Ensemble Gilles Binchois - Le Manuscrit du Puy - 1992 (Virgin Classics Limited #0 7777 59238 2 7)Жанр: Classical, Choral, Chants, Medieval Страна исполнителя: France Страна - производитель диска: Germany Дата и место записи: Eglise de Saint-Seine l'Abbaye, Côte d'Or, juin 1990 Год издания: 1992 Издатель (лейбл): Virgin Classics Limited Номер по каталогу: 0 7777 59238 2 7 Тип: CD, album Аудио кодек: FLAC (*.flac) Тип рипа: (image + .cue) Битрейт аудио: lossless Наличие сканов в содержимом раздачи: full scans, 300 dpi Продолжительность: 01:05:13 Источник (релизер): рип из коллекции файлов Matty Groves, хозяин оригинала неизвестен Трэклист:
The Le Puy Manuscript
The office for New Year's Day at the Cathedral of Le Puy-en-Velay, 12th-16th centuries 1. Exultantes in partu virginis (2:57) 2-13. Vepres (27:48)
[2] Deus in adiutorium meum intende (0:43)
[3] О Nazarene, verbum patris (1:50)
[4] Salve, festa dies (0:33)
[5] Annus novus in gaudio (5:18)
[6] О admirabile commercium - Dixit dominus (3:41)
[7] lube, domne, benedicere - Verbum caro factum est (0:48)
[8] Stirps Iesse (2:57)
[9] Veni redemptor gencium (4:39)
[10] Viderunt omnes fines terre (0:23)
[11] Magnum hereditatis misterium - Magnificat (4:10)
[12] Dominus vobiscum - Oremus (0:59)
[13] Benedicamus (1:47) 14-24. Autres moments de la celebration (26:10)
[14] Princeps ecclesie - Sit nomen (1:51)
[15] Psallat vox ecclesie (3:07)
[16] lube, domne, benedicere - Verbum quod erat (2:41)
[17] Nostri festi gaudium (2:43)
[18] lube, domne, benedicere - Apparuit benignitas (0:48)
[19] Нас in die (3:47)
[20] Maria autem conservabat - Miserere mei Deus (4:48)
[21] Kyrie eleyson (2:11)
[22] Pater noster qui es in celis (1:54)
[23] Dispersit - Dominus vobiscum - Oremus (1:14)
[24] Benedicamus domino (1:05) 25-27. Choix d'autres chants (8:27)
[25] Creatorem creatura (2:03)
[26] Serpentis amonicio (3:49)
[27] Revirescit (2:34) Состав:
Ensemble Gilles Binchois
Gerd Turk - tenor
Dominique Vellard - tenor
Achim Schulz - tenor
Emmanuel Bonnardot - bariton
Willem de Waal - baryton
Jacques Bona - basse
Dominique Vellard - direction musicale
The Le Puy Manuscript
To find at last a book one has sought for so long! It is every book lover's dream. To our great joy, a copy of the Prosolarium of Notre-Dame du Puy [a book of liturgical poetry] is now in our possession.
The enthusiasm with which, in 1885, Abbe Payrard reported 'his' discovery can well beunderstood. Forhehad in front of him a remarkable manuscript containing a festal office for New Year's Day, in which older, liturgical material had been augmented with medieval songs of outstanding artistic value. When the texts were published shortly afterwards, it became apparent that a special office had been celebrated at the cathedral of Le Puy in the Massif Central, near the source of the Loire. Unfortunately, the manuscript itself then disappeared again.
Recently, not only has the manuscript unexpectedly reappeared, but a second book containing the same New Year's office has come to light. This second book also contains a large number of polyphonic pieces, both simple two-part textures and four-part settings made in the sixteenth century by the clerks of Le Puy on the basis of older melodies. No other manuscript has been found which brings together such a range of older and newer material. It not only reflects the specific ritual celebrated in this cathedral, but also vividly illustrates the way liturgy could evolve over hundreds of years, particularly its artistic, musical aspects, from the chants found in the oldest notated sources to pieces inspired by the new arts of poetry and song composition in the high Middle Ages, and finally the polyphonic writing of the Renaissance.
It was the custom in the Middle Ages for each individual clerical rank to celebrate its own feast on a specific day following Christmas: the pueri (boys) as the youngest would come first, followed by the deacons and subdeacons, and then the priests. On their feast, those concerned would embellish the liturgy with as much ingenuity as possible, making additional processions and singing new compositions at the communal meal. In the twelfth and thirteenth centuries special books were compiled for such celebrations, and it is to this tradition that the festal office for New Year's Day at the cathedral of Le Puy belongs.
