L'AMOR DE LONH Medieval songs of love and loss
Ensemble Gilles BinchoisDominique Vellard
GCD P32304
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Performing artists
Ensemble Gilles Binchois Dominique Vellard
Anne-Marie Lablaude, soprano Dominique Vellard, tenor & oud Cyprianos Sadek, baritone Baptiste Romain, fiddle & bagpipes Keyvan Chemirani, zarb & daf
Production details
Total playing time 62:19 Recorded in the Église Saint-Saturnin de Vergy, France, in October 2009 Engineered by Robert Verguet Produced by Etienne Meyer Executive producer: Carlos Céster Art direction: Valentín Iglesias Booklet essay: Pierre Bec English Français Deutsch Español
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L'AMOR DE LONH
Medieval songs of love and loss
01 Esta montaña d’enfrente Traditional Sephardic song
02 Lanquan li jorn son lonc en mai Jaufré Rudel
03 Quand la pastora Traditional air from Haute Auvergne (instr.)
04 Triste ei lo cèu Traditional song from Béarn
05 Quan lo rius de la fontana Jaufré Rudel
06 Trop desir a veoir Adam de la Halle (polyphonic rondeau)
07 Una hija tiene el rey Traditional Sephardic romance
08 Dinz la roubieira de Lissac Traditional air from Limousin (instr.) Arrangement: Baptiste Romain
09 Quantas sabedes amar amigo Martim Codax Cantigas de amigo
10 Altas undas Raimbaut de Vaqueiras Melody adapted from his song Arám requèr by Anne-Marie Lablaude-Vellard
11 Meu amor, meu amoriño Traditional song from Galicia Melody transcribed by Joaquín Nin
12 Fine Amors me fait chanter Song by an anonymous trouvère
13 Ai Deus, se sab’ora meu amigo Martim Codax Cantigas de amigo
14 Del gran golfe de mar Gaucelm Faidit Music adapted from three folksongs: La guillonée d’Armagnac (northern Gascony),Al pont de Mirabel (Rouergue)La brunetta (Agenais).Arrangement: Anne-Marie Lablaude-Vellard
15 A vous Tristan Anonymous
16 Au repairier Adam de la HalleArrangement: Dominique Vellard
17 Quant voi le douz tens Anonymous (instr.)Chansonnier de l’Arsenal
Acerca de este CD
Centrado en el tema, caro a los trovadores, del «amor de lejos», este programa es un recorrido por el dédalo de los sentimientos amorosos ligados a la ausencia (causada por las cruzadas, la guerra, los torneos, las prohibiciones paternas...), un paseo no convencional por estilos y épocas diferentes, por la música de las cortes y de las aldeas, una inmersión en el vasto mundo de la canción, en compañía de sus primeros maestros –los trovadores, los troveros – y de sus eternos sirvientes: los cantores-poetas tradicionales de Occitania o de España.
Tras cuatro CDs en Glossa con obras de contenido eminentemente religioso, Dominique Vellard y el Ensemble Gilles Binchois proponen con este L’Amor de Lonh su primer programa profano en mucho tiempo, en informadas y emocionantes versiones que demuestran una vez más porqué, tras más de 30 años de actividad, se les sigue considerando referencia absoluta en sus repertorios.
Since starting making recordings for Glossa in 2007 Dominique Vellard has been demonstrating the broad range of interests which have been so influential over the thirty years of the career of his Ensemble Gilles Binchois and which help to make up this complex musical personality. From the earliest polyphonies interspersed with Gregorian Chant (in L’Arbre de Jessé and the reissued Music and Poetry in St Gallen) to 21st century compositions from Vellard himself and Jean-Pierre Leguay (in Vox nostra resonet and Motets croisés) by way of the 17th century polyphony of Monteverdi, Schütz and Frescobaldi, some of the facets of Vellard’s continuing interest in religious music have been reflected on the label. [read more...]
“It is the same effect as when you see the sun shining through stained-glass windows in a church: suddenly all the colours are singing.”
After nearly three decades of carving out a niche (as rich as Romanesque statuary found in the Burgundy where he lives and works), Dominique Vellard has returned with a new vigour for performing (and recording), whether it is with his colleagues from the Ensemble Gilles Binchois or as a solo singer. The tenor voice of this deeply-thinking musician has the capacity to explore and explain the messages and subtleties of liturgical traditions that range far beyond the Western tradition. [read more...]
I began to compose seriously back in 1999. Prior to that I always liked making song arrangements or fauxbourdons, or writing pieces ‘in the style’ of, for instance, 14th or 15th century songs. Very often in the medieval field, of course, we need to add some voices or to complete some defective parts. I had no real desire to compose – I didn’t think that it was my field. I was a singer, after all, and music from the past is so good, whether it was from composers of the 17th century or Ligeti. Then, one day, in Sheffield in England, I was asked by Peter Cropper of The Lindsays whether there were any chants in existence that could accompany Haydn’s Seven Last Words. On not finding any interesting pieces in the repertory and whilst being at home, I started writing three-part pieces – for my wife, my daughter and myself. I was I bit surprised to see that it was working and on finishing the compositions I found that they had some sense! [read more...]