ni dic que mos cors mPs emblatz. nor say th; my heart has heen taken from me. Ni diu qu'ieu mor per la gensor, Nor do Isay Idie for the most amiable, ni dic que.1 bellam fai languir, nor say that the fair one makes me languish, ni non la prec ninon l'azor, nor do I beg her nor adore her, ni la deman ni la dezir; nor long for her nor yearn for her; ni no1fas homenatge. nor do Ido homage to her, ni no.1 m'autrei ni.1 me soi datz, nor do Isubmit a) her nor give myself up, ninon soi sieus endomenjatz, nor am Iher sem~ant, ni a mon cor en gaqe, nor is my heart in thrall, ni soi sos pres ni sos liah, nor am Iher captive nor her bond-slave, anz dic qu'ieu li sol escupalz. but Isay I have escaped from her. Mais deu hom lauzar vensedor But the victor deserves praise no fai venpt, qui.1 ver vol dir, rather than the conquered, to speak truth, car lo vencens porta laflor for the victor bears the flower e.1 venpt vai hom sebelir; and the conquered the grave; e qui venc son corage and he who conquers his spirit de las desleials voluntatz away fmm disloyal desires don ieis lo faitz desmezuratz from which proceed unn~lyactions e li autre autratge, and further excesses, d'ayuel venser es plus onralz for that victory is the more honoured que si vensia cent ciutah. who has conquered a hundred cares. Pauc pres prim prec de pregador, Little do Ivalue the suppliant's keen prayer, car cre qu'il, cuy quer convertir, for he believes that he whom he would persuade, vir vas vil voler sa valor, will bend his will to base desire, don dreirz deu dar dun alpartir, that nghtly should bring h~mdeath. si sec son sen salvatge, if he follows his wild feelinn, leu l'er lo larcx laus lag loinhats. he will soon lose his good name; Plus pres lauzables que lauzatz: I value more the praiseworthy than the praised: nop ren estreg osratge held secure as a hostage dreitz drurz del darr d'Amor nafatz. is the perfect lover, struck by Love's dart. Pus pauc pres, pus pres es compratz. Then if merit is bought,it is of worth little. Non voilh voler volatge I want no changing desire que'm volv e'm vir mas volmtaz that pulls at me and changes my will mas lai on mos vols es volatz. except towards that to which my love takes flight. Bujo (htrumental) Bujo Bel m9esqu'eu chant It is fine to sing Be1 m'es qu'eu chant e coindei It is fine to sing and to love, pos l'aw'es dous'e.1 temps gais. for the air is sweet and the weather fair, e per vergiers e per phis . and through the meadows and hedge-rows aug lo retint e.1 gabei I hear the warbling and singing quefant l'auzeillet menut of the little birds entre.1 vert e.l blanc e.1 vaire; amid the green, the white and the varied; adoncs se deuri'atraire So, then, he who would cel que vol c'amors I'ajut that love help him vas chaptenenssa de drut. must try to behave like a lover.

