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Triphoniamia yrmana fremosa - Medieval woman‘s songs of love and pain |
1CD |
Challenge Classics |
0608917238525 | CC 72385 | 09-2010 €17.95
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INFORMATION
mia yrmana fremosa - Medieval woman‘s songs of love and pain
"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.
One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal Stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD)
"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.
One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal Stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD)
PRESS REVIEWS
''Die Arrangements für drei Singstimmen und ein höchst farbiges mittelalterliches Instrumentarium entfalten die Schönheit der Melodien, sowie den Affekt- und Bildgehalt der Texte auf höchst geschmackvolle Weise. Es ist gewiss eine der schönsten Mittelalter-CDs der letzten Jahre.'' RBB KulturRadio October 2010
''The arrangements for three Voices and very colorful medieval instruments develop the Beauty of the melodies, emotion and image content of the texts in the most tasteful way. It is certainly one of the most beautiful Medieval CDs of these recent years.'' RBB KulturRadio October 2010
''De regelingen voor drie stemmen met zeer kleurrijke middeleeuwse instrumenten om de schoonheid van de melodieën, emotie en het beeld van de teksten te ontwikkelen in de meest smaakvolle manier. Het is zeker een van de mooiste middeleeuwse cd's van de afgelopen jaren.'' RBB KulturRadio oktober 2010
''Triphonia laat een enorme variëteit aan instrumenten en stemgeluid horen, soms liefdevol, soms cynisch.'' Opzij november 2010
''Triphonia shows a huge variety of instruments and voices, sometimes loving, sometimes cynical.'' Opzij November 2010
"The charming performances are recorded with superb transparency, and you can easily lose yourself in this verdant garden of expressive music from a long-lost age. Triphonia create a magical atmosphere with this recording, and the whole thing is a delight from beginning to end." Dominy Clements musicwebinternational December 2010
"De charmante optredens zijn opgenomen met een superbe transparantie, en je kunt je gemakkelijk verliezen in deze groene tuin van expressieve muziek uit een lang verloren tijd. Triphonia creëert een magische sfeer met deze opname, en de hele zaak is een genot van begin tot eind." Dominy Clements musicwebinternational december 2010
"Präsentation unentbehrlich ist und auch genaue Kenntnisse über das Instrumentarium erfordert. Das Ergebnis der drei Damen von Triphonia ist
überzeugend und hat mit der Sackleinen-Seligkeit mittelalterlicher Bauernmärkte mit ihren unentbehrlichen Spielleuten und Gauklertruppen nichts zu tun." Klassieke Heute November 2010
"Presentatie is essentieel en er is goede kennis over het instrumentarium noodzakelijk. Het resultaat van de drie dames van Triphonia is overtuigend en heeft niets van doen met de jute-gelukszaligheid van de Middeleeuwse boerenmarkten met de onontbeerlijke speellieden en jongleurs." Klassieke Heute november 2010
"Presentation is essential and knowledge of the instruments is a necessity. The result of the three ladies of Triphonia is convincing and it has nothing to do with the jute-bliss of the medieval markets with their indispensable minstrels and jugglers Klassieke Heute November 2010
"De drie zingende en musicerende dames zijn in staat ons te overtuigen dat de muziek destijds zo geklonken kan hebben. Dankzij de liedteksten in het cd-boekje kan je je niet alleen mee volgen maar ook jezelf nog meer inleven." Ludwig van Mechelen KlassiekCentraal november 2010
"The three women sing and make music and are able to convince us that the music may have sounded this way at the time. With the lyrics in the CD booklet, you can not only follow it yourself but also understand the whole picture." Ludwig van Mechelen KlassiekCentraal November 2010
"Ze tonen een breed scala aan instrumentale kleuren en spelen vaan levendig en virtuoos." David Fallows - Gramophone - Februari 2011
"They display a wide variety of instrumental colours and often lively playing of substantial viruosity." David Fallows - Gramophone - February 2011
''The arrangements for three Voices and very colorful medieval instruments develop the Beauty of the melodies, emotion and image content of the texts in the most tasteful way. It is certainly one of the most beautiful Medieval CDs of these recent years.'' RBB KulturRadio October 2010
