Ensemble Anonymus

On this CD:

1. Fanfare, contrafactum of "O Virgo splendens" (Llibre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

2. O Virgo splendens (Llibre Vermell)
Composed by Llibre Vermell de Montserrat Anonymous

Conducted by Claude Bernatchez

3. Ad Mortem Festinamus (fol. 26v) Instrumental improvisation
Composed by Llibre Vermell de Montserrat Anonymous

Conducted by Claude Bernatchez

4. Stella Splendens, Virelais a 2 (Llibre Vermell: fol. 22v)
Composed by Anonymous

Conducted by Claude Bernatchez

5. Imperaytritz de la ciutat joyosa (Llibre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

6. Laudemus Virginem, canon a 3 (Llibre Vermell: fol. 23)
Composed by Anonymous

Conducted by Claude Bernatchez

7. Miriam Matrem Virginem (Llibre Vermel)
Composed by Anonymous

Conducted by Claude Bernatchez

8. Splendens Ceptigera, Canon a 3 (Llibre Vermell: fol. 23)
Composed by Anonymous

Conducted by Claude Bernatchez

9. Danse en rond (Contrafactum of "Polorum regina") (Libre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

10. Los Set Cotxs Balada a 1 (Llibre Vermell: fol. 23v)
Composed by Anonymous

Conducted by Claude Bernatchez

11. Cuncti simus concanentes(Libre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

12. Los Set Cotxs Balada a 1 (Llibre Vermell: fol. 23v) Improvisation
Composed by Anonymous

Conducted by Claude Bernatchez

13. Polorum regina (Llibre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

14. Splendens Ceptigera, Canon a 3 (Llibre Vermell: fol. 23)
Composed by Anonymous

Conducted by Claude Bernatchez

15. Mariam Matrem Virginem
Composed by Llibre Vermell de Montserrat Anonymous

Conducted by Claude Bernatchez

16. Laudemus Virginem, canon a 3 (Llibre Vermell: fol. 23)
Composed by Anonymous

Conducted by Claude Bernatchez

17. Imperaytritz de la ciutat joyosa (Llibre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

18. Stella Splendens, Virelais a 2 (Llibre Vermell: fol. 22v)
Composed by Anonymous

Conducted by Claude Bernatchez

19. Ad Mortem Festinamus (fol. 26v)
Composed by Llibre Vermell de Montserrat Anonymous

Conducted by Claude Bernatchez

20. Danse macabre (Contrafactum of "O Virgo splendens) (Libre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

21. O Virgo splendens (Llibre Vermell)
Composed by Llibre Vermell de Montserrat Anonymous

Conducted by Claude Bernatchez

22. Fanfare, contrafactum of "O Virgo splendens" (Llibre Vermell)
Composed by Anonymous

Conducted by Claude Bernatchez

Ensemble Anonymus, Music, Anonymous, Llibre Vermell de Montserrat Anonymous, Claude Bernatchez, Ensemble Anonymus, Classical, Classical Collections-Artist Desc., Miscellaneous, Miscellaneous Music, Virelai, Vocal
The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle
Average customer rating: 5 out of 5 stars
  • Le creuset du déchant produit l'ébauche de l'opéra profane
  • That's where and when the profane opera started
  • At the root of the profane secular opera
 The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Early Music | Historical Periods | Classical | Styles | Music
Vocal & SongVocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
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Similar Items:
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  2. Halle: Le Jeu de Robin et Marion
  3. Music of the Gothic Era
  4. Adam de la Halle: Le jeu de Robin et Marion
  5. Music from the Time of the Crusades

ASIN: B0002VYES6
Release Date: 2007-04-05

Tracks:

