COURTLY SONGS OF THE EARLY FIFTEENTH CENTURY
<]t%8GB2V The Gardenof Zephirus
A1$TXr MARGARET PHILPOT
wh`"w7br ROGERS COVEY-CRUMP
i v38p%Zm IMOGEN BARFORD
@ CL{D:d GOTHIC VOICES
yjX9oxhtL CHRISTOPHER PAGE
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Y eo]]i{ E6ElNgL =s2*H8] b=NxUd O MEDIEVAL love-poets had only to mention the name
1};Stai'
of Zephirus, the god of the West Wind, to evoke the
mSF (q78? keenest desires of courtly society: the passion for clean
ChPmX+.i_ colours, clear sounds and fresh odours; the longing to ride into
cf20.F{< the fields bearing a hawk or to sit by a castle window-seat
3$>1FoSk and muse in the breeze. Above all Zephirus was associated
/]Md~=yNp with Springtime and youth—so much so that the fifteenthcentury
dOH
& Le Jardin des nobles makes Zephirus the husband of
6}Ci>_i4# ‘Youth … the goddess of flowers’.
+.FEq*V It is this freshness and candour which pervades so much
A[{yCn `tM of the music composed and performed during the period
}!.(n=idZ covered by this record: the decades from c1400–c1440. It is
_|I#{jK certainly there in the poetry. Several of the songs recorded here
}V`"s^ celebrate that quality of youth, or jeunesse, which the fifteenth
%XQ(fj> century understood as a mixture of joyfulness, candour,
4!yzs PJL amorous bearing and precocious wisdom—a combination so
*P=VFP perfectly embodied in our pictures of a courtier carrying green
jLm ;ty2; branches and of an elegant young herald. In Mon cuer me
^k">A:E2 fait tous dis penser 6, a rondeau set by the outstanding
j6 z^Tt12 composer of the fifteenth century Guillaume Dufay (c1400–
E*K;H8}s 1474), a lover praises his lady who is ‘young, fair, white as
>} i E( fleece, loving and wise in speech’—a ringing catalogue of the
eru.m+\ ideals of jeunesse, while the speaker in Francus de Insula’s
?%[@Qb=2 Amours n’ont cure de tristresse 9 laments that to be
+iRh unlucky in love is, in effect, to be old and an exile from courtly
5<Nx ^D festivities: ‘there is no mirth or amusement’, he bemoans,
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P ch ‘except amongst glad-hearted young people’.
@`- 4G2IU} This jeunesse is also there in the music. There is an
h
J)h\ ebullient gaiety in Briquet’s Ma seul amour et ma belle
r52gn(, maistresse 4 and in the anonymous Je la remire, la
M!D3 }JRm belle bn which we do not often find in the more precious and
R8Fv{7]c self-conscious works of the fourteenth century. Yet fifteenthcentury
4O!ikmY:t composers excel in capturing the candour and
u <v7;dF|s freshness which were so much admired by the courtiers of
HvJs1)Wo& their day, and they are caught to perfection in Mon cuer me
5MJS
~( fait tous dis penser. It is impossible to imagine a fourteenthcentury
^9:Z7 >Z composer writing such a piece, not only because of
G
mA<
g the ‘modernity’ of the counterpoint (instantly familiar to any
U26}gT) modern Western ear in a way that French counterpoint of the
N6i Q8P - fourteenth century rarely is), but also because of the sheer
suDQ ~\ n candour of the work: each voice has a melody of simple yet
iSs:oH3l ingratiating beauty; nothing is allowed to darken the harmony;
p>8D;#Hm L nothing is extravagant or flamboyant.
p9{mS7R9T In accordance with this ideal of jeunesse, songs were
^SrJu:Q_ sometimes performed at court by the jeunes gens (especially
,.FxI l ] the younger squires and pages) who were expected to entertain
WCixKYq their princes. Once they arrived at court to receive their
4~Q/"hMSkO education these youthful attendants, constantly looking for
a<bwzX|. presents and favours, soon learned that the first step to
B:'US&6Lf' preferment was to make themselves noticed in the throng of
9CD_ o s\h the court. What better way to attract attention than a conspicuous
Vs!Nmv` display of musical talent? No doubt they performed
sLxc(d'A with feeling, for it was their role as attendants upon a great
Q hO!Ma] lord which underpinned the literary convention of the lover
h(EhkCf beseeching his lady for favour:
Z/+#pWBI! J’use mon temps et passe ma jonesse
'/s)%bc En atendant de merchi la douchour.