Eu M sui druh mas dompnei, I am not a lover, but a suitor, ni M tern pena nifais and I fear neither pain nor grief, nim rancur leu ni m'irai, nor easily do 1 complain or become angry, ni per orguoill no m'esfrei; nor does pride ftighten me; per0 temenssam fai mut, but fear makes me silent, c'a la bella de bon aire for to the fair and favoured one non aus mostrar ni retraire I dare not show nor speak of mon cor qu'ill tenc rescondut, my heart, that I keep hidden, pois aic son prek conogut. since I have learnt her worth. Ja non cre c'ab leis parei I do not believe that ever can be compared beutatz d'autm dompna mais, her beauty with that of another lady. queflors de rosier qan nais for the flower of the rose, when it is born, non es plusfresca de lei, is not fresher than she is, cors benfait e gen creguf, her body well made and grown in grace, boch'et oills del mon esckaire; her mouth and eyes lighting up the world: c'anc Beutah plus no.i saup faire, No greater beauty can there be, se.i mes tota sa vertut in her lies all its virtue qe res m.il b'es remasut. so that none remains besides. Chanssos,vai me dir a1 rei Song, go speak for me to the king cui jots guid'e vest epais, who guides, forms and nurtures joy, q'en Iui non a ren biais, in whom there is nothing base, c'airal cum ieu vuoill lo vei; that 1 see him as I wish, ab que cobre Montagur that he may recapture Carcassonne e Carcasson'el repaire: from Montagut and return; pois er depretz emperaire, he will be a wonhy emperor, e doptaran son escut and there will fear his power saifrances e his masmut. the French and the ~Gbs. Cantaben els ocells The birds were singing Cantaben els ocells I'alba, The birds were singing the dawn. i es despertd l'amat qui es l'alba: and the beloved awoke, who is the dawn; e 10s aucellsfiniren llirr cant; and the birds finished their song; i l'amic moriper l'amat, en I'alba and the lover died for the beloved. at the dawn. Ai taldomna Such a lady Ar tai domno com ieu sai Such a lady as I know, rrcha e de b6las faicons, noble and fair in demeanour, amb cors convenent e gai, with gentle, well-favoured body, amb dichs plasenti6rs e bow, pleasing words and good, si volguh prPc.7 ni demandas sofrir, allowing any requests and demands, degra [m onmr, car tener e senzir, her you would have to honour, cherish and serve, que no'?falh ren qu'en bona damna sia, for she lacks nothing of what befits a good lady, mas car Amors y perd sa senhoria. so that Love loses his dominion over her. [SI Estampie: Reis glorios (lnstrumntal) Estampie: Reis glorios Ara lausatz, lausat, lausat Praise, now, praise, praise Ara lausatz, lausat, lausat. Praise now. praise, praise, il comandament I'abat. the abbot's command. Bela, si vos eravak monja Fair one, if you were a nun de ndstra maison, in our house, a profiPch e tots 10s monges to the profit of all the monks vos prendifz liurason. you would take tribute. Mas vos non estaretc, bela, But you shall not pass a day. fair one, si tots jorns enversa non, except on your back, co dik I'abat. so the abbot says. Humils, forfaitz, repres e penedens Humble, sinful, accused and penitent Humils,forfaitz, repres e penedens, Humble. sinful. accused and wnitent, entristeiits, marrit de revenir saddened,afflicted I am in m'y return, so, qu ay perdut de nlon temps perfalhir. for I have wasted my time in sinning. Vos clam merce, Dono, Vergesplazens, I seek mercy, Lady, Virgin kind, maires de Crist,filh del tot poderos, mother of Christ, son of the all-powerful, que no gordetz cum suy forfaitz vas vos; that you consider not my sin against you; si us plai, gardatz I'ops. de m'arma marrida consider, if it please you. the need of my afflicted soul. Mas esper ai que'm siatz vos guirens BUI I have hope that you will protect me del greu perilh mortal que'm fa marrir, In the grave mortal danger that aflllcts me, de que no puescper ren ses vos issir; from which 1 can in noiav, escaw, without vou: tans e tan greus trobi ms fallimens! so great and so gave are our sinc! E donc pregatz vostre Filh glorios Pray, then, your glorious Son que'm fassa far sos plazers e mos pros, that he make me do his will, for my own good, qu'aissi'm podeh. tornar de mort a vida. so can you bring me from death to life. 8.554257 Per nos, Dona, verger regina,fm For us. lady, V~rg~nQueen, you were maires delfilh d~ Dieu tot poderos: mother of the Son of God all-powerful: domacopraz d'elh a nos crta guida. then take from him this guide for us.

Quan vei la lauzeta mover When 1see the lark move Quan vei la lauzeta mover When I see the lark move de joi sas alas conrra'l rui, forjoy his wings in the sun, que r'ohlid'e's laisso chazer and disappear and swoop per la doussor c'al cor li vai. for the delight that comes to his heart, ai tan grans enveya m'en ye great envy comes upon me de cui qu'eu veyo jauzion. at one so joyful, meravillros ai, car desse and I wonder that in an instant lo cor de dezirer no'mfon. my hean does not faint for desire.