  1. Mout Me Fut Grief/Robin M'aime/Portare
  2. Robins M'aime/Je Me Repairoie/He Robins Se Tu M'aimes
  3. Lie Maus Amourous Me Tient/Dieus Par Quoi/Portare
  4. Vous Perdez Vos Paine Sire Aubert/Ne Sai Que Je Die/Johanne
  5. Bergeronnete Sui/Trairi Deluriau
  6. He Robechon
  7. Au Douz Tans/Biau Dous Amis/Manere
  8. Vous L'ores Bien Dire/Saltarello
  9. Bergeronnete/Robin Par L'ame Ten Pere
  10. He Marotele Alons Au Bois/En La Praerie/Aptatur/Li Maus D'amer
  11. L'Autre Jour/Au Tens Pascour/In Seculum
  12. Par Un Matinet/Les Un Bosket/Portare
  13. En Mai Quant Rosier/L'autre Jour/He Resveille Toi Robin
  14. Encontre Le Tans De Pascour/Quant Fuellent/In Odorem
  15. Quant Florist La Violete/El Mois De Mai/Et Gaudebit
  16. En Non Diu/Quant Voi La Rose Espanie/Eius Oriente
  17. Avoec Telle Compaignie/Quiconque Rira/Parodie (After Quant Voi Le Fleur/Et Tenuerunt)
  18. Je Voi Douleur Avenir/Fauvel Nous A Fait Present/Autant M'est Sie Poise/Emi Emi Marotele N'ocies/Emi Emim Marotele Sage/Portare
  19. Quant Froidure Trait A Fin/Domino Quoniam/Ronde: Le Sentelle
  20. J'ai Encore Un Tel Paste
  21. Audigier Dist Raimberge/Quant Voi Le Douz Tans Venir/En Mai Quant Rose/Immolatus
  22. Venes Apres Moi/Nota Domino Quoniam
  23. Mout Me Fut Grief/Robin M'aime/Portare/L'autre jour Par Un Matinet/Hier Matinet/Ite Missa Est

Album Description

Anonymus invites you to witness Robin and Marion's love, in the best musical tradition of the Middle Ages. A program with a rural accent that brings alive through poetry and music this lively and marvellously naïve romance by Adam de la Halle, the great troubadour from Arras.

Customer Reviews:

5 out of 5 stars Le creuset du déchant produit l'ébauche de l'opéra profane.......2005-01-09

Loin de tout ce que tous les livres classiques peuvent dire, la polyphonie pas plus que l'opéra n'ont commencé au 16ème siècle italien. Le plus ancien opéra biblique est du 13ème siècle français (Ludus Danielis). Et voilà que l'Ensemble Anonymus vient de sortir pour notre plus grand plaisir le Robin et Marion d'Adam de La Halle, lui aussi du 13ème siècle. C'est l'un des ancêtres de ce que l'on appellera plus tard l'opéra. Et en plus cette Âœuvre est géniale. Le choix des instruments est excellent et certains sont plus lointains qu'européen, remontant jusqu'à la Perse iranienne. Le jeu en est clair, délicat, dansant et vif, expressif et même imagé. Le style de musique qu'ils nous offrent est très populaire pour l'époque, avec cependant des intermèdes musicaux d'une autre source qui ont plus de poids, de grandeur, d'ampleur. Les voix opposent le couple ténor-soprano au couple mezzosoprano-baryton, et cela sur une base dramatique : les premiers sont les héros, les seconds sont les trouble-fête. Le chant est la vraie grande révolution d'Adam de La Halle. Les artistes chantent, pour l'essentiel, en vieux français, avec une prononciation parfaite. On voit bien leur origines québecoises qui aident : de telles prononciations seraient beaucoup plus difficiles en France vu que nous avons perdu les dialectes anciens. La partition mêle des solos, de vrais duos en alternance, des duos où les voix s'allient et se superposent. Adam de La Halle importe ainsi dans une pièce profane dont la musique est populaire et non grégorienne ce qui est en train de naître en France particulièrement, et ailleurs aussi partiellement, à savoir la polyphonie et c'est un plaisir de découvrir que certaines formes qui deviendront des classiques des siècles futurs sont déjà là en germe dans cette partition. Adam de La Halle avait étudié le déchant, première aventure polyphonique dans le cadre grégorien. Il le transfère ici dans le cadre profane avec le meilleur effet. L'histoire est simple mais bien ancrée dans son temps. Elle est aussi complète et donc bien une sorte de livret d'opéra. Robin et Marion s'aiment d'un amour tendre, mais le chevalier Aubert intervient et vole la belle, par des moyens pas très honnêtes : la force, les cadeaux qui semblent de luxe à cette bergère, et des mots doux qui ne sont qu'autant de pièges. Le tout se finira, après un petit épisode beaucoup plus courtois emprunté à Gervais de Bus et son Roman de Fauvel, sur une solution ambiguë, cette brave Marion n'arrivant pas à prendre une décision entre son bel amour Robin qui joue si bien de la cornemuse ou du flageolet, et son tout nouveau amoureux chevalier qui brille de tous les feux de sa cuirasse et de ses victoires au tournoi. Entre les deux bien sûr son cÂœur balance. On se demande pourquoi ces Âœuvres du patrimoine français qui révèlent que nous avons eu une période florissante dans les arts bien avant la Renaissance, doivent être découvertes et mises en avant par des Anglais comme pour le Ludus Danielis ou des Québecois comme ici. Que font donc les Français qui se gargarisent de la défense de leur langue et qui ne s'intéressent même pas à leur patrimoine culturel un peu ancien, raison de plus très ancien ? Heureusement que nous avons des étrangers, francophones ou non, cousins distants ou pas cousins du tout, pour faire notre travail.

