Claudine Ansermet, soprano Paolo Cherici, lute & vihuela 2@ Recorded in Pugnano (Pisa, Italy) in March 1999 Engineered by Roberto Meo Produced by Sigrid Lee Executive producer: Carlos Céster Art direction: www.valentiniglesias.com Design: MusiContact GmbH Editorial direction: Carlos Céster Editorial assistance: María Díaz © 2011 MusiContact GmbH English his De inventione et usu musicae (c .1480-1487), and Chansons au luth Chansons au luth upheld as a musical ideal by the humanists; Baldassare Castiglione writes in his Book of the 1 Anonymous : J’ay pris amour 4:16 Courtier (1507, edited in 1528) “Beautiful music... 2 Pierre Attaingnant : L’espoir [instr.] 0:50 J’ay pris amours , the famous anonymous chanson by singing from the musical page with assurance 3 Guillaume Morlaye : Fantasie [instr.] 1:43 which Federico da Montefeltro commissioned to and pleasing manner, but it is even better to sing 4 Thomas Crecquillon : A vous en est 1:54 be reproduced in marquetry on the walls of the stu - to the viol because all the sweetness is combined 5 Francesco da Milano : Ricercare [instr. | n. 45 - c. 31] 0:57 diolo in his Urbino palace, leads off this programme into one, and it becomes easier to give one’s full 6 Jacobus Clemens non Papa : Misericorde 3:23 of French lute songs (chansons) from the 16th cen - attention to the melody and pleasing manner, 7 Pierre Attaingnant : La roque [instr.] 1:37 tury. Despite their diversity in style and prove - without having to occupy one’s ears with more 8 Claudin de Sermisy : J’atens secours 2:27 nance, they are wonderfully unified by their deli - than just one voice” ( ii , 13). 9 Claudin de Sermisy - Francesco da Milano : Las je my plains 3:46 cate verses and amorous themes and by the sweet One of the ways in which, from the very 10 Pierre Attaingnant : La Magdalena [instr.] 2:23 accents of the lute which introduces them. The beginning of the 16th century, Italy played a lead - 11 Francesco da Milano : Fantasia [instr. | n. 81 - c. 35] 0:45 performance of these chansons in their versions for ing role in spreading this ideal, was through the 12 Jacobus Clemens non Papa : Aymer est ma vie 2:18 solo voice accompanied by lute is an interesting publication of arrangements of frottole for voice 13 Francesco da Milano : Ricercare [instr. | n. 16 - c. 16] 0:58 and original departure from the a cappella versions and lute (in tablature): the two books of the 14 Jacobus Clemens non Papa : Puisque voulez que je vous laisse 1:50 we have learned to expect. Venetian printer, Ottaviano Petrucci, Tenori e con - 15 Thomas Crecquillon : Je suis aymé de la plus belle 3:10 A solo voice with accompaniment is general - trabassi intabulati col sopran in canto figurato per can - 16 Francesco da Milano : Ricercare [instr. | n. 63 - c. 30] 1:21 ly associated with Italian monody from the begin - tar e sonar col lauto (Tenors and contrabasses in tab - 17 Claudin de Sermisy : Secoures moy 2:44 ning of the 17th century – Peri, Caccini, Galilei –, lature with the soprano in notation for singing and 18 Pierre Attaingnant : La brosse [instr.] 2:38 the creation of recitar cantando and dramma per playing the lute – Libro Primo , Venice, 1509 and 19 Claudin de Sermisy - Pierre Attaingnant : Tant que vivray 3:33 musica . But these are only later manifestations of Libro Secondo , Fossombrone, 1511), and the Frottole 20 Francesco da Milano : Ricercare [instr. | n. 31 - c. 11] 0:38 what humanists had been looking for since the de Misser Bartolomio Tromboncino et de Misser 21 Thomas Crecquillon : L’ardant amour souvent 3:13 beginning of the Renaissance – the marvelous Marcheto Cara con tenori e bassi tabulati et con soprani 22 Francesco Spinacino : Ricercare [instr.] 1:27 effects of Orpheus’ singing, believed capable of in canto figurato per cantar e sonar col lauto (Frottolas 23 Anonymous - Pierre Attaingnant : Fortune laisse moy la vye 4:32 charming savage beasts and moving trees and by Mr. Bartolomio Tromboncino and Mr. 24 Thomas Crecquillon : Quand me souvient de ma triste fortune 3:55 stones to tears. In the 15th century, Marsilio Ficino Marchetto Cara with tenors and basses in tablature 25 Francesco da Milano : Ricercare [instr. | n. 70 - c. 44] 1:17 had resorted to this mythical practice: he sang with the soprano in notation for singing and play - “hymns to Orpheus” accompanying himself on the ing with the lute – Rome, c .1520). There is a corre - 2@ lyra while burning incense. Singing to the lute had spondence to these books in Germany: Arnolt been fashionable since 1480 as Tinctoris writes in Schlick’s Tabulaturen etlicher lobgesang un lidlein uff 4 5 English English die orgeln un lauten (Tablature of several hymns of They embody the fusion of poetry and music, Milano for the last). This demonstrates