Ai, lay! tan cuidava saber Ay, alas! I thought I knew much d'amor c tan perir en sai! of love and I know so little! car eu d'amur no'm posc rener for I cannot forbear to love her celeis don ja pro non aurai. from whom I shall have nothing. Tout m'a mo cor, e tout m'a me, She has stolen mv heart and mv being,- e se mezeis'e for lo mon: and for herself thk whole world; e can se'm rolc, no'm 1ai.s.scr re and when I am parted from her, there is nothing mas dezirer e cor volo. other than desire and my yearning heart. Anc non anui de me poder Never more have I power over myself ni nofui &us de I'or en sai nor was I myself from the moment que'm laisset en sos 0111s vezer that my eyes saw her en un miralh que mout nre plai. in a mirror that pleased me much. Miralhs, pus me mirei en te, A mirror, since the time I saw you, m'an mort li sospir de preon, deep sighs have brought death to me. c'aissi'm perdei com perdei se SO ihat i am lost as was lost lo hels Narcisus en la font. fair Narcissus in the fountain De [as domnas me dexesoer: Of ladies I despair; ja mais en lor no'm jarai; never more shall I trust them c'aissi corn las solh chaprener, and as I once defended them, enaissi /as dechaprenrai. so shall 1 forsake them. Pois vei c'una Dro na m'en fe Since I see that none help me against her vas leis que'm destrui e'm cojan, who destroys and confounds me, rotas las dopr'e /as mescre, I fear them all and mistrust them, car he sai c'atretab se son. for I know they are all alike. D'aisso's fa be femna parer In this does show herself true woman ma domna per as'elh o rerrai, my lady, for which I blame her, car no vol so c'om deu voler, since she wants not what she should e so c'om li devedafai. and does what is forbidden. Chazurz sui en nrala merce I am fallen in disgrace et ai befoil1 co'1,folsen porr; and have acted like a fool on the bridge: e NO sui per qire m 'esdeve, and 1 do not know what is happening to me. mas car rrop prryei contra moll unless l have aimed too high. Merces es perduda, per irer Truly, pity is lost el eu non o sauhi altc smi and I never Ihoi~ghtit, car eilh qiri p11r.s en degr'nver, Ibr she who ought to have much no'n a ges: el on kr qrrerrui? has none: and where shall I seek il:) A! cart iiml seinbla, ylri la ve, Ah! how hard to believe, when I see qrred nques~rhoiriu de:irmr how she leaves to die qlie jo ses leis iron aura be, and gives no help to the lover icrisse morir, qrre 110 l'aon. who without her has nothing. Pus ab nridons no'm pot b~aler Since with my lady there is no value precs ni rrercer ~i'ldreilr: qu'eu a;. in prayers nor pity nor the right I have, ni a leis fro IWII a plu-er ant1 it not pleasing to her qu'cu I'cim, j(r tnais no 'lh o clirni. that I love her, 1 shall say it no more. Aissi'nt parrp leis e'fnrccre: So, then, 1 shall keep away from her and desist; nrorl m'a, e per inort li respon, She has brought death to me. and in death I reply, e wu m'e~l,prrs ilh no'nr rete. and go, now that nothing l~oldsme back. cbaitius, en issil/r,no soi on. diskraced, toexile. 1 know not where. Tristans,ges iro'ni ourec de me, Tristan. from me yoit will have nothing, qu 'cu m'eir t,au, chairiris 110 srri on. since 1 go, disgraced. l know not where. De chanlur nre gic c'n~recre, I give up singing and refrain, e de joi e d'urrior m'escon. and shun joy and love. Lanquand li jorn son lone en mai When the days are long in May Lmqirirrrd 1; jorti son lortc en nrui When the days are long in May rn'e.5 hels doiiz chons d'arr:els de loing then pleases mc thc song of birds afar e qnnd 1r1e srri pcrrtitz de lai and when 1 have gone hmthere renimrbram d'rrn amor de loing. I rcmcmber my love afar. Varrc (Ir falait entbroncs e dis, Troubled and oppressed by longing, si ylre clruirs nijlors d'albespis I go, so that song nor \vhitethorn flower no.m plat plus qse l'ivcrrfsgelar:. pleases me more than icy winter. Ja nrais d'arnor no.m gauzirui Never more shall I enjoy love si no.m gait d'est anror de loing if I enjoy it not from far clue gensor ?tiineillor nor1 sai since no kinder or better do I know vas nuillrr jmrl, ni pres iri Ioing. anywhcre. near or far. ?iotl rs sos pretz verais efis Her wonh is so true and pure qcre lai el renc dr1.s sarrciiis that in the realm of the Saracens fi7.s eft,per lieis, chaitiur clamaiz! you would be declared love's captive! Sad and happy shall I go when 1 see this love afar mas non sai coras lam veirai but I how not when I shall see her car trop son nostras terras loing. for our lands are far apm. Assatz y a portz e camis! There are too many gates and roads! E, per aisso, non sui devis... And, for this reason, l am no soothsayer... Mas tot sia cum Dieu plarz' But may all be as God pleases! Bem parra jois qan li qerrai Joy is mine when I seek her per Amor Dieu, I'Amor de loing; through God's Love. Love from afar; e, s'a lieis phi, albergarai and, if he pleases. I shall take shelter pres & lieis, si bem sui de loing! near her, though I am far away! Adoncs oarra'l oarlamens fis Then there will be gentle talk qanddhrz loinhs, er tan &is when, a distant lover, I shall be so near c'ab bels dinz jauzirai solarz. that I shall take comfort from her fair words. Ben tenc lo Seignor perkmi I hold him Lord indeed, through whom per q'ieu veirai 1'Amor de loing; I shall see Love afar; mas, per un ben que m'en eschai, but, as to a benefit to come to me, n'ai dos mals, car tan! m% de loing ... I have doubts, for from me she is so far... Ai! car me fos lai peleris Ay! If I were a pilgrim, si que mos fustz e mos tapis and my staff and cloak fos peb sieus bels huoilk remirn! were seen by her fair eyes! Dieus, qe fen tot qant ve ni vai God, who made all that goes and comes e fermet cest'Amor de loinn, and confirmed this Love afar, me don poder, qe'l cor eu n'ai, give me power, the heart I have, q'en breu veia I'Amor de loinn. that soon I may see my Love afar. ieraiament, en locs aizis, - truly, in a suitable place, si qe la cambra e.1 jardis so that the chamber and the garden mi resembles totz temps palat~r may seem ever a palace! Ver ditz qui,'apella lechai He tells the huth who calls me greedy ni desiran d'Amor de loing and desirous of Love afar car nuilk outre jois tan! nom phi for no other joy pleases me cum jauzimens d'Amor de loing. as much as the enjoyment of Love afar. Mas so q'eu vuoill m'es rant ahis But what I want is so forbidden q'emissimfadet mos pairis since my Lord has decreed q'ieu ames e non fos amatz! that I love and be not loved! Mas so q'ieu vuoill m'es tan! ahis! But what I want is so forbidden! Tot sin maudin lo pairis Cursed be my Lord gem fade! q'ieu non fos antan! who has decreed that I be not loved!

