Discography

Marie et Marion

Marie et Marion
(hmu 807524)

Motets and Chansons from 13th-century France

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Track List

Track
Piece
Time
MARIE
1
Mater dei plena / Mater virgo pia / EIUS (Mo 66)
2'20
2
He mere diu / La virge marie / APTATUR (Mo 146)
1'31
3
A la clarte qui tout / ET ILLUMINARE (Mo 189)
2'21
4
Marie assumptio afficiat / Hujus chori suscipe / TENOR (Mo 322)
2'35
5
Chanson: De la gloriouse fenix (Ruth Cunningham)
5'38
6
Ave lux luminum / Salve virgo rubens / IOHANNE (Mo 56)
2'00
THE SONG
7
Plus joliement c’onques / Quant li douz tans / PORTARE (Mo 257)
1'31
8
Reverdie: Volez vous que je vous chant (Susan Hellauer)
3'52
9
J’ai les biens / Que ferai biau sire / IN SECULUM (Mo 138)
1'07
10
Que ferai biaus sire / Ne puet faillir / DESCENDENTIBUS.(Mo 77)
1'24
MARION
11
Pensis chief enclin / [FLOS FILIUS EIUS] (Mo 239)
2'13
12
L’autre jour par un matinet / Hier matinet trouvai / ITE MISSA EST (Mo 261)
1'33
13
Quant florist la violete / El mois de mai / ET GAUDEBIT (Mo 135)
1'46
14
Sans orgueil et sens envie / IOHANNE (Mo 225)
1'56
15
Trois serors / Trois serors / Trois serors / [PERLUSTRAVIT] (Mo 27)
1'25
16
Chanson: Amors me fait commencier (Marsha Genensky)
4'19
17
En mai quant rosier / L’autre jour par un matin / HE RESVELLE TOI ROBIN (Mo 269)
1'22
THE SORROW
18
Pucelete bele et avenant / Je languis des maus / DOMINO (Mo 143)
0'59
19
Diex qui porroit / En grant dolour / APTATUR (Mo 278)
2'02
20
Pour chou que j’aim / Li joli tans / KYRIELEISON (Petrus) (Mo 299)
2'21
MARIE-MARION
21
Chanson: J’ai un cuer trop lait (Jacqueline Horner-Kwiatek)
4'39
22
Par une matinee / Mellis stilla / DOMINO (Mo 40)
1'40
23
Or voi je bien / Eximium decus / VIRGO (Mo 273)
2'50
24
Plus bele que flor / Quant revient et fuelle / L’autrier joer / FLOS [FILIUS EIUS] (Mo 21)
2'41
Listen to Samples

Reviews of Marie et Marion

ALLMUSIC.COM

Review by  [-]

Many listeners have gotten their introduction to medieval music through the American vocal quartet Anonymous 4, which has a knack for performances that are insightful, sensuous, and apt at putting the concerns of the music into a contemporary settings. They remain productive after several personnel changes and two decades of recordings, several of which have performed strongly on classical sales charts. Marie et Marion is something of a sequel to the group's 1994 release Love's Illusion, which contained music on the theme of courtly love from a manuscript collection known as the Montpellier Codex. It was collected, around 1300, in Paris, not Montpellier, and it was, as far as it is possible to know at this late date, state-of-the-art stuff at the time. Marie et Marion focuses on a specific aspect of this repertory: the connections between sacred and secular polyphony at a time very close to the dawn of the latter. The two titular figures are the Virgin Mary and a shepherdess named Marion, the same one who appears in the earliest known work with a named composer, Adam de la Halle's Jeu de Robin et Marion, or Play of Robin and Marion. In that piece she rejects the amorous advances of the shepherd Robin, and here too she is, like Mary, rather unattainable. The point is that medieval musicians did not think of the sacred and secular spheres as firmly separated the way modern ones do. They could even, as a couple of pieces in the final "Marie-Marion" section of the program, be put together in the same piece, with sacred and secular texts going on at the same time (the use of multiple texts is characteristic of this music), and the foundational "tenors" of all the polyphonic pieces come from the realm of chant. This is a profitable listen either for the delicious sounds of the singers' voices clashing in the linear harmonies of the music, or for an introduction to the polytextual motet and chanson around 1300, or both.

http://www.allmusic.com/album/marie-et-marion-mw0002637230


Marie et Marion Program Notes

Motets and Chansons from 13th-century France

Marie et Marion
Music from the Montpellier Codex

When we were developing our first medieval French motet program, Love’s Illusion, from the Montpellier Codex (c. 1300), we decided to use only motets on the topic of fin amours, or “courtly love.” But there were two exceptions in the program, one of which was the loveliest of the handful of 4-voice motets in the Codex, Plus bele que flor / Quant revient et fuelle / L’autrier joer / FLOS [FILIUS EIUS] (Mo 21). In this motet, three different fin amours texts are declaimed simultaneously by the upper three voices over a wordless tenor. The highest of these voice parts, the Quadruplum, begins like any typical courtly love motet lyric, praising the beauty and goodness of the lady-love. But, while the other two texted voice parts sing of secular love, the Quadruplum lyric concludes with a “surprise ending,” in which the object of the singer’s love and desire is revealed as the Virgin Mary. Inspired by this motet, we have had in mind another Montpellier Codex program that explores the juxtaposition of courtly/pastoral love themes with ardor and praise for Mary, the Lady with no equal.

