Texte paru dans: / Appeared in: |
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Outil de traduction ~ (Très approximatif) |
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Reviewer: J.
F. Weber
The fourth entry in this
group’s complete secular polyphonic works of Guillaume Machaut (along with
some monophonic songs) includes no first recordings, though the lai de
consolation, Pour ce que plus, has been recorded only once (Fanfare
7:5). Quant j’ay l’espart was recorded only by David Munrow. Se
quanque amours seems to have only one LP and one CD example, the latter
on this group’s earlier Archiv program (22:5). De desconfort has also
had only two recordings, both recent. The rest of these pieces range from a
few versions to the very familiar Comment qu’a moy, which has had
several fine recordings. This last is one of three monophonic virelais,
along with Foy porter and Dame, a qui. Three members of the
group divide the three virelais among them. The lai de consolation is interesting, for lais are usually monophonic. In 1958 Richard Hoppin discovered that its alternating melodies actually formed two-voice polyphony and published his edition. The only previous recording gave the textual line to Rogers Covey-Crump and the contrapuntal line to instruments, so this is the first two-voice recording. Many, if not most, of the previous recordings of these songs are inferior to the one-voice-to-a-part, unaccompanied singing that is the hallmark of the Orlando Consort. Foy porter, for example, has only Emma Kirkby in a Gothic Voices CD (7:5) coming close to this performance. Tres bonne et belle has nothing comparable, the best alternative version being another Gothic Voices disc that offers only one strophe. Dame, ne regardez pas received a fine performance from Liber unUsualis (27:5). Dame, a qui could have been competitive on the disc that bore Emma Kirkby’s contribution above if it were not so slow. Given the few scattered alternatives, this disc is a splendid addition to the Orlando’s survey. Each of their discs develops a program of contrasts that never fails to sustain interest. If you are not yet convinced that music of this period should be sung unaccompanied, give these discs a careful hearing. That, and the quality of the singing, make them prime examples of the music of Guillaume de Machaut. | |
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