Florilegio Ensemble, Marcello Serafini, dir. O tempo bono - Music at the Aragonese Court of Naples. Works from Ms. Montecassino 871, compiled c.1480. Par le regart de vos beaulx yeux, et votre maintien bel et gent, A vous, belle, viens humblement moy presenter vostre amoroux. De vostre amour suis desirex E mon vouloir tout s'i consent. Par le regart.. O vous plaise, cueur grcieux, Me retenir or a present pour vostre amy entierment Et je seray vostre en tous lieux. Par le regart.. ---------------------------------------------- For the look in your beautiful eyes, And your lovely and kind manner, I humbly corne to you, my beauty, To offer myself as your lover. I am desirous of your love And my desire is whole. For the look... Now may it please you, kind heart To accept me here and now Completely as your friend And I will be yours wherever I am. For the look... Anita Camarella (voice), Maria Consigli (voice), Antonio Serafini (lute, bagpipe), Albert Crugnola (lute, hurdy-gurdy, voice), Marcello Serafini (vielle, rebec, guitar, voice), Isacco Colombo (shawms, recorders, pipe & tabor, tamorra), Alberto Ponchio (bombarde), Daniele Bicego (slide trumpet)
Servir Antico www.ensembleservirantico.com Catalina Vicens - organetto and artistic direction Els Janssens-Vanmunster - voice Baptiste Romain - medieval fiddle Felix Stricker - slide trumpet Excerpts of the program me "Mother & Child": Sacred music and texts from the late 14th and early 15th centuries from Austrian and Swiss sources during the reign of the Albertinian line of the Habsburg Dynasty. Guillaume Dufay (c. 1397 - 1474) Conditor Alme Siderum Live performance at Utrecht Early Music Festival 2014 Audio recording by Frans de Wolff for Radio Concertzender Nederland www.concertzender.nl
Boston's professional Early Music vocal ensemble performs music of Guillaume Du Fay during Festival Mozaic 2008 at Mission San Luis Obispo
For a classroom presentation (as a student in a language class).
Guillaume Dufay (c. 1397-1474) Quadrivium SALVE FLOS TUSCAE GENTIS: TRIPLUM Salve flos Tuscae gentis, Florentia, salve, O salve Italici Gloria magna soli. Salve quae doctos felix Tot mater alumnos, Tot generas magnos consilio Atque fide, Quae tot praestantes mira Integritudine gignis, Quae tot generas Religione viros. Salve,cui debet quodcumque Est artis honestae, Ingenii quicquid quicquid Et eloquii est. Salve,quae fama totum Diffuse per orbem Et vehis et natos mittis Ad astra tuos. Nunc cecini et gratis Voces placuere canore, Praemia, mercedes Nec petiere simul. Fessus ego haud cantu, Vos en defessi canendo, Sed tu carminibus viva Canenda meis. MOTETUS Vos nunc Etruscorum iubar, Salvete puellae. Sic sedet hoc animo Nec sine amore moror. Stant forribus Nymphis similes, Stant Najades utque Aut ut Amazonides Aut procidiva Venus. Fervet in amplexus atque Oscula dulcia quisque; Si semel has viderit Captus amore cadet. lsta deae mundi, Vester per saecula cuncta Guillermus cecini natus Et ipse Fay. TENOR Viri mendaces. CREDITS: Cantica Symphonia directed by Giuseppe Maletto Alena Dantcheva, soprano & harp (AD & ad) Laura Fabris, soprano (LF) Maria Teresa Nesci, soprano (TN) Gianluca Ferrarini, tenor & organ (GF & gf) Fabio Furnari, tenor (FF) Giuseppe Maletto, tenor (GM) Marco Scavazza, baritone (MS) Guido Magnano, organ (gm) Marta Graziolino, harp (mg) Svetlana Fomina, fiddle (sf) Eﬁx Puleo, fiddle (ep) Mauro Morini, slide trumpet & sackbut (mmt & mms) David Yacus, sackbut (dy) with: Sveva Martin, soprano (SM) Livio Cavallo, tenor (LC) Margret Koll, harp (mk) Davide Rebuffa, lute (dr). All rights reserved to the respectful artists and producers. No copyright infringement intended.
Ensemble Ars Italica. Sigrid Lee, Francis Biggi & Marco Ferrari, dir. "Musica del XV Secolo in Italia" http://www.medieval.org/emfaq/cds/tct12201.htm http://www.youtube.com/playlist?list=PL18551DF58CA17229 This work is taken from the codex Ms. Escorial IV.a.24, copied in the Napolitain area, Italy, around 1450-'60. Pierre Fontaine (c1380-1450): J'aime bien celui qui s'en va (voice: Alessandra Fiori; organ, lute, harp, vielle): J'ayme bien celui qui s'en va En priant Dieu que le conduie S'il me tient pour sa seule amye Mon cuer a lui obeira. Jusques a ce qu'il revendra jamais ne feray chière lie J'aime bien celui qui s'en va En priant Dieu que le conduie: Mon cuer aultre ne choisira Fors que lui seul, jour de ma vie Quelque chose que nul en die Tous jours de lui me souvendra. Sigrid Lee (voice, vielle, direction), Gloria Moretti (voice), Alessandra Fiori (voice, portative organ), Claudio Cavina (voice), Marco Beasley (voice), Marco Ferrari (voice, double flute, shawm, bombard, direction), Giovanna Ferrari (voice), Francis Biggi (lute, gittern, direction), Perla Manfrè (harp), Guido Morini (organ), Pier G. Callegari (bombard, slide trumpet), Dante Bernardi (bombard, dulcian), Franco Perfetti (dulcian)
From 'Newe teutsche weltliche gesanglein', 1613, by Samuel Voelckel.
