Les tres riches heures du Moyen Age: A Medieval Journey [Box Set]

Les tres riches heures du Moyen Age: A Medieval Journey [Box Set]

Les tres riches heures du Moyen Age: A Medieval Journey [Box Set]
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Performer: Maurice Bevan
Performer: Pedro Liendo
Performer: Philippe Ballo
Performer: Josep Cabre
Performer: Marcel Pérès
Performer: Michael George
Performer: Philippe Balloy
Composer: Anonymous
Composer: Gregorian Chant
Composer: Pierre De Breville
Composer: Bernart de Ventadorn
Composer: Folquet de Marseille
Composer: Alfonso X (el Sabio)
Composer: Neidhart von Reuental
Composer: Tannhauser
Composer: Oswald von Wolkenstein
Composer: Aquitanian Repertory Anonymous
Composer: Montpellier MS Anonymous
Composer: Adam de la Halle
Composer: English Anonymous
Edition: Music CD
Audio: German (Unknown); English (Original Language); German (Published)
Format: Box set, Import
CD Release Date: 1995-11-21
Music Label: Harmonia Mundi Fr.
Soundtracks:
Music CD 1
  1. 1. By Way Of A Preamble: Byzantine Chant: Alleluia - Tropaire de la venue de l'epoux (Lundi Saint) - MEDIEVAL JOURNEY
  2. 1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint: Version arabe - MEDIEVAL JOURNEY
  3. 1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint: Version grecque - MEDIEVAL JOURNEY
  4. 1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint - Version arabe - MEDIEVAL JOURNEY
  5. 1. By Way Of A Preamble: Chants sacres Melchites (IV siecle): Hymne a la Vierge (Liturgie grecque de saint Jean Chrysostome) - MEDIEVAL JOURNEY
  6. 1. By Way Of A Preamble: Chants sacres Melchites (IV siecle): Office de la Nativite de la Mere de Dieu (Grand Canon de saint Jean Damascene) - MEDIEVAL JOURNEY
  7. 2. Monody Before Gregorian Chant: Chants de l'Eglise de Milanaise: Psaume: 'Tecum principium in die virtutis tue'' - MEDIEVAL JOURNEY
  8. 2. Monody Before Gregorian Chant: Chants de l'Eglise de Milanaise: Responsorium: 'Congratulamini mihi omnes qui diligitis Dominum'' - MEDIEVAL JOURNEY
  9. 2. Monody Before Gregorian Chant: Le Chant Beneventain: Communio: 'Qui manducaverit' - MEDIEVAL JOURNEY
  10. 2. Monody Before Gregorian Chant: Les Chants de l'Eglise de Rome (VII-VIII siecles): Introit 'Resurrexi' - MEDIEVAL JOURNEY
  11. 2. Monody Before Gregorian Chant: Les Chants de l'Eglise de Rome (VII-VIII siecles): Office de l'Adoration de la Croix; Improperes: 'Agios o Theos, Sanctus Deus' - MEDIEVAL JOURNEY
  12. 2. Monody Before Gregorian Chant: Le Chant Mozarabe: Cathedrale de Tolded: Sacrificium 'Vox clamantis' - MEDIEVAL JOURNEY
Music CD 2
  1. 1. Gallican Chant: Versus de l'eveque Theodulfe d'Orleans: 'Gloria laus' - Deller Consort
  2. 1. Gallican Chant: Semaine Sainte: repons du 7 mode: 'Tenebrae factae sunt' - Deller Consort
  3. 2. An Immense Corpus: Missa da Requiem Gregorienne: Introit: 'Requiem aeternam' - Deller Consort
  4. 2. An Immense Corpus: Missa da Requiem Gregorienne: Kyrie eleison - Deller Consort
  5. 2. An Immense Corpus: Missa da Requiem Gregorienne: Graduel 'Requiem aeternam' - Deller Consort
  6. 2. An Immense Corpus: Missa da Requiem Gregorienne: Trait: 'Absolve, Domine' - Deller Consort
  7. 2. An Immense Corpus: Missa da Requiem Gregorienne: Sequence: 'Dies irae' - Deller Consort
  8. 2. An Immense Corpus: Missa da Requiem Gregorienne: Offertoire: 'Domine Jesu Christe' - Deller Consort
  9. 2. An Immense Corpus: Missa da Requiem Gregorienne: Sanctus - Deller Consort
  10. 2. An Immense Corpus: Missa da Requiem Gregorienne: Agnus Dei - Deller Consort
  11. 2. An Immense Corpus: Missa da Requiem Gregorienne: Communion: 'Lux aeterna' - Deller Consort
