Alla francesca / Brigitte Lesne VARIATIONS AMOUREUSES

VARIATIONS AMOUREUSES

Alla Francesca / Brigitte Lesne THIBAUT DE CHAMPAGNE Le Chansonnier du Roi

Mentioned by Dante amongst 'the most illustrious poets of his time, Thibaut de Champagne (1201-1253), also called 'Thibaut the Songwriter', was one of France's greatest trouvères (or 'musician-poet' in langue d’oïl).

He left us some sixty songs, cultivating highly varied musical genres: songs of love and of the crusades, pastourelles, hymns to the Virgin, jeux-partis… Count of Champagne and King of Navarre, grandson of Marie de France and great-grandson of Eleanor of Aquitaine, he was chosen by the Holy See and numerous barons to lead a new crusade in 1239. A seal from 1226 portrays him on horseback, brandishing his sword.

This disc proposes an anthology of his compositions, all coming from the very famous songbook copied at the end of the 13th century: the 'King's manuscript'. As a counterpoint to the songs and in harmony with them, it also presents motets and instrumental dances representative of the musical repertoires of the period.

Alla Francesca / Brigitte Lesne / Gérard Lesne D'AMOURS LOIAL SERVANT

This recital continues a series begun by Alla Francesca on Opus 111, of which it is the third instalment (and the group's first recording for this label). I had preferred the first, 'Beaulte parfaite' (7/98), to the sequel, 'Armes, amours' (A/98). Here again is a rather mixed bag, ranging from Machaut to Ciconia and Cordier. The ensemble's three musicians are joined by the countertenor Gerard Lesne, who appears in much earlier repertory than we are used to hearing him in. His presence allows the group to explore music with two upper parts of similar range, a shared characteristic of many of the pieces sung here. Yet despite some fine singing, the vocal interventions seem strangely restrained, which is all the odder given that these are French musicians, from whom one might expect a more characterful approach to text (in this regard I would except Brigitte Lesne, whose ability to put the words across effectively is admirable).
The ensemble's three instrumentalists show remarkable versatility (not to mention virtuosity) in deploying all manner of instruments: winds, bowed and plucked strings, percussion. The results are mixed (I must admit that the bagpipe solo had me reaching for the volume control), but can hardly be accused of lacking definition. As a whole, however, the recital seems a shade unfocused, partly (again) because the individual performances are so variable; set against the urgent delivery of Amour m'a le cuer, for instance, is the disappointment of Senleches's La harpe de melodie for which Alla Francesca has used the deficient reading of the Codex Chantilly (which the Ferrara Ensemble also used in their otherwise admirable 'En doulz castel de Pavie', Harmonia Mundi, 8/98). It is a great pity that the only satisfactory recording of this wonderful piece (on the Medieval Ensemble of London's 'Ce diabolic chant' on Decca) remains unavailable. On a more positive note, one must applaud Alla Francesca's determination to assemble a sizeable corpus of late-medieval song. This is a repertoire where the discography lags far behind both scholarly endeavour and concert performance. (Fabrice Fitch / Gramophone)

Ensemble Discantus / Brigitte Lesne UNIVERSI POPULI

This is rare and rarified music of great beauty and regional historical significance. It represents the beginning of a collaboration between the label, Zig-Zag Territoires, and the early music group, Discantus with its director, Brigitte Lesne. It reflects the work of a substantial new research project lead by musicologist Marie-Noël Colette under the auspices of the Institut Français de Prague and the Sablé Festival. The project has unearthed new antiphoners, processionals and tropers from St George's Basilica in Prague that date from the thirteenth to the fifteenth centuries. It is these which are performed with great style, enthusiasm and sophistication on this excellent (though somewhat hard to track down) CD: persevering in obtaining a copy is worth it; it's lovely music and expertly sung.

After these new chants (nova cantica) emerged – along with early motets – in Aquitaine in the twelfth century, Bohemia, interestingly enough, was among the first lands to adopt their usage. This is explained by the stay Machaut made in Prague in the fourteenth century. Indeed what we hear on Universi Populi is testament to a fairly widespread, though perhaps unrecognized, 'cultural exchange' across Europe in the late middle ages: contact between sovereigns; the Crusades; the reforms of Gregory VII; and substantial migration of farmers and merchants explain this. Perhaps as a result, this music is more florid, more luxuriant and in some ways richer to the modern ear than that of Machaut. More like the world of Hildegard. Indeed, more cosmopolitan, extrovert. It is remarkable that the earliest liturgical manuscript from St Vitus' (he of the dance) cathedral in Prague contains twelfth century chants of the Ordinary (Sanctus) which were written in the Limousin and known to have been circulating outside Prague only in France and Catalonia.

