![]() Composed upon a pre-existing secular song, ‘Cantus domina “Aaliz/Alice”,’ it has been handed down to us two ways, each with a Marial text one is in Latin, the other in French. When taken at a rapid clip, as we do, ‘Edi be thu hevene quene,’ a melodic tenor line with simple accompanying second part, appears to evoke a dance on the village square more than a monastic meditation of Complines.Īnother example of style development and exchange can be found in ‘Flur de virginité’, a song of praise to Mary. Some appear to invoke a different manner, one of which we know very little, that of medieval popular and folk music. Other pastor polyphonic songs you will hear are soft and tender (via the sweetening presence of thirds, much appreciated in the British Isles: ‘Veine pleine de duçur’, an English piece despite its French text.) Some are subtle and gracious, thanks to the Biblical imagery of their texts in ‘Gedeonis area’, life-giving water flows from the rock, as in Exodus, XVII:6. With such happy song we are far from the severe and terrifying vision of Christ the Judge. The exuberant polyphony of the processional ‘Gregis pastor’ evokes a spontaneous improvisation, one that some scribe had thought good enough to be written down. Other pieces recall the beautiful visual images of primitive Christianity, in which Christ is portrayed as a beardless shepherd youth. In ‘Lux refulgent’, a virtuosic and energetic composition, the upper soloistic part dialogues with the lower line, which in turn, becomes dynamic and active. These works, on the surface quite simple, are in fact full of energy, and very innovative. The Aquitanian polyphonic works from the center of France (‘Verbum Patris Humanatur’) are prime examples of these new developments. Progressively, medieval music will take on other stylistic aspects, thus giving birth to other forms and other kinds of discourse. ![]() Liturgical chant provided the backbone and the musical grammar of medieval musical creation. The art of storytelling becomes important, staged in a real space (the ‘Sponsus’ play), or in the mind’s eye and ear (‘Dal ciel vene messo novello’).Īt the root of all this varied creation is the liturgical song of the Church, even though this body of song in Latin could and did vary from region to region. In any case, Christmas is a moment when different tastes and manners come together, and, when tongues loosen, so that different languages can be heard, macaronically, in the same piece (Latin and medieval Provençal, for example). The plethora of available material means that this particular recorded program represents only one possibility, among a myriad of others. These works are drawn from different sources, varied both in style and geographical origin. We as musicians, however, are obliged to honor the unique and hopeful place she holds in twelfth and thirteenth century art, poetry, and song, as we construct this program of medieval music for Christmas. Others may discuss and re-discuss the theological question of her virginity. Above all, it was nourished by the presence of Mary, the loving mother, the advocate next to God for suffering humanity, and even an object of amorous desire. The season’s joy flows from the hope of salvation and eternal peace (‘Dominus veniet’), of desire for light (‘Lux refulget’). This waiting period is given musical and gestural form in the liturgical drama ‘Sponsus.’ Both performers and audience understand what is at stake: the salvation of the human soul, or its damnation. As the angel Gabriel warns (‘Oiet virgines’) we need to remain vigilant, and we must not fall asleep. The medieval persona of Christ the Bridegroom, supreme Judge who will arrive at the moment known only to Him, selecting those chosen to receive salvation and rejecting those who are not ready to follow, is indeed sinister (‘Amen dico’). The season undoubtedly contained, however, its own measure of anxiety.
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