COURTLY SONGS OF THE EARLY FIFTEENTH CENTURY
yl'u'-Zb6 The Gardenof Zephirus
tj' \tW+s' MARGARET PHILPOT
z<MsKD0Q ROGERS COVEY-CRUMP
aS>u,=C IMOGEN BARFORD
f[]dfLS"W GOTHIC VOICES
l|u>T b|V CHRISTOPHER PAGE
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Ao 'l"- &0d# Y]D4` ;[ZEDF5H .e#w)K MEDIEVAL love-poets had only to mention the name
/'SNw?& of Zephirus, the god of the West Wind, to evoke the
y
R qL9t keenest desires of courtly society: the passion for clean
i$Ul(? colours, clear sounds and fresh odours; the longing to ride into
1er
TldX the fields bearing a hawk or to sit by a castle window-seat
2DA]i5
and muse in the breeze. Above all Zephirus was associated
MpT8" /.]A with Springtime and youth—so much so that the fifteenthcentury
ic:zsuEm Le Jardin des nobles makes Zephirus the husband of
E_rI ?t^ ‘Youth … the goddess of flowers’.
.^` {1% It is this freshness and candour which pervades so much
jVe1b1rt~3 of the music composed and performed during the period
u[;\y |75 covered by this record: the decades from c1400–c1440. It is
K8|r&`X0 certainly there in the poetry. Several of the songs recorded here
n` _{9R celebrate that quality of youth, or jeunesse, which the fifteenth
C^Yb\N}S century understood as a mixture of joyfulness, candour,
{lzWrUGO amorous bearing and precocious wisdom—a combination so
2QcO R4_V perfectly embodied in our pictures of a courtier carrying green
+.PxzL3 ? branches and of an elegant young herald. In Mon cuer me
,2oWWsC7 fait tous dis penser 6, a rondeau set by the outstanding
X,%
0/6*] composer of the fifteenth century Guillaume Dufay (c1400–
HyQJXw?A: 1474), a lover praises his lady who is ‘young, fair, white as
R%WCH?B<} fleece, loving and wise in speech’—a ringing catalogue of the
Qy<P463A(l ideals of jeunesse, while the speaker in Francus de Insula’s
$rBq"u=,0+ Amours n’ont cure de tristresse 9 laments that to be
|^I0dR/w: unlucky in love is, in effect, to be old and an exile from courtly
7F7 {)L festivities: ‘there is no mirth or amusement’, he bemoans,
(,\+tr8r8 ‘except amongst glad-hearted young people’.
H2
\;%K 2 This jeunesse is also there in the music. There is an
~W '{p ebullient gaiety in Briquet’s Ma seul amour et ma belle
{4}yKjW%z maistresse 4 and in the anonymous Je la remire, la
^mDe08.
%b belle bn which we do not often find in the more precious and
LmrfN?5 self-conscious works of the fourteenth century. Yet fifteenthcentury
#Y `~(K47 composers excel in capturing the candour and
~
'cmSiz- freshness which were so much admired by the courtiers of
Qj.#) R their day, and they are caught to perfection in Mon cuer me
iC32 nY ? fait tous dis penser. It is impossible to imagine a fourteenthcentury
bHYy }weZ composer writing such a piece, not only because of
UgN u`$m + the ‘modernity’ of the counterpoint (instantly familiar to any
-#[a7',Z; modern Western ear in a way that French counterpoint of the
] i)c{y fourteenth century rarely is), but also because of the sheer
#aJ(m& candour of the work: each voice has a melody of simple yet
Jb@
V}Ul$ ingratiating beauty; nothing is allowed to darken the harmony;
J y:Qlx` nothing is extravagant or flamboyant.
o3^l~iT In accordance with this ideal of jeunesse, songs were
=p O^7g sometimes performed at court by the jeunes gens (especially
L|:`^M+^w the younger squires and pages) who were expected to entertain
Egp/f |y their princes. Once they arrived at court to receive their
o y=js - education these youthful attendants, constantly looking for
61>.vT8P presents and favours, soon learned that the first step to
GqvpA#
i preferment was to make themselves noticed in the throng of
9G#n 0&wRJ the court. What better way to attract attention than a conspicuous
_Xc8Yg }` display of musical talent? No doubt they performed
,{u
yG: with feeling, for it was their role as attendants upon a great
=JEv,ZGT3 lord which underpinned the literary convention of the lover
}<v@0 1 beseeching his lady for favour:
x7&B$.>3 J’use mon temps et passe ma jonesse
EzM
?Nft En atendant de merchi la douchour.
2\MT; ;ZTZ The earliest French pieces on this record, Fortune, faulce,
.+3g*Dv{& parverse8by Matheus de Sancto Johanne, and Va t’en, mon
p
Z|V
3 cuer, avent mes yeux 7 by Gacien Reyneau, are from the
!* d I|k celebrated Chantilly Codex, probably copied by an Italian scribe
nLZTK&7} (though not necessarily in Italy) during the last years of the
QC
OM_$ y fourteenth century. These songs have a distinctively French
TCwFPlF| and fourteenth-century sound with their busy textures and
=vCY?I$P pungent dissonances. Yet both of them prepare us for the
*e Tq VG. fifteenth century: Fortune, faulce with its remarkably rich
#C74z$ harmonies, and Va t’en, mon cuer with its declamatory style
<s GVR5NR and placement of text in all parts; compare Dufay’s J’atendray
Ct <udO tant qu’il vous playra 1 or Brollo’s Qui le sien vuelt bien
by1<[$8r maintenir bl. Full texting of this kind is a prominent feature
{yTGAf-DV of some important fourteenth-century Italian styles, as in
TTX5EDCrC Francesco Landini’s Nessun ponga sperança 5, a ballata
5,lEx1{_ whose poem offers a counterbalance to the courtly cult of
[\98$BN jeunesse. This song, like the other work by Landini recorded
T?CdZc. here, Giunta vaga biltà bm, appears in the celebrated
}# RakV4 Squarcialupi Codex of the early fifteenth century.