how wide - sense of discordante concordia , as it was understood praise and songs for the organ and lute – Magonza ideal so assiduously pursued by Renaissance musi - spread their fame had become, and more so if we in the Renaissance, have been further enriched by 1512); in Spain, vihuelist Luys Milán’s Libro de cians, in their respect for poetic syntax, largely consider that Francesco da Milano (1497-1543) was the performers. Claudine Ansermet has chosen to música de vihuela de mano intitulado El Maestro homophonic writing and clarity of structure mod - one of the most prolifically published lute com - prolong the pleasure of listening to a piece by (Book of vihuela music entitled The master – eled on melodic repetition. The anthology of posers of his time, and first Italian musician to adding, here and there, a second, ornamented ver - Valencia 1536), containing villancicos and romances Phalèse, on the other hand, contains chansons enjoy an international reputation. In fact he was sion whereas Paolo Cherici, to add to the beauty of for voice and vihuela. The French chanson appears whose style could be more likened to the motet. called divino together with Michelangelo! The the harmony and the fullness of the sonorities, as such in the Très brève et familière introduction pour These are the works of Thomas Crecquillon other chansons have been combined with dances, embellishes the lute tablature with diminutions in entendre et apprendre par soy mesmes à jouer toutes (c .1505-c .1557), choir master and composer at the ricercari or fantasias, according to the practice of the Renaissance instrumental tradition. Their chansons reduictes en la tabulature du luth (Very brief court of Charles v, and Jacobus Clemens non Papa the time. From the earliest publications of music intention is to elicit emotions similar to those and familiar introduction for listening and learning (c .1510-c .1556). for lute (Francesco Spinacino’s L’intabolatura de described by Castiglione on the singing at the by oneself to play all the songs, in lute tablature The alternation of chansons and lute compo - lauto libro primo published by Petrucci in 1507) the Chapel of Pope Leo x : “... it is so artful, quick, reduction), Paris, 1529, published by Pierre sitions is quite appropriate here. This constant ricercar had been associated with the chanson. In vehement and impassioned, and so melodically Attaingnant, and then in the second part of Hortus renewal of variety and interest denotes a desire on some cases references were made to specific chan - varied, that it touches and enflames the spirit of Musarum , Louvain, published in 1553 by Pierre the part of the artists to offer the listener the most sons, as in Ricercar de tous biens and Ricercare a Juli whoever hears it. It is so enchanting that it is like Phalèse in Leuven. perfect kind of musical pleasure possible. This idea amours (from the Secondo Libro ) which were based being in heaven.” For the modern listener the Claudine Ansermet and Paolo Cherici have goes hand in hand with the Renaissance conception on the chansons having the same title in tablature desire to hear the music of the spheres may be a chosen the pieces recorded here from the two lat - of music. In fact it was during the Renaissance that present in the same book. The fantasia, too, is vain one, but perhaps at the very least, hearing ter collections. Attaingnant’s anthology assured music acquired the power to excite emotions, associated with the chanson. In the first part of these French chansons will enable us to penetrate the spreading of the so-called “Parisian” chanson, thanks to the belief that musical harmonies had an Phalèse’s Hortus Musarum (1552) 18 fantasies by the spirit of the Renaissance. represented here by some of the most beautiful affinity with the harmonies of the human body and Francesco da Milano appear alongside numerous compositions of Claudin de Sermisy (c .1495- soul. This idea is exemplified in Boethius’ division transcriptions of chansons and motets. But the Florence Malhomme 1562), one of the composers most often published of the world into musica mundana , musica humana Venetian manuscript Ms. Tl. 1 of the G. Thibault Translated by Sigrid Lee in his time and court musician “par excellence”. As and musica instrumentalis . For the first time the lis - library (first half of the 16th century) furnishes a member of the Royal Musical chapel, he attend - tener is solicited individually by the composer, and the most interesting witness to this practice ed the funeral of Louis xii in 1515 and then of then by the singer or instrumentalist who seeks to because in it there are not only ricercari but dances François i in 1547 in addition to witnessing the his - touch his soul and kindle his pleasure.