Dr Jacques COULARDEAU
Université Paris Dauphine

5 out of 5 stars That's where and when the profane opera started.......2005-01-09

This recording is amazing. It is probably one of the ancestors of the secular opera, just like Ludus Danielis was the ancestor of the biblical opera, but both three centuries before the « official » birthdate of the genre, here the 13th century. What's more both works are French and not Italian as the legend wants it to be : opera was born in Italy during the Renaissance, they say. Another mystery is why these very fine and rich works are discovered and recorded not by French musicians and artists but by English and here French Canadian musicians and artists. What are the French doing ? Don't they go to their libraries and archives and check on those scores, and I could probably say scores of scores, that are sleeping in the boxes ? Apparently not. They blabber a lot about English menacing their French language with barbaric technical words, but they do not defend their own cultural heritage. Bizarre, isn't it ? But this recording reveals many things about this old century and this ancient composer. The instruments are authentic, even if at times a little bit exotic, Turkish or Irani. But they are light, brilliant, délicate, expressive and definitely lively. The score opposes the couple tenor-soprano of the two main characters to the couple mezzosoprano-barytone of the disturbing intruders. This is dramatically good. The singing is innovative. It uses solos, real duets with alternating voices or with superimposed voices, and many other forms, including of course the motet. Some singing forms that will become classical in a few centuries are already present here and quite lively and alive. Adam de La halle had learn the beginning of polyphony with the gregorian dechant and here he transposes it from the sacred field to the profane secular domain with the best results because it serves very well that music which is perfectly popular. The end of the tale, after an episode that is very courtly and borrowed from Gervais du Bus and his Roman de Fauvel, is ambiguous with Marion fluttering between her love for Robin who plays the bagpipe and the plain pipe so well, and her sudden love for the knight Aubert who conquered her with a little bit of force, a little bit of fine language, the promise of beautiful presents and the metallic shine of his armour and helmet and tournament weapons. Her heart is swinging and swaying between the two and the music is doing just the same, and yet announcing a future that must be in existence somewhere in some archives and has not yet been discovered, except the music, thanks to Paul McCreesh who never recorded it, of Pope Clement VI in Avignon whose favorite composer was the mathematician Vitry. But what is the French Ministry of Culture doing or thinking since they cannot bring all these gems out of oblivion ? The Minister should have a few pennies left at the bottom of a drawer somewhere to help this adventure ?

Dr Jacques COULARDEAU

5 out of 5 stars At the root of the profane secular opera.......2005-01-09

This recording is amazing. It is probably one of the ancestors of the secular opera, just like Ludus Danielis was the ancestor of the biblical opera, but both three centuries before the « official » birthdate of the genre, here the 13th century. What's more both works are French and not Italian as the legend wants it to be : opera was born in Italy during the Renaissance, they say. Another mystery is why these very fine and rich works are discovered and recorded not by French musicians and artists but by English and here French Canadian musicians and artists. What are the French doing ? Don't they go to their libraries and archives and check on those scores, and I could probably say scores of scores, that are sleeping in the boxes ? Apparently not. They blabber a lot about English menacing their French language with barbaric technical words, but they do not defend their own cultural heritage. Bizarre, isn't it ? But this recording reveals many things about this old century and this ancient composer. The instruments are authentic, even if at times a little bit exotic, Turkish or Irani. But they are light, brilliant, délicate, expressive and definitely lively. The score opposes the couple tenor-soprano of the two main characters to the couple mezzosoprano-barytone of the disturbing intruders. This is dramatically good. The singing is innovative. It uses solos, real duets with alternating voices or with superimposed voices, and many other forms, including of course the motet. Some singing forms that will become classical in a few centuries are already present here and quite lively and alive. Adam de La halle had learn the beginning of polyphony with the gregorian dechant and here he transposes it from the sacred field to the profane secular domain with the best results because it serves very well that music which is perfectly popular. The end of the tale, after an episode that is very courtly and borrowed from Gervais du Bus and his Roman de Fauvel, is ambiguous with Marion fluttering between her love for Robin who plays the bagpipe and the plain pipe so well, and her sudden love for the knight Aubert who conquered her with a little bit of force, a little bit of fine language, the promise of beautiful presents and the metallic shine of his armour and helmet and tournament weapons. Her heart is swinging and swaying between the two and the music is doing just the same, and yet announcing a future that must be in existence somewhere in some archives and has not yet been discovered, except the music, thanks to Paul McCreesh who never recorded it, of Pope Clement VI in Avignon whose favorite composer was the mathematician Vitry. But what is the French Ministry of Culture doing or thinking since they cannot bring all these gems out of oblivion ? The Minister should have a few pennies left at the bottom of a drawer somewhere to help this adventure ?