:gv{F} ## Another Italian manuscript, MS Canonici misc. 213 in the
!7O+og
L Bodleian Library at Oxford, compiled a few decades after
h ohfE3rd Chantilly, is the source of several of the later items recorded
6m/r+?' here. These pieces convey some of the most characteristic
e9Wa<i 8 sounds of the French chanson in the 1420s and ’30s: a
t9GR69v:? consonant texture, more euphonious than is usual in
c)6m$5] fourteenth-century styles (in harmonic and contrapuntal terms
*2>&"B09` the distance between Reyneau’s Va t’en, mon cuer and
-lr
vKrt7 Dufay’s J’atendray tant is enormous); a marked fondness for
l?v 86k a diatonic, Dorian harmony in which C sharp is a keenly
60^`JVGWH expressive note used near the beginning of a piece and most
. Bl\Z selectively thereafter (hear, for example, Brollo’s Qui le sien
x xHY+(m vuelt bien maintenir or Francus de Insula’s Amours n’ont cure
1SQ3-WU s de tristresse). There is a mood of plangency and introversion
ih-#5M@ in these last two pieces which appears to its fullest advantage
~TF: .8 in what is surely one of the finest of all fifteenth-century songs,
rK 8lBy:< Dufay’s Adieu ces bons vins de Lannoys bo, written in
/* (Kr'c the composer’s mid-twenties. Yet Dufay generally avoided
Q^P}\wb> this plangent tone in his early songs; their characteristic voice
?> 9/#Nv is heard in J’atendray tant, a light, airy rondeau which is a
C!O 0xhs perfect embodiment of jeunesse de cuer.
udK% > CHRISTOPHER PAGE © 1985
;DQ ZT Uk[b|<U-`d Ot0a p$ & Recorded in the Church of St-Jude-on-the-Hill, Hampstead, London, on 28 and 29 June 1984
j<m(PHS e Recording Engineer ANTONY HOWELL
1/B> XkCJ Recording Producer MARTIN COMPTON
/obfw ^ Executive Producer EDWARD PERRY
n t;m+by P Hyperion Records Limited, London, 1985
88O8wJN CHyperion Records Limited, London, 2007
@}u*|P* (Originally issued on Hyperion CDA66144)
H064BM Front illustration: Gathering green bushes in April from the calendar in a Book of Hours
HQ_Ok ` illuminated in France for the English market by the Fastolf Master, c1440
GTPHVp&y (Oxford Bodleian Library MS Auct.D.inf.2.11,f.4r), reproduced by permission
#<"~~2? / y
40(l? All Hyperion and Helios compact discs may be purchased over the internet at
m]0;"jeL www.hyperion-records.co.uk |-67 \p] where you will also find an up-to-date catalogue listing and much additional information
w$iX.2|9%u +4~_Ei[ i \;,+ 曲目:
vzAa x k% The Garden of Zephirus
9!\B6=r y4 Courtly songs of the early fifteenth century
# $07:UJ 1 J’atendray tant qu’il vous playra GUILLAUME DUFAY [2'22]
{*" |#6- 2 N’a pas long temps que trouvay Zephirus ANONYMOUS [1'52]
K# d`Hyx 3 Amour m’a le cuer mis en tel martire ANTHONELLO DA CASERTA [3'44]
,AFu C < 4 Ma seul amour et ma belle maistresse BRIQUET [3'28]
xwq
(N_ 5 Nessun ponga sperança FRANCESCO LANDINI [4'05]
b94DJzL1z 6 Mon cuer me fait tous dis penser GUILLAUME DUFAY [6'05]
OX!tsARC@ 7 Va t’en, mon cuer, avent mes yeux GACIEN REYNEAU [3'38]
}@+0/
W?\. 8 Fortune, faulce, parverse MATHEUS DE SANCTO JOHANNE [4'23]
Y eo]]i{ 9 Amours n’ont cure de tristresse FRANCUS DE INSULA [5'35]
9~XA q^e 10 Qui le sien vuelt bien maintenir (BARTHOLOMEUS?) BROLLO [3'28]
zu{P#~21 11 Giunta vaga biltà FRANCESCO LANDINI [3'21]
Vn }0} Jz
12 Je la remire, la belle ANONYMOUS [2'35]
IfA Zn_ 13 Adieu ces bons vins de Lannoys GUILLAUME DUFAY [3'57]
mSF (q78? aP
+X}r 01. Guillaume DUFAY. Jatendray tant quil vous playra (rondeau) 3v.wma 02. Na pas long temps que trouvay Zephirus (chanson) v,harp.wma 03. Anthonello da CASERTA. Amour ma le cuer mis en tel martire (ballade stanza) 3v.wma 04. BRIQUET. Ma seul amour et ma belle maistresse (rondeau) 2v.wma 05. Francesco LANDINI. Nessun ponga speranca (ballata) 3v.wma 06. Guillaume DUFAY. Mon cuer me fait tous dis penser (rondeau) 4v.wma 07. Gacien REYNEAU. Va ten, mon cuer, avent mes yeux (rondeau) 3v.wma <uw9DU7G _op}1 _______________________________________________________
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