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Tracklist P. 4 English P. 5 Français P. 16 Deutsch P MENU — TRACKLIST P. 4 ENGLISH P. 5 FRANÇAIS P. 16 DEUTSCH P. 27 SUNG TEXTS & TRANSLATIONS P. 38 A coproduction of the Ensemble Céladon, the Université Paul Valéry – Montpellier, the Centre d’Études médiévales de Montpellier and the Centre international de Musique médiévale de Montpellier (CIMM . Du ciel aux marges.), with support from SPEDIDAM and ADAMI. Recording: church Notre-Dame de Centeilles, September 2015 Artistic direction, recording & editing: Jérôme Lejeune Illustrations: Cover: René Ier le Bon, Le livre du cœur d’amour épris, 1457 (enluminure) Paris, Bibliothèque nationale, ms français 24399 / © AKG images / Jérôme da Cunha Booklet, page 1: Paris, Bibliothèque nationale, ms. fr. 146, fol 57 r. / © BnF 2 English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Research associate: Christelle Chaillou-Amadieu Th e Céladon Ensemble receives fi nancial support from the Région Rhône-Alpes, from the Ville de Lyon and the Super U Les Deux Roches in Prissé. Its projects are generally supported by the DRAC Rhône-Alpes, Spedidam and ADAMI. Th e Céladon Ensemble is resident at the Centre scolaire Saint-Louis - Saint-Bruno in Lyon and is a member of Fevis. JEHAN DE LESCUREL fl. 1320 Dame, Jehan de Lescurel vous salue — 3 ENSEMBLE CÉLADON Paulin Bündgen: artistic direction Anne Delafosse: soprano (AD) Clara Coutouly: soprano (CC) Paulin Bündgen: countertenor Nolwenn Le Guern: vielles Angélique Mauillon: harp Florent Marie: lute Gwénaël Bihan: recorders & fl ute Ludwin Bernaténé: percussions www.ensemble-celadon.net 01. Amour, voulés vous acorder (CC) 2'56 26. Dame, si vous vient a gré 1'57 02. A vous douce debonnaire 2'45 27. Diex, quant la verrai 1'42 03. Amours, aus vrais cuers commune (AD) 3'07 28. Dis tans plus qu'il ne faudroit fl ours 5'00 04. Amours, cent mille mercyz 2'30 29. Fi, mesdisan esragié 0'56 05. Amours, que vous ai meff ait (CC) 3'38 30. Guilleurs me font mout souvent 1'09 06. Abundance de felonie 2'30 31. Gracieusette 0'47 07. Amours, trop vous doi cherir (AD) 1'04 08. Bietris est mes delis 0'59 09. Bien se lace (AD) 1'45 10. Bonne Amour me rent 2'22 11. Bontés, sen, valours et pris 3'10 12. Belle et noble, a bonne estrainne (AD) 1'34 13. Bien se peüst apercevoir 1'39 4 14. Belle, com loiaus amans 4'50 15. Bonnement m'agrée 1'35 16. Comment que pour l'eloignance 4'16 17. De gracieuse dame amer 1'45 18. De la grant joie d'amours 2'45 19. Douce Amour, confortez moi (CC) 5'43 20. Dame, vo regars m'ont mis en la voie 3'16 21. D'amour qui n'est bien celee (CC) 3'04 22. Dame gracieuse et belle 2'23 23. Dame, par vo dous regart (AD) 2'36 24. Douce dame, je vous pri 1'23 25. Douce desirree 1'09 THE LOVE SONGS OF JEHAN DE LESCUREL D E La Biographie des Musiciens was one of the fi rst encyclopaedias of matters musical and is packed with information; it was published by François-Joseph Fétis in Paris in 1834. Even today the reader remains stunned by the massive scope of the work, wondering how the author could have gained such a knowledge of music history: this MENU FR could only have come from an insatiable curiosity coupled with a titanic amount of work at a time when sources of information could only be consulted in one place. Fétis had naturally included an entry concerning Jehan de Lescurel: “A French musician from the beginning of the 14th century, till now unknown to all music historians. A manuscript of the allegorical and satirical tale of Fauvel, to be found in the Imperial Library in Paris 5 and which I had described in a most detailed article in the Revue musicale, contains ballades, rondeaux and dits entés […] composed by Lescurel. I have proved in my article that the manuscript was created between the years 1316 and 1321, given that the period during which Lescurel wrote these pieces preceded the second of these dates. In the same article I also printed the music of a rondel by Lescurel in its original notation. Th is rondel, beginning with the words A vous douce debonnaire, is initially for one voice but then two other voices are added. […] Its harmony is much purer than in other more modern works, although several examples of parallel fi fths and octaves are also to be found. Much use is made of ornaments and fi o r i t u r a , although it is unusual that the majority of these are harmonised in the other parts.” Whilst Fétis does share his analysis of one of these pieces with us, he nonetheless remains silent as far as Lescurel’s biography is concerned — for if the truth be told, he knew nothing about it. Th is information only came to light at the beginning of the 20th century, being included in several works that were more concerned with the history of literature