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M2020104 Ric 430 LA FLEUR DE BIAULTÉ 21X28 WEB.Indd LYRICS P. 22 16 11 6 P. LYRICS P. DEUTSCH 4 FRANÇAIS P. P. ENGLISH P. TRACKLIST MENU — MENU EN FR DE LYRICS This recording has been made with the support of the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Service de la Musique) 2 Recording: Leymen (F), église Saint-Léger, September 2020 Artistic direction & recording: Jérôme Lejeune Illustration: Lorenzo Costa (1460-1535), The Reign of Comus,1511 (detail) Paris, Musée du Louvre © Hervé Champollion / akg-images Photos (p. 5 & 36 ) © Elam Rotem JOHANNES MARTINI LYRICS ca 14301497 DE DE FR FR LA FLEUR DE BIAULTÉ — LE MIROIR DE MUSIQUE MENU EN Sabine Lutzenberger & Tessa Roos: mezzo-sopranos 3 David Munderloh & Jacob Lawrence: tenors Matthieu Le Levreur: baritone Tim Scott Whiteley: bass Claire Piganiol: harp & organetto Silke Schulze: shawm & pommer Elizabeth Rumsey: viola d'arco & renaissance viola da gamba Marc Lewon: lute & viola d'arco Henry van Engen: trombone Baptiste Romain: vielle, renaissance violin, rebec, bagpipes & direction www.lemiroirdemusique.com 1. O beate Sebastiane 5'38 2. La Martinella 2'12 3. La Martinelle pittzulo 1'10 4. Letatus sum 3'00 5. Biaulx parle toujours 1'24 6. La fleur de biaulté 1'39 7. Quare fremuerunt gentes 4'47 8. Magnificat tertii toni 9'39 9. Helas comment aves 2'53 10. Que je fasoye 0'46 11. Fortuna desperata 1'19 12. Fortuna disperata – Anonymous (Bologna Q18) 1'20 13. Fortuna d'un gran tempo 3'25 4 14. Scoen kint 4'16 15. Sans riens du mal 5'14 16. J’espoir mieulx 4'13 17. Missa Ma bouche rit (Credo) 7'27 18. Der newe pawer schwantcz 2'43 19. De la bonne chiere 3'23 20. Tant que dieu voldra 2'22 21. Ave amator casti consilii 2'08 22. Des biens d’amours 1'26 23. Missa La Martinella (Agnus Dei) 5'28 24. Cela sans plus – Colinet de Lannoy / Johannes Martini 1'14 David Fallows, Murray Steib, Thomas Christ, Vincent Kibildis. Vincent Thomas Christ, Steib, Murray Fallows, David Romain, Jean-Pierre Young, Crawford Wolteche, Aliénor Rumsey, Elizabeth Piganiol, Claire Ritchie, Caroline Foltzer, Claire Romain, Martine Christelle Cazaux-Kowalski, thank: to like would We 5 MENU EN FR DE LYRICS ZOHANE MARTINI DE BARBANTE LYRICS Johannes Martini was born in the 1430s in Leuze, Belgium, and died in Ferrara on DE DE 23 October 1497. He was first active in Constance, but little is known about his life until he was hired by duke Ercole I d’Este of Ferrara in the early 1470s. During his nearly three decades in Ferrara, he served the Este court in many capacities: he was a composer and singer; he was music tutor to Ercole’s children and maintained a lively correspondence with the eldest daughter Isabella, an important patron of music herself; and he was an editor, not only adapting other composers’ music but also serving as the driving force behind a series MENU FR of manuscripts for the court, including collections of masses, motets and liturgical music, and secular music (the Casanatense manuscript). This CD includes pieces from all of these manuscripts and provides an excellent overview of his music, from sacred to secular and vocal 6 to instrumental. The Casanatense manuscript is a large collection of secular music copied in Ferrara as a betrothal or wedding present for Isabella d’Este and Francesco II Gonzaga of Mantua. It contains 123 pieces, including at least 23 by Martini, 10 of which are found nowhere else. The dating of the manuscript is somewhat controversial, with estimates ranging from 1481 to the early 1490s, and it has been suggested that Martini himself was the scribe. Most of the pieces in Casanatense contain only a title or incipit and were likely intended for instrumental performance of some kind. This CD explores many of the possible instrumental combinations that were common in the late fifteenth century, including various groupings of strings, winds, and organ, which reflects the instrumentalists who were available in Ferrara during Martini’s tenure there. Martini was one of the first to compose a significant body of instrumental music, and his secular music clearly shows the development of instrumental music from its infancy in the 1450s to a highly sophisticated genre by 1490. Early pieces like La Martinella had no set form or model, and generally used imitation in only two voices; later pieces are often in two sections, resemble a rondeau, and make consistent use of imitation in all the voices. La Martinella is Martini’s earliest extant work; it was copied into 14 sources dating from 1460 to 1538 and represents the beginning of an instrumental style. The first thing we notice about this piece is the openness of its texture: more than half