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Reviewer: J.
F. Weber These four discs were first issued as Balades a III chans (Fanfare 19:2), Fleurs de vertus, Chansons à la cour des Visconti (21:6), and Corps femenin (34:2). The third disc appeared on Harmonia Mundi 905241, but it originated with the Schola Cantorum Basiliensis, which has now licensed it to Arcana. I may have reviewed the second disc elsewhere. The compilation is subtitled “Songs of Codex Chantilly, c. 1390,” but other songs from the Ars Subtilior period are also included. The number of selections from that source is seven, 10, two, and nine, respectively, or a total of 28. By my count, 83 of the 112 songs in that source have now been recorded. More recently (35:5), the ensemble Tetraktys recorded 17 selections in a projected complete traversal of the codex, but I have not seen any further issues. Before that, a review of Laurence Brisset’s ensemble De Caelis (34:6) summarized the discography of this music, which is a primary source of the Ars Subtilior, the mannerist style of composition that marked the period between the death of Machaut and the emergence of Dufay. Eight singers participated in these sessions (four of them only on the final disc) with modest instrumental accompaniment, mostly viol, harp, and lute. Some unique recordings from Codex Chantilly are included, such as Angelorum psalat, Il n’est nulz homs (with all three verses), Lameth Judith et Rachel, and Sub Arturo plebs. The inclusion of all three verses makes other selections valuable, such as En seumeillant (also done by Huelgas Ensemble, 17:1), Fuion de ci (also by several other groups), Le mont Aon de Trace (also by Huelgas Ensemble), Passerone de beaute, Quant joyne cuer, Roses et lis ay veu, S’aincy estoit (also done by Tetraktys), Se Alixandre et Hector, and Se July Cesar Rolant et Roy Artus. These complete performances generally run about 10 minutes, so the number of verses has often been reduced to one or two. The four discs are slipped into heavy sleeves with a booklet containing the original notes from the first issues, so nothing is lost in a compact boxed presentation. The performances have always ranked with the best available. Recent discs drawn from Codex Chantilly include those already mentioned, as well as one by Graindelavoix (35:6, not recommended) and a collection from Gothic Voices focused on the composer Solage (30:4). Marcel Pérès’s first disc devoted entirely to the Codex Chantilly (11:2, now HMA 1951252) still has interest, and the Davies brothers’ even earlier program (7:5) has just been reissued on Eloquence, but Crawford Young’s collection is now an outstanding offering, a real bargain for those who missed the original issues. | |
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