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Adam de La Halle - D’Amoureus Cuer Voel Chanter | Zig Zag Territoires ZZT070401

Adam de La Halle - D’Amoureus Cuer Voel Chanter

New Item

Label: Zig Zag Territoires

Cat No: ZZT070401

Barcode: 3760009291409

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 25th June 2007

This product has now been deleted. Information is for reference only.

Contents

Artists

Les Jardins De Courtoisie

Conductor

Anne Delafosse-Quentin

Artists

Les Jardins De Courtoisie

Conductor

Anne Delafosse-Quentin

About

Adam de la Halle is known for the Jeu de Robin et Marion, a musical and dramatic pastourelle, and for a few rondeaux, genuine polyphonic miniatures; but it was for these chansons that he was especially admired in his own day: il etoit parfait en chanter et surtout, biaux dicter savoit (‘he was a perfect singer and, above all, he could declaim beautifully’). Yet only a very small number (three or four) of his thirty-six chansons are accessible on record today, in anthologies of trouvère music. When one thinks of the dozen or so compilations from the Cantigas de Santa María (contemporary with this repertoire) that are now available, it is obvious that it was high time to give Adam’s chansons the place they so amply deserve. Adam de la Halle’s musical style makes astonishingly modern use of the monophonic art of the trouvères, and is coloured by his mastery of the polyphonic style of the Notre-Dame School. At once poet and musician, he evokes the passions and ambivalences of courtly love, builds melodies with unexpected contours and audacious use of modality, and employs a variety of rhythm that greatly enlivens his discourse. Like all the greatest artists, he synthesises what already exists while opening up new prospects: towards Guillaume de Machaut, for example.

In this recording, our interpretation of some fifteen chansons combines study of the different sources and the literary and musical context with the practice of other monophonic traditions. This takes us to the frontiers of written and oral traditions, prompting us to explore different modes of performance for these melodies. Hence we go beyond a mere reconstruction: we offer a living creation by musicians for musiclovers of today’ (Anne Delafosse-Quentin).

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