of it is written for only two parts, giving it a thinner texture than is normally found in contemporary chansons. Martini used all possible two-voice combinations as well as all three voices together, which again differs from contemporary chansons, which had much less texture variation. Unlike contemporary chansons, phrase lengths in La Martinella vary widely. Most of the phrases contain two-voice imitation and when all three voices play together, the third voice is accompanimental. Although a later piece, La Martinella pittzulo has much in common with La Martinella: a thin and varied texture and imitation in only two voices; but the phrase lengths in La Martinella pittzulo are all approximately the same. Another early secular piece is Der newe 7 pawer schwantcz, which is probably based on a popular dance tune. Unlike La Martinella, it contains little imitation or variation in texture. Helas comment aves, though not a dance, resembles Der newe pawer schwantcz in its lack of textural variation and imitation. During the 1470s and 80s, Martini’s secular style evolved in dramatic way. The main features of this early tricinia style include more use of imitation in all three voices; shorter phrases in which the imitation outlines the central fifth of the mode; a form that closely resembles the rondeau; a brief section in triple meter in a duple meter piece; and sequencing in the second half, usually near the end of the piece, with the last repetition leading directly into the final cadence. These characteristics are found in many of the secular works recorded here, including Biaulx parle toujours, De la bonne chiere, J’espoir mieulx, Que je fasoye, Sans riens du mal, Scoen kint, Tant que dieu voldra, and to a lesser degree La fleur de biaulté. In the mid-fifteenth century it was common to create a new work by taking a preexisting melody—either a monophonic tune or one voice from a polyphonic composition—and composing new voices around it. This CD has several examples of this. Fortuna d’un gran tempo is a setting of a popular monophonic tune that appears in the tenor. The tune itself consists of two phrases which alternate 4 times, which suggests it is a strambotto. The three new voices occasionally imitate the borrowed melody or each other, and there is a good deal of textural variation. Fortuna desperata was a chanson – usually attributed to Antoine Busnoys — which many composers borrowed from to create new works. Martini took the top voice and composed three new lower voices to it for his Fortuna desperata. In his version, the lower voices make extensive use of a short, sharply profiled melody repeated over and over. Fortuna disperata, an anonymous four-voice work from Bologna Q18, similarly takes the top voice of Busnoys’ chanson and adds three lower voices, two of which use an ostinato. Des biens d’amours was another of Martini’s very popular chansons found in a dozen sources dating from 1480–1538. It has much in common with the early tricinia style 8 described above except that it has no triple meter section and the sequencing occurs towards the beginning of the second half rather than at the end. Throughout the Renaissance it was common for secular pieces to be adapted for use in a sacred setting by replacing a secular text with a sacred one. Such a piece is known as a contrafactum, and this is the case with Des biens d’amours. In the Berlin S 40021 version of this piece, the original text has been replaced by the Marian text Ave amator casti consilii. This CD includes both the instrumental version and the contrafactum. It was also common for a composer to take a chanson by someone else and add a new voice to it, possibly in an effort to update an older work. Such is the case with Cela sans plus, a three-voice chanson by Colinet de Lannoys to which Martini added a fourth voice in the bass. Although recordings of Lannoys original chanson are common, it is rare to find one with Martini’s added voice. One of the first big projects that Martini undertook in Ferrara was the creation of a set of three books containing sacred music for use at the court, all completed circa 1480. Martini’s exact involvement in the creation of these manuscripts is uncertain, although it is likely that he chose much of the music and acted as an editor for the mass manuscript. The first two of these books (ModE M.1.11–12) contain music for double choir and include Magnificats, Hymns, Passions, and two sets of Psalm settings, one for daily use at Vespers throughout the year and the other for Matins and Lauds for the Thursday to Saturday before Easter. The psalm settings are simple settings, in either two or three voices.
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