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5400439003163.Pdf Cet enregistrement a été réalisé avec l’aide de la Communauté française (Direction générale de la Culture, Service de la Musique) Enregistrements : LA MORRA Boswill, Alte Kirche (Künstlerhaus), janvier 2010 Prise de son et direction artistique : Jérôme Lejeune www.lamorra.info DIABOLUS IN MUSICA Collégiale de Champeaux, septembre 2010 Prise de son et direction artistique : Jean-Marc Laisné Illustration : Jan Van Eyck, Vierge au chancelier Rolin, Paris, Musée du Louvre. © Réunion des Musées Nationaux L'ensemble DIABOLUS IN MUSICA est soutenu par la Région Centre. Il reçoit le soutien du Ministère de la Culture-DRAC Centre, du Conseil général d'Indre-et-Loire et de la Ville de Tours. www.diabolusinmusica.fr JOHANNES CICONIA (c. 1370-1412) OPERA OMNIA — LA MORRA direction : Corina MARTI & Michal GONDKO DIABOLUS IN MUSICA direction : Antoine GUERBER CD 1 Musique profane 1. Una panthera in compagnia di marte (EK, HJ, EJ, CMfl , MGlt/gt, ER) 5'30 2. Sus un' fontayne (EJ, MGlt, ER) 7'47 3. Chi nel servir (EJ, MGlt, ER) 3'10 4. Le ray au soleyl (EK, HJ, JRC, CMfl , MGgt, ER) 1'32 5. Caçando un giorno* (CMcl ) 2'42 6. Per quella strada (EK, HJ, CMfl , ER) 4'44 7. Con lagreme (HJ, JRC) 5'13 8. Chi vole amar*/† (MGlt) 2'29 9. Dolçe Fortuna (EK, JRC) 3'27 10. Gli atti col dançar (HJ, CMcl) 2'08 11. La fi amma del to amor (HJ, JRC) 3'12 12. Poy che morir (EJ, ER) 5'19 13. Aler m'en veus (EK, CMfl ) 4'45 14. I cani sono fuora*/† (CMcl) 2'46 15. Ligiadra donna (EK, JRC, CMcl, MGgt) 4'16 16. Merçe o morte (EK, JRC, MGlt) 3'42 17. O rosa bella (HJ, JRC, ER) 5'52 * joué en version instrumentale / performed as an instrumental piece † arrangement de Michal Gondko / arrangement by Michal Gondko LA MORRA Eve KOPLI (EK) : soprano Hanna JÄRVELÄINEN (HJ) : soprano Els JANSSENS (EJ) : mezzo-soprano Javier ROBLEDANO CABRERA (JRC) : contre-ténor Corina MARTI (CM) : fl ûtes à bec (fl ), clavicembalum (cl) Michal GONDKO (MG) : luth (lt), guiterne (gt) Elizabeth RUMSEY (ER) : vièle direction : Corina MARTI & Michal GONDKO La Morra / Photo : Susanna Drescher Instrumentarium fl ûtes à bec / recorders: Monika Musch, Ernst Meyer / luth à quatre chœurs / 4-course lute: David van Edwards guiterne à quatre chœurs / 4-course gittern : Richard Earle / vièle à cinq cordes / 5-string fi ddle: Robert Foster clavicembalum: Andreas Hermert Performing editions / Les éditions utilisées Ligiadra donna: unpublished collated edition by Michal Gondko from the manuscripts F-Pn n. a. fr. 4379, F-Pn n. a. fr. 4917 (music), and I-Pu MS 541 (poetical text) / l’édition inédite elaborée par Michal Gondko des manuscrits F-Pn n. a. fr. 4379, F-Pn n. a. fr. 4917 (musique) et I-Pu MS 541 (texte poétique). Merçe o morte: edition published in: / édition publiée dans : John Nádas & Agostino Ziino (ed.), Th e Lucca Codex (Codice Mancini): Introductory Study and Facsimile Edition (Lucca: Libreria Musicale Italiana, 1990); missing part of the contratenor reconstructed by Michal Gondko / la partie de contratenor manquante a été reconstituée par Michal Gondko. All remaining pieces were performed from editions published in: / tous les morceaux restants ont été exécutés d'après d'éditions publiées dans : Margaret Bent & Anne Hallmark (ed.), Th e Works of Johannes Ciconia (Polyphonic Music of the Fourteenth Century, vol. 24. Monaco: Éditions de l'Oiseau-Lyre, 1985). Used in conjunction with the original sources. / Utilisées en conjonction avec les sources originales. Acknowledgements / Remerciements LA MORRA wishes to thank Margaret Bent and David Fallows (for their valuable comments), Ann and Paul Bridge, Sara Bino, Giovanni Cantarini and Nicoletta Gossen (for help with poetical texts), the staff of the Biblioteca Universitaria di Padova (for their most friendly assistance with the text of Ligiadra donna) and Adrian Steger (for permission to use the gittern by Richard Earle owned by the Musikinstrumentensammlung Willisau). LA MORRA tient à remercier Margaret Bent et David Fallows (pour leurs précieux commentaires), Ann et Paul Bridge, Sara Bino, Giovanni Cantarini et Nicoletta Gossen (pour leur aide en ce qui concerne les textes poétiques), le personnel de la Biblioteca Universitaria di Padova (pour leur très aimable assistance pour le texte de Ligiadra donna) et Adrian Steger (pour nous avoir permis d'employer la guiterne faite par Richard Earle appartenant à la Musikinstrumentensammlung Willisau). Contrafacta / Canon 18. Regina gloriosa (GP) 1'54 19. O Petre, Christi discipule (EN, AL) 3'15 20. O beatum incendium (RB, OG) 2'23 21. Quod jactatur (AL, OG, EV) 1'33 CD 2 Motets et mouvements de messe 1. Petrum Marcello Venetum / O Petre antistes inclite (EN, AL, GP) 