''De regelingen voor drie stemmen met zeer kleurrijke middeleeuwse instrumenten om de schoonheid van de melodieën, emotie en het beeld van de teksten te ontwikkelen in de meest smaakvolle manier. Het is zeker een van de mooiste middeleeuwse cd's van de afgelopen jaren.'' RBB KulturRadio oktober 2010
''Triphonia laat een enorme variëteit aan instrumenten en stemgeluid horen, soms liefdevol, soms cynisch.'' Opzij november 2010
''Triphonia shows a huge variety of instruments and voices, sometimes loving, sometimes cynical.'' Opzij November 2010
"The charming performances are recorded with superb transparency, and you can easily lose yourself in this verdant garden of expressive music from a long-lost age. Triphonia create a magical atmosphere with this recording, and the whole thing is a delight from beginning to end." Dominy Clements musicwebinternational December 2010
"De charmante optredens zijn opgenomen met een superbe transparantie, en je kunt je gemakkelijk verliezen in deze groene tuin van expressieve muziek uit een lang verloren tijd. Triphonia creëert een magische sfeer met deze opname, en de hele zaak is een genot van begin tot eind." Dominy Clements musicwebinternational december 2010
"Präsentation unentbehrlich ist und auch genaue Kenntnisse über das Instrumentarium erfordert. Das Ergebnis der drei Damen von Triphonia ist
überzeugend und hat mit der Sackleinen-Seligkeit mittelalterlicher Bauernmärkte mit ihren unentbehrlichen Spielleuten und Gauklertruppen nichts zu tun." Klassieke Heute November 2010
"Presentatie is essentieel en er is goede kennis over het instrumentarium noodzakelijk. Het resultaat van de drie dames van Triphonia is overtuigend en heeft niets van doen met de jute-gelukszaligheid van de Middeleeuwse boerenmarkten met de onontbeerlijke speellieden en jongleurs." Klassieke Heute november 2010
"Presentation is essential and knowledge of the instruments is a necessity. The result of the three ladies of Triphonia is convincing and it has nothing to do with the jute-bliss of the medieval markets with their indispensable minstrels and jugglers Klassieke Heute November 2010
"De drie zingende en musicerende dames zijn in staat ons te overtuigen dat de muziek destijds zo geklonken kan hebben. Dankzij de liedteksten in het cd-boekje kan je je niet alleen mee volgen maar ook jezelf nog meer inleven." Ludwig van Mechelen KlassiekCentraal november 2010
"The three women sing and make music and are able to convince us that the music may have sounded this way at the time. With the lyrics in the CD booklet, you can not only follow it yourself but also understand the whole picture." Ludwig van Mechelen KlassiekCentraal November 2010
"Ze tonen een breed scala aan instrumentale kleuren en spelen vaan levendig en virtuoos." David Fallows - Gramophone - Februari 2011
"They display a wide variety of instrumental colours and often lively playing of substantial viruosity." David Fallows - Gramophone - February 2011
TRACKS
- 1 Motet: Endurez, endurez les dous mas d'amer
- 2 Martin Codax; Cantigas de amigo - Ondas do mar de Vigo
- 3 Martin Codax; Cantigas de amigo - Mandad` e comigo
- 4 Martin Codax; Cantigas de amigo - Mia yrmana fremosa
- 5 Martin Codax; Cantigas de amigo - Ay Deus, se sab
- 6 Martin Codax; Cantigas de amigo - Quantas sabedes amar amigo
- 7 Martin Codax; Cantigas de amigo - Eno sagrado en Vigo
- 8 Martin Codax; Cantigas de amigo - Ay ondas, que eu vin veere
- 9 Motet: Trois serors sor rive mer
- 10 Sephardic Ballad: Tres hermanicas eran
- 11 Motet:: Endurez, endurez les dous mas d'amer
- 12 Estampie (instrumental): Endurez, endurez les dous mas d'amer
- 13 Chanson de toile: Bele Yolanz
- 14 Motet: Bele Aelis pas matin se leva
- 15 Neidhart von Reuental; Blôzen wir den anger ligen sâhen
- 16 Motet: Endurez, endurez les dous mas d'amer
- 17 Etienne de Meaux; Chanson de malmariée: Trop est mes maris jalos
- 18 Conductus: Procurans odium
- 19 Motet: Endurez, endurez les dous mas d'amer
- 20 Richart de Fournival; Motet & Chanson de femme: Onques n'amai tant que jou fui aimee
- 21 Ich was ein chint sô wolgetân
- 22 Motet: Endurez, endurez les dous mas d'amer
- 23 God de bat eyn zelelin
- 24 Cantiga de Santa Maria: De vergonna nos guardar
- 25 Ik draghe an mynes herten grunt
- 26 Motet: Endurez, endurez les dous mas d'amer
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Triphonia
€17.95
mia yrmana fremosa - Medieval woman‘s songs of love and pain
Triphonia /
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