Clara Coutouly, Paulin Bündgen,
Ensemble Céladon, Paulin Bündgen
The trouveres followed in the footsteps of the troubadours, spreading their songs of love from court to court and thus made their own contribution to the idea of mediaeval courtly love.
Written in the langue d'oil, the ancestor of modern French, the songs presented here evoke not only the inaccessible Lady who is worthy of praise but also the little peasant girl who is courted with far less delicacy. An entire world, courtly, colourful and festive, is portrayed in songs to the Virgin, weaving songs, songs evoking spring and chansons a refrain by Guiot de Dijon, Moniot d'Arras, Gautier de Coincy, Thibaut de Champagne and even the trouveresse Maroie de Diergnau.
Anonymus , Etienne de Meaux (ca. 1250) , Gautier de Coincy (1177-1236) , Thibaut de Champagne (1201-1253) , Maroie de Diergnau (13th century) , Guiot de Dijon (ca.1220)
- Anonymus: En un vergier; Bele Yolanz; Non veul mari; En mai au douz tens nouvel; Enmi la rousee; L'autrier quant je chevochoie; Lai de la pastourelle; Volez vos que je vous chant
+Etienne de Meaux: Trop est mes maris jalos
+Gautier de Coincy: Hui matin a l'ajournee
+Tibaut de Champagne: Ausi comme unicorne sui
+Maroie de Diergnau: Mout m'abelis
September 2024
on their own terms these performances are very engaging, especially the instrumentalists’ interplay with the voices (and each other). But as so often in medieval repertories, and in answer to my own rhetorical question, it is the instruments that struggle to hold the attention in the face of a compelling vocal presence, such as Coutouly possesses.
Login
Ελληνικά
English