  12. 2. An Immense Corpus: Missa da Requiem Gregorienne: Repons: 'Libera me' - Deller Consort
  13. 2. An Immense Corpus: Missa da Requiem Gregorienne: Antienne: 'In paradisum' - Deller Consort
  14. 2. An Immense Corpus: Planctus Hugonis Abbatis: 'Hug dulce nomen' pour la mort d'Hugues, fils de Charlemagne, en 844 - Deller Consort
  15. 3. The Aquitaine Tradition, Or The Problem Of Notation: Antiphona ad processionem: 'O beata infantia' - Schola Hungarica
  16. 3. The Aquitaine Tradition, Or The Problem Of Notation: Introitus cum tropis: 'Quam queritis in praesepe - Puer natus est' - Schola Hungarica
  17. 3. The Aquitaine Tradition, Or The Problem Of Notation: Alleluja 'Dies sanctificatus' - Schola Hungarica
  18. 3. The Aquitaine Tradition, Or The Problem Of Notation: Communio cum tropis: 'Desinat esse dolor - Viderunt Omnes' - Schola Hungarica
  19. 3. The Aquitaine Tradition, Or The Problem Of Notation: Alleluia cum tropis in octava - Schola Hungarica
  20. 3. The Aquitaine Tradition, Or The Problem Of Notation: Cantio ad laudem cantoris: 'Annus novus in gaudio' - Schola Hungarica
  21. 4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: Virtute multa - Ensemble Organum
  22. 4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: In timore Dei - Ensemble Organum
  23. 4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: 'Testamentum eternum' - Ensemble Organum
  24. 4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: 'Dedit Dominus confessionem sancto suo' - Ensemble Organum
Music CD 3
  1. The Art Of The Troubadours: A l'entrada del temps clar - MEDIEVAL JOURNEY
  2. The Art Of The Troubadours: Vida - MEDIEVAL JOURNEY
  3. The Art Of The Troubadours: Quand vei la laudeta mover - MEDIEVAL JOURNEY
  4. The Art Of The Troubadours: Vida - MEDIEVAL JOURNEY
  5. The Art Of The Troubadours: Sitot me soi - MEDIEVAL JOURNEY
  6. Cantigas de Santa Maria: Cantiga 77 (Flute a bec et percussion) - MEDIEVAL JOURNEY
  7. Cantigas de Santa Maria: Prologue: 'Porque Trobar' - MEDIEVAL JOURNEY
  8. Cantigas de Santa Maria: Cantiga 37 (Flute de berger et zarb) - MEDIEVAL JOURNEY
  9. Cantigas de Santa Maria: Cantiga 7: 'Santa Maria leva' - MEDIEVAL JOURNEY
  10. Cantigas de Santa Maria: Cantiga 100: 'Santa Maria, strela do dia' - MEDIEVAL JOURNEY
  11. Carmina Burana (XIII siecle): 'Bacche, bene venies' (CB 200) - MEDIEVAL JOURNEY
  12. Carmina Burana (XIII siecle): 'In taberna quando sumus' (CB 196) - MEDIEVAL JOURNEY
  13. Carmina Burana (XIII siecle): 'Axe Phebus aureo' (CB 71) - MEDIEVAL JOURNEY
  14. Carmina Burana (XIII siecle): 'Deduc Syon, uberrimas' (CB 34) - MEDIEVAL JOURNEY
  15. Carmina Burana (XIII siecle): 'Flete flenda' (CB 5) - MEDIEVAL JOURNEY
  16. Les Minnesanger: 'Sinc an, guldin huon!' - MEDIEVAL JOURNEY
  17. Les Minnesanger: Ich lobe ein wip (Instr.) - MEDIEVAL JOURNEY
  18. Les Minnesanger: 'Owe dirre not' - MEDIEVAL JOURNEY
  19. Les Minnesanger: Wol auff, gesell (Instr.) - MEDIEVAL JOURNEY
Music CD 4
  1. 1. 12th Century Polyphony In Aquitaine: 'Domine labia mea aperies' - 'Deus in adjutorium meum' (Choeur) - Ensemble Organum
  2. 1. 12th Century Polyphony In Aquitaine: Versus: 'O primus homo coruit' (a 2 voix) - Ensemble Organum
  3. 1. 12th Century Polyphony In Aquitaine: Versus: 'Veri solis radium' (a 2 voix) - Ensemble Organum
  4. 2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Introit trope: 'Puer natus est' - Ensemble Organum
  5. 2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Kyrie - Ensemble Organum
  6. 2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Graduel: 'Viderunt omnes' - Ensemble Organum
  7. 2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Sanctus (organum) - Ensemble Organum