Dr Jacques COULARDEAU
Llibre Vermell
Average customer rating: Not rated
    		Llibre Vermell

    Manufacturer: Analekta
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Opera & Vocal | Styles | Music
    VirelaisVirelais | Vocal Non-Opera | Opera & Vocal | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    CompilationsCompilations | Classical | Styles | Music
    ClassicalClassical | Imports | Stores | Music
    ASIN: B000009CX7
    Release Date: 2007-04-05

    Tracks:

    1. Fanfare/O Virgo Splendens
    2. Improvisation On Ad Mortem Festinamus/Stella Splendens
    3. Imperaytritz De La Ciutat Joyosa
    4. Laudemus Virginenem
    5. Mariam Matrem Virginem
    6. Splendens Ceptigera
    7. Danse En Rond
    8. Los Set Goyts
    9. Cuncti Simus Concanentes
    10. Improvisation Sur Los Set Goyts/Polorum Regina
    11. Splendens Ceptigera/Mariam Matrem Virginem
    12. Laudemus Virginem/Imperaytritz De La Cuitat Joyosa
    13. Stella Speldens/Ad Mortem Festinamus/Danse Macabre
    14. O Virgo Splendens/Fanfare
    Joyaux Médiévaux / Jewels of the Medieval Era
    Average customer rating: Not rated
      		Joyaux Médiévaux / Jewels of the Medieval Era

      Manufacturer: Analekta
      ProductGroup: Music
      Binding: Audio CD

      Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
      GeneralGeneral | Early Music | Historical Periods | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      GeneralGeneral | Chamber Music | Classical | Styles | Music
      ClassicalClassical | Imports | Stores | Music
      ASIN: B000H4VZFI
      Release Date: 2007-04-03

      Tracks:

      1. A. Quant Froidure Trait A Fin/Domino Quoniam-B. Ronde: Le Sentelle-C. Homo Quo Vigeas Vide/Et Gaudebit
      2. La Seconde Estampie Roial
      3. A. Quant Florist LA Violete/Et Mois De Mai/Et Gaudebit-B. Tempus Est Iocundum CB 179
      4. Mariam Matreum Virginem
      5. Istanpitta Chominciamento Di Gioa
      6. A. On Parole/A Paris/Frese Nouvele-B. Vous L'ores Bien Dire-C. Saltarello
      7. A. Laudemus Virginem-B. Imperaytritz De La Ciutat Joyosa
      8. A. Stella Splendens-B. Ad Mortem Festinamus-C. Danse Macabre
      9. A. Procurans Odium CB 12-B. Die Christi Veritas-Bulla Fulminante CB 131, 131a
      10. A. In Natali Domini-B. Diex Soit En Cheste Maison-C. La Quarte Estampie
      11. A. Lux Optata Claruit-B. Orientis Partibus-Hac In Anni Janua
      12. A. Sire Cuens, J'ai Viele-B. Istanpitta Isabella

      Music Track:

      1. Fiati Virtuosi
      2. Florilegium - 'Fatale Flame' ~ Music from 18th Century France
      3. Frida Leider [Enhanced]
      4. Gaston Litaize: Organ Recital
      5. Giovanni Battista Martini: Sonate d'intavolatura per l'organo e il cembalo
      6. Glazunov: Concerto for violin in Am; Kabalevsky: Concerto for violin in C
      7. Glazunov: Violin Concertos
      8. Golden Voices of the Century
      9. Graeme Murphy's Body of Work: A retrospective
      10. Guitar Solo Collection

      Music Track

      music track

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