The basis for the feast was the liturgy proper to the day, stretching from Vespers on the preceding evening through the night offices to the end of Vespers on the feast itself, almost without a break for more than twenty-four hours. As in monastic practice, the clerks met in the chancel of the cathedral every three hours to sing psalms, to pray, to read lessons and recite their associated chantsand,of course, to perform a mass. They would also make processions to the impressive frescos and paintings in the vast church and its surrounding buildings high over the town. The feast day ended with dancing by the pueri.
As with all high festivals, Christmas was 're-celebrated' eight days later, on New Year's Day. Thus the principal theme of both the older and the newer texts in the Le Puy manuscript is the Christmas miracle, the coming of the king of kings, entering into his dominion. And with the Redeemer was celebrated - especially in the Middle Ages - Mary, the mother of God. The feast is thus full of the joy of Christmas, but also that of the New Year, which is greeted by the clerks in a song addressed to the cantor (track 5).
The recording begins with a song which transports us immediately into the characteristic sound world of the Le Puy office. It is a sixteenth-century setting for four voices of a monophonic song notated cll00. We then follow the order of the pieces in the first part of the manuscript, with theentire Vespers liturgy (2-13), followed by later stages of the feast (14-24). The recording concludes with a selection of outstanding songs from other parts of the manuscript (25-27).
In the book's old monophonic chants for Vespers, the characteristic sounds of a liturgical tradition stretching back far before the Middle Ages can be heard. Their texts are drawn mainly from the Psalter and other books of the Bible (2, 6, 7, 11). Examples of choral psalmody sung antiphonally are the Psalm (6) and the Magnificat (11), both framed by antiphons. Other parts of the Vespers office which belong to this early material are the Ambrosian hymn (9) and the closing prayer (12). To this basic structure are added a blessing by the priest before the reading (7) and a response sung after it (8). A short psalm verse is then inserted (10), and the office concludes with poetically extended versions of the usual thanksgiving, Benedicamus Domino, and its response, Deo gratias (13).
The Le Puy Vespers were enhanced by the addition of other chants: a solemn introduction taken from the main night office of Matins (3), verses from a hymn composed by the sixth-century poet Venantius Fortunatus for New Year's Day (4), the song addressed to the cantor already mentioned (5), composed с 1100, and a response to the reading in the form of a series of skilful hexameters written in the eleventh century by Bishop Fulbert of Chartres (8).
The monophonic chants exhibit considerable variety, both in the alternation of participants - priest, readers, cantor, soloists and choir-and, particularly, in musical texture: the delivery of text on a single pitch, then more ornamental recitation patterns - formulas specific to the beginning, middle and end of a phrase - and finally actual melodies. Further variety is provided by the different possibilities of polyphonic sound, and especially the contrast between monophonic and polyphonic textures within single pieces. Along with full four-part textures created by adding chords to preexisting melodies (3, 9), we find two-part textures in which the second voice is added in accordance with long-standing simple oral techniques (5). In the final piece a melisma is sung over a held pitch, a procedure which hardly needed to be notated (13).
In the following parts of the office, this sound world becomes even more diverse. After a request for blessing addressed to the bishop, followed by the blessing itself (14), a processional chant (conductus) takes us from the chancel to the Chapter house (15). There, after another blessing, the read ing is given as a farsumen, a technique widely practised in the time of the great cathedrals, whereby text is alternately read and sung. This piece, composed in the late eleventh century, is based on the prologue to the Gospel of St John (16). Then, singing another conductus (17), the clerks move on to the meal in the refectory, where another ceremony takes place, with a reading (18) and farsumen (19). The toast is followed by Psalm 50 with its antiphon (20). On the way back into the church through the cloister, the choir divides: at this point a four-part Kyrie is sung, a setting probably composed in the late Middle Ages (21). Once back in the chancel, the clerks sing more polyphonic acclamations (22), a versicle and a further prayer (23), ending with a final Benedicamus (24).
It is in this part of the manuscript that the new songs with which the liturgy had been elaborated since the turn of the twelfth century are most prominent. This strophic art is the liturgical counterpart of early European courtly song, an art in which verse, rhyme and musical structures are organised in an astonishing variety of patterns, and in which every text has its own specific melody. It is here that the origins of European song in the full sense of the word lie. This new type of song could be heard in the church above all as conduct us, or in the place of the Benedicamus, or, at the cathedral of Le Puy, as farsumen.