  8. 2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Agnus Dei - Ensemble Organum
  9. 2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Ite missa est - Deo Gratias - Ensemble Organum
  10. 3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Kyrie 'Orbis factor' - Ensemble Organum
  11. 3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Credo in unum Deum - Ensemble Organum
  12. 3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Sequence: 'Res est admirabilis' - Ensemble Organum
  13. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Plus bele que flor - Quant revient - L'autrier joer - Flos Filius - Anonymous 4
  14. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Puisque bele dame m'eime - Flos Filius - Anonymous 4
  15. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Celui en qui - La bele estoile - La bele, en qui - Iohanne - Anonymous 4
  16. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Amor potest - Ad amorem sequitur - Anonymous 4
  17. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: S'on me regarde - Prennes i garde - He, mi enfant - Anonymous 4
  18. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Qui d'amour se plaint - Lux Magna - Anonymous 4
  19. 4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: On doit fin(e) Amor - La biaute - In Seculum - Anonymous 4
  20. 5. An English Ladymass In Salisbury Cathedral (13th Century): Kyrie: 'Kyria christifera' - Anonymous 4
  21. 5. An English Ladymass In Salisbury Cathedral (13th Century): Gloria - Anonymous 4
  22. 5. An English Ladymass In Salisbury Cathedral (13th Century): Sanctus - Benedictus - Anonymous 4
  23. 5. An English Ladymass In Salisbury Cathedral (13th Century): Agnus Dei: 'Virtute numinis' - Anonymous 4
Music CD 5
  1. 1. Le Roman de Fauvel (1310-1316): In mari miserie - Clemencic Consort
  2. 1. Le Roman de Fauvel (1310-1316): Vers 149 a 168 - Clemencic Consort
  3. 1. Le Roman de Fauvel (1310-1316): Ad solitum vomitum - Clemencic Consort
  4. 1. Le Roman de Fauvel (1310-1316): Porchier miex estre. Vers 250 a 280 - Clemencic Consort
  5. 1. Le Roman de Fauvel (1310-1316): J'ai fait nouveletement - Clemencic Consort
  6. 1. Le Roman de Fauvel (1310-1316): Quoniam secta latronum - Clemencic Consort
  7. 1. Le Roman de Fauvel (1310-1316): Vers 5905-5926 - Mario, virgo viginum - Clemencic Consort
  8. 1. Le Roman de Fauvel (1310-1316): Vers 6023-6050 - Clemencic Consort
  9. 1. Le Roman de Fauvel (1310-1316): Quare fremuerunt - Clemencic Consort
  10. 2. La Messe de Tournai (c.1330-40) - Excerpts: Kyrie - Ensemble Organum
  11. 2. La Messe de Tournai (c.1330-40) - Excerpts: Gloria in excelsis Deo - Ensemble Organum
  12. 2. La Messe de Tournai (c.1330-40) - Excerpts: Sanctus - Ensemble Organum
  13. 2. La Messe de Tournai (c.1330-40) - Excerpts: Agnus Dei - Ensemble Organum
  14. 3. The Chansons Of The French And Italian Ars Nova: 'De toutes flours' - Ensemble Organum
  15. 3. The Chansons Of The French And Italian Ars Nova: 'Honte, paour, doubtance' - Ensemble Organum
  16. 3. The Chansons Of The French And Italian Ars Nova: 'Honte, paour, doubtance', version instrumentale - Ensemble Organum
  17. 3. The Chansons Of The French And Italian Ars Nova: 'Che pena e quest'al cor' - Ensemble Organum
  18. 3. The Chansons Of The French And Italian Ars Nova: 'Imperiale sendendo fra pi stelle' - Ensemble Organum
  19. 3. The Chansons Of The French And Italian Ars Nova: Rondeau-canon 'Tout par compas' - Ensemble Organum
  20. 3. The Chansons Of The French And Italian Ars Nova: Rondeau 'Belle, bonne, sage' - Ensemble Organum