A new year tune in the basse dance style, performed on soprano & alto shawms and slide trumpet. Copyright Blondel
PROGRAM NOTES: Guillaume Dufay's "Lamentation for the mother church of Constantinople" is one of the few works by a famous composer that commemorated the Fall of the Byzantine capital of Constantinople to the Ottomans in 1453. Although the Catholic See in Rome had maintained for centuries a deeply contentious relationship with the Eastern Roman Church in Constantinople, the fall of the Byzantine capitol came as a shock to Europeans who had heard about it. They saw Constantinople as the last vestige of a mythologized Roman Empire that had all but faded from Western memory by the late Middle Ages. This short, but magnificent song is a secular motet in the late French Medieval style with the Requiem (from the Latin liturgy) in the tenor line. There is some debate regarding the venue for this work. Some have speculated that it was used for the occasion of the grandiose "Banquet of the Pheasant" ordered by Phillip the Good, Duke of Burgundy, one year after the Fall. Using computer generated sounds, I am presenting two different versions of this piece. The first is a somewhat more intimate, acapella version for 4 solo voices that might have been appropriate for a small, private chamber. The second version (at time stamp 4:21 ) is a performance that one might have heard at a grand festival fit for kings where there may have been large, noisy crowds. In the second scenario, one might have heard louder instruments (such as slide trumpets and other brass instruments) accompanying a chorus that had more than one singer per part. This version, I believe, has a clearer sound than the original that I uploaded some time ago. I removed the boy soprano voice in the cantus line and replaced it with a countertenor. I think this makes for a more balanced sound with the rest of the chorus. I also added a few extra phonemes to the American English dictionary in Vocaloid to improve the pronunciation of Late Middle French. ++++++++++ French & Latin text: O très piteux de tout espoir, fontaine, Père du fils dont suis mère éplorée, Plaindre me viens à ta cour souveraine De ta puissance et de nature humaine Qui ont souffert, telle dure vilaine, Faire à mon fils qui tant m’a honorée, Dont suis de bien et de joie séparée, Sans qui vivant veuille entendre mes plaintes. À toi, seul dieu, du forfait me complains Du gref tourment et douloureux outrage Que voit souffrir plus bel des humains Sans nul confort de tout humain lignage. Tenor: Omnes amici ejus spreverunt eam Non est qui consoletur eam Ex omnibus caris ejus. English translation (from cpdl.org): Most merciful source of all hope, Father of the son whose weeping mother I am, I come to complain at your sovereign court Of your authority and of human nature, Which have allowed such harsh cruelty To be inflicted on my son, who has so honoured me; Whereby I have been parted from happiness and joy, Without any living being who will hear my complaints. To you, only God, I appeal from the sentence, From the grievous torment and painful injury That I watch the fairest of men suffer, With no consolation from your human speech. Tenor: All her friends have betrayed her: Among all her lovers there is none to comfort her. ++++++++++ Description of the photos in the order of appearance: 1. Siege of Constantinople, Anon.French, BnF ms Fr9087, c1455 2. Siege of Constantinople, Anon. Venetian, c1490 3. Marian mosaic with Emperor Constantine presenting the city, Hagia Sophia 4. Siege of Constantinople, Anon.French, BnF ms Fr2691, c1470 5. JHS (Greco-Roman abbreviation for Jesus), Andreas Ritsos, c1480 6. City view of Constantinople, Michael Wohlgemut, c1493 7. Constantinople in the 15th century with a view of the Church 8. Byzantine walls of Constantinople in the current century 9. Rampart ruins of Constantinople 10. Duke Phillip the Good, Anon. Burgundian, c1450 11. Garden of Love (wedding scene of Phillip the Good and Isabella of Portugal), c1432, 16th c copy 12. Narcissus (detail of pheasant), Anon.French tapestry c1500 13. Julius Caesar entering Rome, Anon.French tapestry, c1460. Note trumpets in the background 14. King Ahasuerus at banquet, Anon. French tapestry, 15th c 15. Jean Miélot presenting a history book to Phillip the Good, Jean le Tavernier (?), 1457 16. Coronation of the Virgin (details), Master of the Lyversberg Passion, c1463. 17. Phillip the Good in the royal bedchamber (detail from miniature), Rogier van der Weiden, c1447 18. Guillaume Dufay & Gilles de Binchois, Le Champion des Dames, Martin Le Franc, c1440