The recording concludes with three of the most beautiful compositions in this part of the manuscript: two polyphonic pieces of the sixteenth century, in full and clear harmonies (25, 27), and between them a conductus (26), itself an example of one of the most elaborate forms used in monophonic song in the high Middle Ages. Here a strophic pattern is linked with the older structure of the sequence, based on repetition. This led to the creation of very long and intricately-woven melodic designs, and is one of the most impressive aspects of twelfth-century song. With the development of new forms of musical expression and structures, this special art was lost. The conductus heard here survives only in the Le Puy sources, and its style shows that the office itself originated in the period when this song art was in full flower.
The cathedral of Le Puy lay on one of the great medieval pilgrim routes leading to Santiago de Compostela, but after the Middle Ages the town was somewhat remote from historical events taking place in the outside world. The cathedral building itself, constantly modified, with its frescos dating from the eleventh to the thirteenth century, presents a parallel to the pattern of continuous liturgical expansion reflected in this festal office. Yet the different kinds of music in this office - the old liturgical chants, the new medieval songs, pieces in which a second voice is added following simple oral techniques, and finally the characteristic polyphony of the later Middle Ages - go together, perhaps even more successfully than the cathedral's architectural elements, to make up a fascinating, unified whole. Wulf Arlt, 1992
REM GENRE Classical REM DATE 1992 REM COMMENT YEAR: 1992 ID3G: 32 PERFORMER "Ensemble Gilles Binchois & Dominique Vellard" TITLE "Le Manuscrit Du Puy" FILE "Ensemble Gilles Binchois - Le Manuscrit du Puy.flac" WAVE TRACK 01 AUDIO TITLE "Exultantes in partu virginis" INDEX 00 00:00:00 INDEX 01 00:00:33 TRACK 02 AUDIO TITLE "Vepres - Deus in adiutorium meum intende" INDEX 01 02:58:20 TRACK 03 AUDIO TITLE "Vepres - O Nazarene, verbum patris" INDEX 01 03:41:43 TRACK 04 AUDIO TITLE "Vepres - Salve, festa dies" INDEX 01 05:31:63 TRACK 05 AUDIO TITLE "Vepres - Annus novus in gaudio" INDEX 01 06:04:63 TRACK 06 AUDIO TITLE "Vepres - O admirabile commercium - Dixit dominus" INDEX 01 11:22:43 TRACK 07 AUDIO TITLE "Vepres - Iube, domne, benedicere - Verbum caro factum est" INDEX 01 15:03:48 TRACK 08 AUDIO TITLE "Vepres - Stirps Iesse" INDEX 01 15:52:10 TRACK 09 AUDIO TITLE "Vepres - Veni redemptor gencium" INDEX 01 18:49:18 TRACK 10 AUDIO TITLE "Vepres - Viderunt omnes fines terre" INDEX 01 23:27:58 TRACK 11 AUDIO TITLE "Vepres - Magnun hereditatis misterium - Magnificat" INDEX 01 23:50:33 TRACK 12 AUDIO TITLE "Vepres - Dominus vobiscum - Oremus" INDEX 01 28:00:40 TRACK 13 AUDIO TITLE "Vepres - Benedicamus" INDEX 01 28:59:35 TRACK 14 AUDIO TITLE "Princeps ecclesie - Sit nomen" INDEX 00 30:46:13 INDEX 01 30:47:48 TRACK 15 AUDIO TITLE "Psallat vox ecclesie" INDEX 01 32:38:33 TRACK 16 AUDIO TITLE "Iube, domme, benedicere - Verbum quod erat" INDEX 01 35:45:70 TRACK 17 AUDIO TITLE "Nostri festi gaudium" INDEX 01 38:26:43 TRACK 18 AUDIO TITLE "Iube, domne, benedicere - Apparuit benignitas" INDEX 01 41:10:00 TRACK 19 AUDIO TITLE "Hac in die" INDEX 01 41:58:33 TRACK 20 AUDIO TITLE "Maria autem conservabat - Miserere mei Deus" INDEX 01 45:45:13 TRACK 21 AUDIO TITLE "Kyrie eleyson" INDEX 01 50:32:63 TRACK 22 AUDIO TITLE "Pater noster qui es in celis" INDEX 01 52:44:23 TRACK 23 AUDIO TITLE "Dispersit - Dominus vobiscum - Oremus" INDEX 01 54:38:05 TRACK 24 AUDIO TITLE "Benedicamus domino" INDEX 01 55:52:18 TRACK 25 AUDIO TITLE "Creatorem creatura" INDEX 00 56:57:08 INDEX 01 56:58:68 TRACK 26 AUDIO TITLE "Serpentis amonicio" INDEX 01 59:02:10 TRACK 27 AUDIO TITLE "Revirescit" INDEX 01 62:51:30
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