3'12 2. O virum omnimoda / O lux et decus / O beate Nicholae (RB, OG, EV, PR) 3'14 3. Ut per te omnes celitus / Ingens alumnus Padue (AR, FB, FP, FD) 2'56 4. Gloria n° 3 (RB, OG, EV, PR) 3'17 5. Credo n° 4 (RB, OG, EV, PR) 4'05 6. Gloria spiritus et alme n° 6 (EN, AL, GP) 4'51 7. Venecie, mundi splendor / Michael qui Stena domus (AL, EN, GP, RB) 3'09 8. Gloria suscipe trinitas (AL, EN, GP, AR) 6'43 9. O beatum incendium (GP) 2'33 10. O felix templum jubila (AR, FB, FP, FD) 3'33 11. Gloria n° 9 (RB, OG, EV) 4'32 12. Doctorum principem / Melodia suavissima / Vir mitis (AR, FB, RB, OG) 2'57 13. Gloria n° 1 (OG, RB, PR) 3'48 14. Credo n° 2 (OG, RB, EV) 5'51 15. Albane, misse celitus / Albane doctor maxime (EN, AL, GP) 3'11 16. Gloria spiritus et alme n° 5 (OG, RB, EV) 4'39 17. Credo n° 10 (AR, FB, RB, OG) 5'59 18. Gloria n° 8 (AL, GP) 2'41 19. O Padua sidus preclarum (OG, RB, EV) 3'14 DIABOLUS IN MUSICA Aïno LUND-LAVOIPIERRE (AL) : soprano Estelle NADAU (EN) : soprano Frédéric BETOUS (FB) : alto Andrés ROJAS-URREGO (AR) : alto Raphaël BOULAY (RB) : ténor Olivier GERMOND (OG) : ténor Emmanuel VISTORKY (EV): baryton-basse Philippe ROCHE (PR) : basse Guillermo PEREZ (GP) : organetto Franck POITRINEAU (FP) : saqueboute Fabien DORNIC (FD) : saqueboute direction : Antoine GUERBER À mes parents Cette édition de l’enregistrement de l’intégrale de l’œuvre de Johannes Ciconia est la concrétisation de l’un des tout premiers projets de Ricercar. Lorsque j’ai entamé cette belle aventure en 1980, mon père, l’historien Jean Lejeune, venait de décéder ; ma mère, la musicologue Suzanne Clercx, le rejoignait parmi les anges après une longue maladie en 1985. Ni l’un ni l’autre n’ont pu être témoins de cette audacieuse entreprise dont l’un des but (et il n’a cessé de se confi rmer) était fi nalement de prolonger l’héritage qu’ils m’avaient laissé et cette passion qu’ils avaient pour la connaissance de ce riche patrimoine que constitue l’histoire artistique de l’ancienne Principauté de Liège. Je me souviens encore de leur bureau dans la maison familiale. Entre les murs tapissés de bibliothèques se trouvait une immense table où ils se retrouvaient souvent face à face, plongés dans l’écriture d’articles ou de livres. Certes toutes les périodes de l’histoire bénéfi ciaient de leurs attentions, mais c’est surtout la fi n du Moyen Âge qui était leur principal centre d’intérêt, justement cette période de transition du début du XVe siècle, celle de Johannes Ciconia et celle des frères Van Eyck. Tant le musicien que le peintre avaient des liens avec la Principauté ; Ciconia est natif de Liège, les Van Eyck de Maaseik, et Jan fut au service du prince-évêque Jean de Bavière. Durant l’hiver 1952-1953, mes parents se sont rendus à Padoue et à Venise sur les traces de Ciconia ; ils y découvrirent la date du décès du compositeur et j’y fi s mes premiers pas… En 1954, Suzanne publia le premier ouvrage consacré à Ciconia, accompagné de la transcription moderne de toutes les œuvres du compositeur, enfi n réunies : Johannes Ciconia, un musicien liégeois et son temps. Il est dédié à Jean. Deux ans plus tard, en 1956, c’est Jean qui édita son premier ouvrage sur les Van Eyck : Les Van Eyck, peintres de Liège et de sa cathédrale. Réponse du berger à la bergère… il est dédié à Suzanne. Il y démontre la présence de vues de la ville de Liège et de sa cathédrale dans plusieurs tableaux, la Vierge au chancelier Rolin qui illustre cet album ou la Vierge dans l’église. Aujourd’hui, sans être totalement écartées, ces hypothèses sont parfois contestées… Mais leur passion pour cette période ne s’est pas arrêtée à la publication de ces deux ouvrages. « Cent fois sur le métier remettez votre ouvrage », cela devait être certainement leur pensée… j’en ai sans doute hérité ! Durant toute mon enfance, je n’ai cessé d’entendre parler de Ciconia, de son école avec les Lantins, Brassart, Lymburgia. J’ai vu ma mère s’user les yeux à lire sur des microfi lms de qualité médiocre des tas de musiques qui, sous sa main devenaient des partitions modernes qu’elle lisait ensuite sur son clavecin et, lorsque je commençai à jouer un peu de fl ûte à bec, je pus participer à ces lectures d’œuvres qui dormaient depuis près de cinq siècles. Les Van Eyck restaient omniprésents, eux aussi, avec l’étude sur les Arnolfi ni, ou celle sur un paysage luxembourgeois… Et dans le bureau se trouvait une belle reproduction de la Vierge au chancelier Rolin. Et puis tout cela vivait ; à chaque occasion, qu’il s’agisse des expositions historiques que mon père organisait à Liège ou des concerts du festival Les Nuits de septembre que ma mère avait fondé, les Van Eyck ou Ciconia y trouvaient leur place.
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