Ensemble Laude Novella - Ce moys de may (1998) {Helikon HCD1031}
Ensemble Laude Novella - Ce moys de may (1998) {Helikon HCD1031}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 331 Mb | MP3 @320 -> 160 Mb
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© 1998 Helikon Records | HCD 1031
Classical / Medieval / 14th and early 15th centuries
As Notherners, we may be surprised to hear of Mediterraneans praising the month of May as eagerly as we do ourselves. Gathering around our bonfires on the last day of April, singing Northern May songs in shivering cold as a final farewell to Winter, we rather expect May to be full summer in Rome, Avignon or Barcelona.
However, already in the Middle Ages, from Occitan troubadours of the 12th century onwards, we find the month of May celebrated as the true Spring month - not least in the present selection of songs and instrumental music from the late 14th and early 15th centuries. (Guillaume Legrant seems to be alone here in mentioning April as the suitable time for gathering flowers, but even then, the purpose seems to be preparations for coming May festivities…).
The decades which saw around 1400 a flowering of polyphonic May songs, are of course among the most tumultuous in European history: whether we call them calamitous, fatalistic and morbid (Barbara Tuchman, in her bestseller A distant mirror) or a period of cultural harvest followed in the 15th century, by an "autumn of the Middle Ages" (Johan Huizinga, in The waning of the Middle Ages).
Among the main political figures in Southern Europe - in this period of the Great Papal Schism and the Hundred Years War - we find famous, ruthless and extravagant feudal lords, such as Gaston Phoebus of Foix, Jean of Berry, Giangaleazzo Visconti, as well as the kings of Aragon, Navarre and Cyprus, who were all important patrons of music, not to mention the antipopes themselves in their imposing palace in Avignon, called "Babylon" by the visiting Petrarch.
These patrons were supposed to be well versed in music and poetry, but in contrast to their Occitan predecessors of the 12th century, they generally did not write or compose themselves, but rather left it to handpicked professionals. We may recall the often-quoted words of the the chronicler Froissart, writing that Gaston Phebus "liked to have his clerks sing and harmonize songs, rondeaux and virelais. He usually spent about two hours at table, and was very fond of [curious???] intermezzos, and after having enjoyed them, he had them repeated at the squires' and knights' tables". John, king of Aragon, was careful to ask his ambassadors not only to send "six bons xantres" ('six good singers') to serve in his chapel, but also to make sure "that they bring with them the complete music of the Mass, and a book where there are many motets, rondeauz, ballades, and virelais."
The leading singers and composers of the period, in the generation after Guillaume de Machaut, seem to fit perfectly into this romantic picture, with their extremely complex and "mannered" musical style, described in modern times as ars subtilior - the subtle style, expanding all the expressive and rhythmic inventions of the 14th century ars nova.
Some songs on this recording could, with their long and angular melodic lines, chromatic harmonies and conflicting time-signatures, fit into the definition of the ars subtilior. But in addition to this mediterranean, courtly style there are also a large number of simpler, but not less virtuosic, May songs, full of realistic descriptions of Spring, complete with singing nightingales, cuckoos and larks.
This simpler repertory may be related rather to bourgeois societies in Paris and the Nothern Burgundian territories, than to the central "mannerist" environment around the Avignon popes.
Perhaps one might see them as a parallel to the realistic outdoor images in the famous, monthly illuminations in the "très riches heures" made by the Limbourg brothers for Jean de Berry.
The foundations both of the complex ars subtilior style and of these more realistic May songs, were already introduced in the beginning of the century by Philippe de Vitry, annonuncing the new notational possibilities of his new style or "ars nova", and by Guillaume de Machaut, the completely dominating personality in music in the middle years of the century. It was more or less the achievement of Machaut alone to establish the "classic" categories of late Medieval polyphonic secular song, based on the traditional dance forms of rondeau, virelai and ballade.
ENSEMBLE LAUDE NOVELLA consists of professional musicians who have specialized in performing medieval and early renaissance music: music from the Ars Nova period but also from the 15th century: the period when the new sweet sounds became more and more popular.
Since it foundation 1991, with Per Mattsson coming home from Schola Cantorum in Basel, ELN has regularly performed diverse programs in lots of different contexts: concerts in Cathedrals and churches; concerts in castle ruins; in festivals for medieval music in Sweden and other countries; in TV and radio. ELN performs for 5-year-old English speaking schoolchildren as well as for old people in hospitals. In other words, ELN performs both sacred and vernacular music for listeners of all age and in the most surprising places. ELN has also been busy travelling in Sweden, Denmark, Finland, Germany, Holland, Italy, Latvia, Lithuania, Estonia, Ukraine, Russia, Morocco …
In its most compact form, ELN consists of two musicians, Ute Goedecke (chant, recorders and gothic harp), and Per Mattsson (medieval fiddle and lira da braccio). Depending on the program, the number of musicians can be augmented. The repertoire is mostly continental since there are not many sources of Swedish medieval music, though the ensemble tries to include some music with Scandinavian connections in the programs, such as songs from the song book Piae Cantiones, printed in 1582, with musical roots going back to the middle ages. ELN performances have a great variation of sound, which is appreciated by the public.
The members of Laude Novella have taught on early music courses for many years.
