Early Music Alte Musik S.S~OM French Chansons Josquin Jannequin .Sermisy .Lassus The Scholars of London French Chansons Faute d'argent Josquin Desprez (c. 1440-1521) Mille regretz Josquin Desprez (c. 1440-1521) Le chant des oiseaux Clement Jannequin (c. 1485-1558) Je ne le croy Pierre Sandrin (fl. 1538-61) Or vien Fa Clement Jannequin (c. 1485-1558) bmAime qui vouldra Nicolas Gombert (c. 1500-56) Quand je suis aupres Nicolas Gombert (c. 1500-56) Tant que vivrai Claudin de Sermisy (c. 1490-1562) Venez, regrets Claudin de Sermisy (c. 1490-1562) La, la, maistre Pierre Claudin de Sermisy (c. 1490-1562) En ce mois delicieux Jacques Arcadelt (c. 1505-68) Margot, labourez les vignes Jacques Arcadelt (c. 1505-68) Du temps que j'estois amoureux Jacques Arcadelt (c. 1505-68) Sa grand beaut6 Jacques Arcadelt (c. 1505-68) Belle qui tiens ma vie Jehan Tabourot (1520-95) Vray Dieu Vassal @/ Prihre devant le repas Jacob Clemens (c. 1515-c. 1556) Action des Graces Jacob Clemens (c. 1515-c. 1556) II est be1 et bon Pierre Passereau (fl. 1509-47) Ce n'est que fie1 Claude Le Jeune (c. 1530-1600) Bonjour mon coeur Orlande de Lassus (1532-94) Si je suis brun Orlande de Lassus (1532-94) Beau le cristal Orlande de Lassus (1532-94) La nuit froide Orlande de Lassus (1532-94) Un jeune moine Orlande de Lassus (1532-94) De nuit, le bien Antoine de Bertrand (fl. 1561-82) Arr6te un peu mon coeur Guillaume Costely (c. 1530-1606) 2 This recording comprises a representative selection from the thousands of French polyphonic songs or Chansons which were composed during the 16th century. This type of music, which had much in common with the Italian Madrigal - its composers included - became popular not just in France but all over Europe. The intention here is to celebrate the sheer variety within the genre, ranging from bawdy to bucolic m, from dance B, to devotion Iifl, ne], and from the philosophical O, FlJ to the pleasure lid, DJ and pain El, of requited or unrequited love. Chansons had already been composed in the 15th century by earlier Franco- Flemish composers such as Machaut, Dufay, Busnois and Ockeghem, to name perhaps the four most famous, but the courtly manner of their music and its verse remained mediaeval in feeling. With the advent of the Age of Humanism however, a musical transformation was brought about through the influence of the leading composer of the time, Josquin Desprez, and his innovative compositional techniques of voice-leading and imitation. His Faute d'argent is a robust canon between alto and baritone, probably based on a scurrilous popular song (see also and 0).Quite different is Mille regretz 0,a tantalizingly short but haunting love song,.later expanded by ~ombeiintoa6-voice version, on which Morales in turn comoosed a Parodv Mass. Such borrowina and reworkina was a common feature of composition at (he time, and many famois Chansons Govided material for masses and dance music. Sermisy, Arcadelt and Lassus were amongst the most frequently honoured in this way. The music of continental Europe continued to be dominated by composers from the region of Flanders (roughly speaking, modern-day Belgium) until well into the second half of the 16th century. These men pursued international careers - Gombert in Madrid, Arcadelt in Rome, and Lassus in Munich (the only notable exception was Clemens) - and whilst it would be true to say that no composer of the time escaped their influence, that is in no way to belittle the achievement or originality of others such as Clement Jannequin, a native of Bordeaux, and composer of probably the most famous Chanson of all, Le Chant des oiseaux: the great Gombert himself made a three voice version of it, perhaps for the enjoyment of his colleagues and fellow-countrymen in the Emperor Charles V's famous Cappilla Flamenca (Flemish Choir). A markedly different approach becomes noticeable in some Chansons by the Parisian court composers Sermisy and Sandrin. There, a new aesthetic agenda, partly set by progressive poets such as Marot EJ and Ronsard O, demanded greater emphasis on the Gallic virtues of charm, simplicity and textual clarity as against the relative obscurity of abstract polyphony. The maturation of this style can be heard in the songs by Le Jeune and Bertrand m, but the Chanson did also continue to develop to a certain extent in a more Madrigalian direction a. The printer Attaignant, followed by Le Roy & Ballard in Paris and Susato in Antwerp, successfully published hundreds of Chansons in the course of the 16th century, causing them to be