  21. 3. The Chansons Of The French And Italian Ars Nova: Rondeau 'Fumeux fume par fumee' - Ensemble Organum
  22. 3. The Chansons Of The French And Italian Ars Nova: Ballade 'On voit tout' - Ensemble Organum
  23. Sacred Music In 14th Century England: 'Campanis cum cymbalis - Honoremus Dominam' - The Hilliard Ensemble
  24. Sacred Music In 14th Century England: 'Mater ora filium' - The Hilliard Ensemble
  25. Sacred Music In 14th Century England: 'Edi be thu' - The Hilliard Ensemble
  26. Sacred Music In 14th Century England: 'Gabriel From Heven-King' - The Hilliard Ensemble
  27. Sacred Music In 14th Century England: 'Gaude virgo Mater Christi' - The Hilliard Ensemble
Music CD 6
  1. Johannes Ciconia (c. 1335-1414): 'Ligiadra donna' pour vielles - The Newberry Consort
  2. 1. 15th Century English Music: Les Carols: Alleluya: 'A Nywe werke' - Anonymous 4
  3. 1. 15th Century English Music: Les Carols: 'Ecce quod natura' - Anonymous 4
  4. 1. 15th Century English Music: Les Carols: Nowel: 'Owt Of Your Slepe Aryse' - Anonymous 4
  5. 1. 15th Century English Music: Les Carols: 'Anna Mater Matris Christi' - The Hilliard Ensemble
  6. 1. 15th Century English Music: Les Carols: 'Tota pulcra es, amica mea' - The Hilliard Ensemble
  7. 1. 15th Century English Music: 15th Century Marial Polyphony: Conduit 'O Maria stella maris' - Anonymous 4
  8. 1. 15th Century English Music: 15th Century Marial Polyphony: Sequence 'Salve virgo singularis' - Anonymous 4
  9. 1. 15th Century English Music: 15th Century Marial Polyphony: Motet 'Veni mater gracie - Dou Way, Robin' - Anonymous 4
  10. 2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'Propinan de Melyor' - The Newberry Consort
  11. 2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: --sans titre - The Newberry Consort
  12. 2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'La Spagna' - The Newberry Consort
  13. 2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'La Spagna' - The Newberry Consort
  14. 3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Introit. 'Requiem eternam dona eis Domine' - Ensemble Organum
  15. 3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Kyrie - Ensemble Organum
  16. 3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Tractus: 'Sicut servus desideral ad fontes aquarum' - Ensemble Organum
  17. 3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Sanctus - Ensemble Organum
  18. Lute Music: Ricercar 'L'autre jour' - Paul O'Dette
  19. Lute Music: 'Nous bergiers' - Paul O'Dette
  20. Lute Music: Ricercar No. 33 - Paul O'Dette
  21. Lute Music: 'Il est bel et bon' - Paul O'Dette

Music reviews of Les tres riches heures du Moyen Age: A Medieval Journey [Box Set]

Music Review: A great anthology but short on explanations
Rating: 4 Stars

This set of six CDs is supposed to take us through the music of the Middle Ages from before Gregorian Chant to the Renaissance, but also from Byzantium to England, from the Mozarabic and Christian Iberian Peninsula to Germany. Note the Slavonic, Scandinavian and Irish traditions are missing. In fact the orthodox tradition is practically absent. These CDs insist on the fact that Gregorian music is derived or invented from traditions coming from the Middle East, what has become in the 7th and subsequent centuries Islam, or part of Islam, via Byzantium and Mozarabic Spain. But that is not enough again. The Hebraic tradition is strangely absent and with it the connection to Sumerian and old Indo-Iranian traditions that are totally absent. It also neglects the fact that the Gregorian tones are obtained from the Greek reduced scale doubled from five degrees to ten. In fact it provides us with a lot of examples of music from