The trouvère chanson and the French motet repertories of the 13th-century are closely intertwined, both in terms of their poetry and their melodies. In both are found high-art lyrics of love and longing as well as more playful, sometimes naughty pastourelles which deal with the stock characters of the countryside: shepherds, shepherdesses and other non-noble personages. They go by many names, but the most common are Robin (for the man) and Marion/Marot/Marotele (for the woman). In Marie-Marion we present the common and contrasting themes of love and desire, in motet and song, for the earthly (and earthy) Marion, and the heavenly Marie, both of whom inhabit, comfortably side by side, the music and poetry of this age.

The Montpellier Codex, from which we draw all the motets in this program, was collected in Paris around the year 1300, and is the richest single source of 13th- century French polyphony. With a repertory spanning the entire 13th century, it contains
polyphonic works in all the major forms of its era – organum, conductus, hocket and, primarily, motet (315 motets in all). In the tracklist we have included the Mo numbers by which scholars normally refer to these motets.

The French double motet, by far the most popular type of motet in the 13th century, dominates the Montpellier Codex. Its tenor is usually based on a plainchant fragment, but sometimes on a dance or popular tune as in En mai quant rosier / L’autre jour par un matin / HE RESVELLE TOI ROBIN (Mo 269).

In a double motet, each of the two upper voices – motetus and triplum – has its own text. There are also triple motets, which add a third texted part, called the quadruplum (Mo 27 and Mo 21), as well as many lovely examples of French motets consisting of only a tenor and a melody line. Many of these two-voice French motets resemble the chansons d’amour of the trouvères with an added accompaniment (Mo 189, Mo 239, Mo 225). In fact, bits of trouvère songs and song refrains often find their way into the upper voices of French motets, as in Mo 138 and Mo 77, where the tune and text of a little rondeau, Que ferai biau sire diex, makes its appearance in motets built on two different tenors.

For the most part, texts of motets in honor of Mary are in Latin throughout. He mere diu / La virge Marie / APTATUR (Mo 146) and A la clarte qui tout / ILLUMINARE (Mo 189) are notable exceptions. By the mid-13th century, the upper voices of secular motets have French texts. But those motets that mix sacred and secular are usually polyglot (Mo 40, Mo 273), with the sacred text in Latin and the secular text in French.

The late-13th century anonymous chanson pieuse De la gloriouse fenix is a love song directed to the Virgin, reciting and glorying in the catalog of her spiritual charms with the same intensity and single-minded desire as a chanson d’amour catalogs the physical charms of the beloved. Like many trouvère love songs, Amour me fait commencier begins by stating that an overflow of love and desire have caused the lover to burst forth in song (“love makes me start singing”). This song is attributed to the noble trouvère count, crusader and diplomat Thibaut IV (1201-1253), ruler of Champagne in Paris, and from 1234 Theobald I, ruler of the kingdom of Navarre in far southwestern France. The anonymous Volez vous que je vous chant, a gem of magical storytelling, resembles the medieval reverdie, in which the season of spring is encountered as a beautiful woman. But the mystical lady in this song, attired in spring flowers, is born of noble musical parentage – a sea siren and a nightingale – and is thus the ultimate object of desire.

In the last group of works on our program, earthly love and love of the Virgin Mary coexist in harmony. The chanson pieuse J’ai un cuer trop lait, attributed to an otherwise unknown trouvère Thiebaut d’Amiens, is typical of many Mary songs, in asking pardon for a life of sin and guilty pleasures, and turning toward Mary to intercede and sweep all potential punishment away. We close with the motet that inspired this program, Plus bele que flor / Quant revient et fuelle / L’autrier joer / FLOS [FILIUS EIUS] (Mo 21).

                                                                                                                                                                               – Susan Hellauer

A Note on Pronunciation

As the common international language of Western Europe in the Middle Ages, Latin was relatively standardized in structure. The area in which Latin was most influenced by local variation was in pronunciation: it assimilated many elements of pronunciation of the vernacular dialect or language of each region or country. In France, especially, the pronunciation of Latin sounded very similar to the French that was spoken in the Middle Ages.

The pronunciation of “French” Latin from the thirteenth century that we are using in this program is adapted from linguistic research by Harold Copeman. Our pronunciation of thirteenth-century French is based on linguistic research by Robert Taylor. This research is published in Singing Early Music (Indiana University Press, 1996).

                                                                                                                                                                          – Marsha Genensky

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