widely disseminated, and incidentally assuring their preservation down to the present day. (Note and translations by Robin Doveton) The Scholars of London Since their professional debut 23 years ago The Scholars have given at least 2000 concerts in more than fifty countries, a record which can be rivalled by very few ensembles in the field of chamber music. In that time they have performed in many of the world's most famous concert halls, from the Royal Festival Hall in London, the Lincoln Center in New York and the opera house in Sydney to smaller, more intimate venues such as the Wigmore Hall in London or the Brahmssaal in Vienna. The basis of The Scholars' repertoire has always been music from the golden age of the European renaissance, but they are also actively involved in the commissioning and performing of new music and their concert programmes range from a single period of musical history to one which covers more than five hundred years. The Scholars have made many recordings but this CD collection of French Chansons is their first for Naxos. Faute d'argent, c'est douleur nompareille. Lack of money is unparalleled misery. Si je le dis, las, je sais bien pourquoi: If I say it, I well know why: Sans de quibus il se faut tenir coi; Without the same one has to hold back; Femme qui dort pour argent on I'eveille. Money will awaken a sleeping woman. Mille regrets de vous abandonner In leaving you with a thousand regrets Et d'6longer votre face amoureuse And departing from your loving look J'ai si grand deuil et peine douloureuse My sorrow and grievous pain are so great Qu'on me verra brief mes jours d6ffiner. That one can see my days will not be long. R6veillez vous, coeurs endormis, Rouse yourselves, sleeping hearts, Le dieu d'amours vous sonne. The god of love calls you. Vous serez tous en joie mis You should all be joyful Car la saison est bonne. For spring is come. Les oiseaux quand sont ravis The birds, all inspired. En leur chant font merveilles; Do wonders with their song. Ecoutez bien leur devis, Listen well to their ditty; Detoupez vos oreilles. Bend your ears. Et fa ri ro frere li joli Ti ti pi ti, chouti toui. Tu, que dis tu? You, what are you saying? Le petit sansonnet de Paris, The little starling of Paris, Le petit mignon: (q'est la bas? The little thing: (who's there? Passe villain. Sainte t6te Dieu, Pass, knave. By the holy head of God II est temps d'aller boire) It is time to go drinking) Sage, courtois et bien apris. Wise, courteous and well versed. A sermon, ma maitresse. Go to the sermon, my mistress. Sus madame a la messe. Get thee to Mass, Madam. A saint Trotin montrer le tetin, To St. Trotin to show your tits Le doux musequin. And sweet looks. Teo ticun, frian, frian frian, Tutu tu, qui I'ara. Who will have it? Coqui coqui, oi ti oi ti, Huyt huyt, ter ter teo, Queo queo, tar tar, fouquet, quibi, Veleci, huyt huyt, ter turri. Cocu coqui, ou est il, le cocu? Cuckoo, where is the cuckoo? Fuiez, fuiez, maitre cocu, Away, go away, master Cuckoo, Sortez de nos chapitre, Get out of our company. Vous ne serez point retenu You will not be missed Car vous n'etes qu'un traitre. For you are nothing but a traitor. Par trahison en chacun nid, Treacherously, in every nest Pondez sans qu'on vous sonne. You lay without being called. RBveillez vous, etc.. Rouse yourselves, etc.. ~e ne le croy et le sais surement, I do not believe it, and I know it for sure; II est certain, et si est lncroyable. It is certain, and so unbelievable. Peut on avoir chose si agreable Can one have something so agreeable Sans le sentir et la voir clairement? Without feeling it or seeing it clearly? Certes neny: mais le contentement Certainly nay: but the contentment therein En est si grand si doux et amiable Is so great, gentle and friendly Que par effet, en songe ou autrement, That in effect, in a dream or otherwise Je n'oserois le penser veritable. I would not dare to think it true. WOr vien Fa, vien, m'amie Perrette, Come now Perrette, my love Or vien Fa, vien ici jouer! Come here and play. Ton cul servira de trompette Your behind shall serve as a trumpet Et ton devant fera la f6te. And your front shall provide the feast. Si te plait de nous le louer If it pleases you to show off to us De ce je n'en veux mie, I have nothing against it, Et en jour de ma vie Although every day of my life Je n'y voulu penser. I do not wish to think of it. Ta musette godinette nous fera danser Your little bagpipe will make us dance Sur I'herbette, frisque et nette, On the nice, short grass, Puis recommancer.