This CD uses representative music to trace the developments in the Bohemian liturgy from the twelfth to the fifteenth centuries; most significant was the continuity which obtained once the initial impact of the new chants had been felt: works in honor of Virgin Mary and two patron saints, Ludmilla and Wenceslas, who were responsible for important innovations in Bohemian worship.

There is, though, no sense of the performances on this CD being cultish. Nor are they dry. Discantus (between five and ten women depending on what's right for each piece) presents the music as fresh, but not novel; exciting, but not histrionic; and devotional but not excluding. There is the same kind of ecstasy (in Castus mente corpore/Preclaris, for example) as one expects from Hildegard. But the singing is a trifle more subdued, and appropriately so. If you enjoy early a cappella singing (though minimum tuned percussion is used in places) performed to a high standard, a very high standard, and of considerable historical significance, then you should certainly look into this CD. Its booklet is clear and informative, written mainly by Colette; and you get the full texts. The recording itself is excellent, having been made in the beautiful twelfth century Cistercian Abbaye de Sylvanès between Montpellier and Toulouse. It's not a collection obviously devised to convey holiness or accentuate the innovation (or conservatism) of any one composer; nor really to act as exemplum for the local musical changes described. Yes, it's of its own kind. But the delivery by Discantus was clearly designed – and equally clearly emerges – as a delightful, flowing recital. Recommended. (Mark Sealey / Classical Net)

Discantus / Brigitte Lesne VON BINGEN Hortus Deliciarum

‘Hortus deliciarum’ is truly a garden of delights, a recital of mainly 12th-century pieces, planned by Marie-Noël Colette and Brigitte Lesne and performed unaccompanied by Discantus. Some of the pieces come from a transcription made in 1818 of Herrad of Landsberg’s wonderful manuscript of that name, sadly destroyed in 1870. Others come from various manuscript sources, including Hildegard von Bingen’s Symphonia Harmoniœ cœlestium revelationum. 

The programme revolves chiefly around the Christmas season, with Mary the Mother of Jesus as the central figure. It begins with five stanzas from Sedulius’s wonderful alphabetical poem, A solis ortus cardine, starting at the letter E, ‘Enixa est puerperal’. We hear a few examples of traditional chants, including pieces of the Proper: the gradual Dilexisti, from the Common of Virgins, and the Offertory Offerentur regi virgines in a particularly beautiful and highly ornamental version. The singers have their own way of interpreting the rhythm of the early notation, and the overall impression of constant flow which they achieve is impressive. Other pieces include several troped items from the Ordinary.

The unison singing is quite remarkable for its clarity and smoothness. The singers have discovered, too, how to manage repercussions, subtly but entirely convincingly. The ordering of the recital, with its frequent use of First Mode pieces juxtaposed, and its judicious groupings, is successful and never monotonous. The listener is left with a good sense of how sacred music was developing in the 12th century by leaps and bounds in so many directions, even to the extent of cantillated readings being occasionally sung in three parts. (Gramophone)

Discantus SANTA MARIA

Discantus is women vocal ensemble that brings alive the vocal repertoire, primarily sacred, of the Middle Ages from the first Western musical notation of the 9 th century up to the 15 th century.

Founded in 1989 under the direction of Brigitte Lesne, it brings together passionate singers from diverse backgrounds capable of adopting a vocal style appropriate to the medieval repertoire, uniting unique individual timbres to form a coherent e nsemble sound. Since the 2000’s, Discantus’ handbells became like the "signature" of the ensemble.

Invited to the most prestigious festivals, Discantus performs regularly in France, in Western, Central and Eastern Europe (Croatia, Slovenia, Slovakia, Hung ary, Poland) and as far as Fes in Morocco, Beyrouth in Lebanon, New York, Perth, and also in Colombia. The 13th recording, "the Argument of Beauty" (sacred polyphonies by Gilles Binchois, at æon recordings) was rewarded as 2010 best recordings of the year by Le Monde newspaper. In 2014, « Music for a King » - also by æon – alternates 11th century repertoire with two pieces commissioned to young composers using texts of Boethius. Discantus keeps enlarging it's repertoire with two new programs incorporating typical medieval stringed instruments ( harp, hurdy - gurdy , psaltery, fiddle) played by the singers themselves: "A path to the field of stars, pligrim's songs" and "Santa Maria, At the court of Alfonso el Sabio".