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The earliest French pieces on this record, Fortune, faulce,
F7#J LE= parverse8by Matheus de Sancto Johanne, and Va t’en, mon
97!;.f- cuer, avent mes yeux 7 by Gacien Reyneau, are from the
I
b5rqU\ celebrated Chantilly Codex, probably copied by an Italian scribe
gR cQt : (though not necessarily in Italy) during the last years of the
/mzlH fourteenth century. These songs have a distinctively French
'^UI,"T
i and fourteenth-century sound with their busy textures and
`<d }V2rdz pungent dissonances. Yet both of them prepare us for the
5:_}zu|!u fifteenth century: Fortune, faulce with its remarkably rich
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<h?9 harmonies, and Va t’en, mon cuer with its declamatory style
6.yu-xm and placement of text in all parts; compare Dufay’s J’atendray
@cXMG6:{ tant qu’il vous playra 1 or Brollo’s Qui le sien vuelt bien
R.<g3"Lm> maintenir bl. Full texting of this kind is a prominent feature
Ml-6
OvQ7g of some important fourteenth-century Italian styles, as in
H0vfUF53l Francesco Landini’s Nessun ponga sperança 5, a ballata
)zDCu` whose poem offers a counterbalance to the courtly cult of
&mS^ZyG jeunesse. This song, like the other work by Landini recorded
1T
n} here, Giunta vaga biltà bm, appears in the celebrated
) ;Y ;Q Squarcialupi Codex of the early fifteenth century.
SiN0OB Another Italian manuscript, MS Canonici misc. 213 in the
@gK?\URoT Bodleian Library at Oxford, compiled a few decades after
]JQ
ULE) Chantilly, is the source of several of the later items recorded
6(R<{{ here. These pieces convey some of the most characteristic
}4X0epPp;: sounds of the French chanson in the 1420s and ’30s: a
<qt |d& consonant texture, more euphonious than is usual in
T6$+hUM$1 fourteenth-century styles (in harmonic and contrapuntal terms
6Q5 ^> \Y the distance between Reyneau’s Va t’en, mon cuer and
H3oFORh Dufay’s J’atendray tant is enormous); a marked fondness for
,|/f`Pl a diatonic, Dorian harmony in which C sharp is a keenly
M X]n& expressive note used near the beginning of a piece and most
+ jgSV.N selectively thereafter (hear, for example, Brollo’s Qui le sien
*lJxH8 \ vuelt bien maintenir or Francus de Insula’s Amours n’ont cure
3=V &K- de tristresse). There is a mood of plangency and introversion
e&>2
n in these last two pieces which appears to its fullest advantage
+ LJ73
! in what is surely one of the finest of all fifteenth-century songs,
]h V*r@d Dufay’s Adieu ces bons vins de Lannoys bo, written in
G^@5H/) the composer’s mid-twenties. Yet Dufay generally avoided
F((4U"
this plangent tone in his early songs; their characteristic voice
3PF_H$`oJ is heard in J’atendray tant, a light, airy rondeau which is a
K:WDl;8 (d perfect embodiment of jeunesse de cuer.
gnHbb-<i, CHRISTOPHER PAGE © 1985
I(
Mm?9F )O 6>*wq W} ofAkF Recorded in the Church of St-Jude-on-the-Hill, Hampstead, London, on 28 and 29 June 1984
8 xMX Recording Engineer ANTONY HOWELL
f?)-}\[IR{ Recording Producer MARTIN COMPTON
G KeU%x Executive Producer EDWARD PERRY
-ze J#B)C P Hyperion Records Limited, London, 1985
4{Z)8;QX CHyperion Records Limited, London, 2007
51.%;aY~z (Originally issued on Hyperion CDA66144)
V G~Vs@c( Front illustration: Gathering green bushes in April from the calendar in a Book of Hours
ABYcH]m illuminated in France for the English market by the Fastolf Master, c1440
Ht&Y C<X (Oxford Bodleian Library MS Auct.D.inf.2.11,f.4r), reproduced by permission
{Hk}Kow 7o}J%z All Hyperion and Helios compact discs may be purchased over the internet at
8a"% 0d# www.hyperion-records.co.uk Yz93'HDB where you will also find an up-to-date catalogue listing and much additional information
h@wgd~X9 ( C)p9-, ~7Ux@Sx; 曲目:
g#E-pdY The Garden of Zephirus
S$X Sei_q Courtly songs of the early fifteenth century
|(^ PS8wG 1 J’atendray tant qu’il vous playra GUILLAUME DUFAY [2'22]
+8ZF"{y 2 N’a pas long temps que trouvay Zephirus ANONYMOUS [1'52]
.6 ?U @2 3 Amour m’a le cuer mis en tel martire ANTHONELLO DA CASERTA [3'44]
;YL i { 4 Ma seul amour et ma belle maistresse BRIQUET [3'28]
"@8li^ 5 Nessun ponga sperança FRANCESCO LANDINI [4'05]
FHI ;)wn= 6 Mon cuer me fait tous dis penser GUILLAUME DUFAY [6'05]
;i +#fQO7Q 7 Va t’en, mon cuer, avent mes yeux GACIEN REYNEAU [3'38]
mpJ#:}n 8 Fortune, faulce, parverse MATHEUS DE SANCTO JOHANNE [4'23]
E8&TO~"a]e 9 Amours n’ont cure de tristresse FRANCUS DE INSULA [5'35]
r" ,GC] 10 Qui le sien vuelt bien maintenir (BARTHOLOMEUS?) BROLLO [3'28]
;,e2e
gC' 11 Giunta vaga biltà FRANCESCO LANDINI [3'21]
S|+o-[e8O 12 Je la remire, la belle ANONYMOUS [2'35]
z2>lI9D4V 13 Adieu ces bons vins de Lannoys GUILLAUME DUFAY [3'57]
SasJic2M u u687|Pm 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 '2^Q1{ :\ @F*%9LPv _______________________________________________________
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