these centuries but does not enter details, among other things that singing was a practice that was common in monasteries and convents, but without mixing sexes. High tones had to be sung by children or young teenagers on the male side. Low tones could plainly not be sung on the female side. We will of course regret here the total absence of women in these CDs, I mean women of the Middle Ages of course, particularly Hildegarde von Bingen. These CDs though show very well the apparition of Gregorian monophony from the prosody and psalmody of before, though they do not identify the two styles yet very clearly differentiated at the time. On one side antiphons and responses, on the other side the chorals that are always built on a single harmonic line. Different tones, when they sing together, sing parallel lines or they sing one after the other, alternating their singing. Polyphony appears from there and will develop along different models from one geographical zone to another. The Romanesque tradition is that of a horizontal peregrination to the light of God in the Eastern Choir of the church and the rising sun, a peregrination of a whole congregation that collectively sings in unison. Romanesque Brittany will develop a polyphony that will be introspective and leads to meeting God in one's divine soul, even if that sounds Gnostic and it might very well be. The Gothic tradition is that of a vertical elevation to heaven, an elevation which is an individual experience conveyed by the architecture and a polyphony that makes everyone find their, his or her, own voice, tone, melody up to the sky and God's light there. The English tradition known as Norman or Tudor gothic is that of chorus singing, the different voices building a complex musical architecture with the different melodic lines of the different voices. The CDs provide the musical pieces showing that but not the details and the Slavonic tradition is totally absent. Then these shortcomings explain the rather artificial shift to the Renaissance. It Is not clearly said that any innovation is both a continuation and a "revolution" though the Ars Nova school should have led to this simple idea. This means an evolution is the result of many contextual elements but there never is anything like a brutal break or change. It is always an innovation that springs up from a tradition it does not reject completely. The Renaissance is thus the result of the Middle Ages. But that has a retrospective consequence on the Middle Ages themselves. If they could produce the Renaissance they must have been less dark than many people still pretend. And here these CDs do not integrate Umberto Eco's vision of beauty. As long as beauty was understood as divine, the music could only reflect it and the basic element was that good and evil were integrated in the creation, equally but also in a certain way homogeneously: the creation was one and contained both good and evil. This explains the long tradition, and even the Cistercian reactionary conservatism, of the unison as the target of all compositions. When differences started being seen as contrastive and having to be used in order to build a contrastive architecture, beauty no longer was in the homogenized unison, no longer was divine but purely musical. Then instrumental music became possible, chorus singing became possible, the Renaissance became possible. Beauty was no longer divine but aesthetic. These CDs provide the music that shows this reality but not the explanations. We are kind of alone in front of this music.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines
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