Ensemble Laude Novella - Ce moys de may (1998) {Helikon HCD1031}
Performers:
Laude Novella
Ute Goedecke (vocal, recorders, gothic harp), Per Mattsson (medieval fiddle, rebec), Stefan Wikström (sackbut), Johan Folker (percussion)
Contents:
Le moy de may (Anon., 15th cent.)
Quan ye voy (Anon., 14th cent.)
Ma tredol rosignol (Borlet, a.k.a. Trebol, a.k.a. Johan Robert, c.1409)
Or avant (Guillaume Legrant, fl.1419-46)
Cominciamento di gioia (Anon., 14th cent.)
De toutes flour (Guillaume de Machaut, c.1300-1377)
Bel fiore danza (Anon., 15th cent.)
Or sus (Anon., 14th cent.)
Dame je weil endurer (Machaut)
Pres de soloil (Matheus de Perusio, ??-before 1418)
Dame playsans (Anon., 14th cent.)
Tempus adest floridum (Anon., 1582)
In vernali tempore (Anon., 1582)
En ce gracïex tamps (Jacob de Senleches, fl.1378-95)
Tres gentil cuer (Solage, late 14th cent.)
Belicha (Anon., 14th cent.)
Ce moys de may (Dufay)
Or sus (Anon., 15th cent.)
Oseletto silvaggio (Jacopo da Bologna, fl.1340-55)
Amor potens (Anon., late 13th cent.)
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 3. March 2019, 21:52
Laude Novella / Ce moys de may
Used drive : HL-DT-STBD-RE BH12LS38 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 667
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
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Quality : High
Add ID3 tag : No
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Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
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1 | 0:00.00 | 3:18.07 | 0 | 14856
2 | 3:18.07 | 2:46.05 | 14857 | 27311
3 | 6:04.12 | 3:05.00 | 27312 | 41186
4 | 9:09.12 | 1:55.30 | 41187 | 49841
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18 | 60:37.67 | 2:46.58 | 272842 | 285349
19 | 63:24.50 | 2:27.62 | 285350 | 296436
20 | 65:52.37 | 2:05.63 | 296437 | 305874
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==== Log checksum 4767BC7377D9E33C353CE12FFF970A90B68DB9D3C1B5C46750E6926E143D9F69 ====
EAC extraction logfile from 3. March 2019, 21:52
Laude Novella / Ce moys de may
Used drive : HL-DT-STBD-RE BH12LS38 Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 667
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : J:\Documents\Utilities\Audio\FLAC\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:18.07 | 0 | 14856
2 | 3:18.07 | 2:46.05 | 14857 | 27311
3 | 6:04.12 | 3:05.00 | 27312 | 41186
4 | 9:09.12 | 1:55.30 | 41187 | 49841
5 | 11:04.42 | 3:04.60 | 49842 | 63701
6 | 14:09.27 | 7:00.50 | 63702 | 95251
7 | 21:10.02 | 3:12.00 | 95252 | 109651
8 | 24:22.02 | 4:30.10 | 109652 | 129911
9 | 28:52.12 | 2:24.05 | 129912 | 140716
10 | 31:16.17 | 4:44.60 | 140717 | 162076
11 | 36:01.02 | 2:30.55 | 162077 | 173381
12 | 38:31.57 | 2:42.40 | 173382 | 185571
13 | 41:14.22 | 3:36.23 | 185572 | 201794
14 | 44:50.45 | 2:28.40 | 201795 | 212934
15 | 47:19.10 | 3:34.10 | 212935 | 228994
16 | 50:53.20 | 6:11.72 | 228995 | 256891
17 | 57:05.17 | 3:32.50 | 256892 | 272841
18 | 60:37.67 | 2:46.58 | 272842 | 285349
19 | 63:24.50 | 2:27.62 | 285350 | 296436
20 | 65:52.37 | 2:05.63 | 296437 | 305874
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Track not present in AccurateRip database
Copy OK
None of the tracks are present in the AccurateRip database
No errors occurred
End of status report
–– CUETools DB Plugin V2.1.6
[CTDB TOCID: prpy16GZVQ.e1NK6ikUjvbG9850-] found
Submit result: already submitted
Track | CTDB Status
1 | (1/1) Accurately ripped
2 | (1/1) Accurately ripped
3 | (1/1) Accurately ripped
4 | (1/1) Accurately ripped
5 | (1/1) Accurately ripped
6 | (1/1) Accurately ripped
7 | (1/1) Accurately ripped
8 | (1/1) Accurately ripped
9 | (1/1) Accurately ripped
10 | (1/1) Accurately ripped
11 | (1/1) Accurately ripped
12 | (1/1) Accurately ripped
13 | (1/1) Accurately ripped
14 | (1/1) Accurately ripped
15 | (1/1) Accurately ripped
16 | (1/1) Accurately ripped
17 | (1/1) Accurately ripped
18 | (1/1) Accurately ripped
19 | (1/1) Accurately ripped
20 | (1/1) Accurately ripped
==== Log checksum 4767BC7377D9E33C353CE12FFF970A90B68DB9D3C1B5C46750E6926E143D9F69 ====
Ensemble Laude Novella - Ce moys de may (1998) {Helikon HCD1031}
Ensemble Laude Novella - Ce moys de may (1998) {Helikon HCD1031}
===