English versions by Keith Anderson 8554257 MUSIC OF THE TROUBADOURS lDDDl piEiq Ensemble Unicorn Oni Wytars Michael Posch Marco Ambrosini

Berenguier de Rbu(n. early 12th century): The Troubadours T.nt m'abelis 456 The poems and songs recorded here Anon. (12th century): provide a vivid glimpse into the very Domns, pos vos ay chamid. (instrumental) 2:23 Giraut de Borndh (c.1140c.1200): special world of European secular song Non puwsoMr 810 in the twelfth and thirteenth centuries. Peire Cardenal(?1180-?1278): The Troubadours themselves, dedicated Ar me puw(contrafactum) to the ideal of courtly love, were far @I Bujo (instrumental) 2:42 removed from the wandering minstrels Rainon de Muaval (fl. 1180-1215): beloved of the nineteenth century Be1 m'es qu'ieu chant 6:04 imagination. Often they were men of the Ramon LIull (c.1232-1315): highest social position - princes and Cantaben els osells 553 lords, even kings, however limited their Bereuguier de Palou: Ai tal domna 3:24 domains, who ranked with the most Ciraut de Bornelh: Reis glorios 2:38 Anon. (MonaFtery of Sant Joan cultivated and widely educated members de les Ahadesses): Anlausatz, lausat, lausat 2:17 of society. There were others, too, of Guiraut Riquier (c.lUO-c.lJ00): lower social status - the sons of Humils Wrlaitz 6.59 shopkeepers and tradesmen - and the Bernart de Ventadorn (c.1130-40 - c.1190-1200): rich mix of outlooks and backgrounds Quan vei la lauzeta mover 6:03 resulted in music and poetry of unique Jaufre Rudel (n. mid-12th century): refinement and emotional vitality. Lanqunn li jorn J7:3l

Recorded in W*A*R Studio. Vienna from 4th to 6th June 1996 Visit the Naxos Internet site: Pmduccr: Michael Poich http://www.hnh*.om Engineer: W*A*R Studio. Elisabeth & Wolfgaog A. Reithofer Music notes: Keith Anderson Arrangements: Ensemble Unicorn 1 Oni Wytars

Cover Painting:Troubadours. German anon. 14th Century (Archiv fiir Kunst und Gescbichte. Berlin)