than with musicology. He was said to have been the son of a Parisian of the middle classes of the time and that he was hung in 1304 on the common gallows used for thieves, having been accused of debauchery, murder and theft. Such a hypothesis is clearly untrue: it is impossible to imagine that the author of these songs — the word author, in the troubadour tradition, signifying both a poet and a musician — could be confused with a bandit of the open road. It would hardly have been possible for the 6 compositions of a common criminal executed on the scaff old to have been published in one of the most important manuscripts containing works of the early Ars Nova only a few years later. Th e manuscript that Fétis describes was in fact one of the most important sources of musical works from the early 14th century, containing the Roman de Fauvel and thirty- one chansons by Lescurel. Th is allegorical and satirical tale was the work of several authors, of whom Gervais du Bus seems to have written the largest part. Th e Fauvel of the title is a donkey: his name, an acrostic of the initial letters of the words Flatterie, Avarice, V[U]ilenie, Variéte, Envie and Lâcheté, embodies a bitter criticism of a political and ecclesiastical system that had been poisoned by corruption and vice. Th e calligraphy and the illuminations of the manuscript that contains Lescurel’s chansons and the Roman de Fauvel are of exceptional quality; the manuscript, now in the keeping of the Bibliothèque nationale de France, contains other works that are also of great musical interest: a series of vocal works by Philippe de Vitry, the leading theoretician behind the immense changes in the conception of polyphony that fi rst appeared in the early 14th century. Th e title of Vitry’s treatise Ars novae musicae, dated to 1320 and therefore from the same period as the manuscript under discussion, led later musicologists to name this period of music history the Ars Nova. Indeed, the motets that are included within the Roman de Fauvel are amongst the fi rst secular polyphonic compositions. Polyphony was no longer exclusively religious in character; nonetheless, it was highly innovative to use a technique previously reserved for religious use in a secular work that challenged and mocked religious corruption and hypocrisy. 7 Th ere is, however, another treatise that also provides us with valuable information on the musical life of this period and that allows us to come to a somewhat clearer understanding of Jehan de Lescurel’s personality: Jean de Grouchy’s De Musica, written in Paris towards the end of the 13th century. Whilst this text contains a quantity of technical observations about the music of the period, it is particularly interesting in that it presents a fairly complete portrait of the role that music played in urban society at that time; such descriptions are usually lacking in the majority of the treatises that have survived. He describes three types of music: the monophonic music of the cities and the towns that is termed vulgar or ordinary music, polyphonic music that is set out according to strict rules, and sacred music that contains elements of both categories. It is quite surprising to see that sacred music is mentioned last! Jean de Grouchy states that monophonic music was composed for kings and nobles and was even performed by them, reminding the reader of the basic principles of the courtois style. He emphasises the various aspects of urban musical life by discussing the various styles that were employed: the cantus versualis (although this term is still a matter of conjecture) that was to be performed by young people to stop them from sinking into lazy habits, as well as the rondellus or rondeau that seems to close a circle, ending with the same music with which it had begun and which was sung by young women and men to enliven celebrations and banquets; he also defi nes the stantipes or estampies and the ductia or conductus: these are sung by the young people when they dance. In conclusion, he provides a piece of completely new information by discussing instrumental music: 8 he states that ‘a good craftsman can generally play every sort of serious or merry song as well as every musical genre on the fi ddle’. It is clearly that we should endeavour to delineate the personality of Jehan de Lescurel within this particular context. What, then, are the subjects of Lescurel’s poems? As Paulin Bündgen states in his introduction, they describe the many diff erent aspects of the state of love, from the male as well as from the female viewpoint; their savour and their descriptions of their experiences clearly distance them from the more formal conventions of courtly love.
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