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Guillaume de Machaut (c.1300-77)

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Machaut: A burning heart

Machaut: A burning heart


Machaut:

Hé, dame de vaillance

Cinc, un, trese

De souspirant/Tous corps qui de bien amer/Suspiro, M2

Helas, pour quoy se demente et complaint

Esperance qui m'asseüre, B13

Pas de tor en thies pais

Se mesdisans

Une vipere

Tuit mi penser

Plus dure que un dyamant

Vos dous resgars, douce dame, m'a mort

Se je me pleing, B15

Qui plus aimme/Aucune gent m'ont demandé/Fiat voluntas tua, M5


A third collection of songs on the theme of courtly love by Guillaume de Machaut. Throughout this series, the members of The Orlando Consort are proving the most committed of guides to the music and mores of fourteenth-century France.

“The idealised pains and pleasures of courtly love are captured with haunting intensity...All sing exquisitely.” The Guardian, 7th August 2016 ****

“[A] very impressive recital” Gramophone Magazine, August 2016

“Either this or one of the two earlier recordings in the series would make an ideal introduction to Machaut’s secular music.” MusicWeb International, 11th August 2016

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Machaut: Songs from Le Voir Dit

Machaut: Songs from Le Voir Dit


Machaut:

Ploures, dames, B32

Dame, se vous n'avez aperceü

Ne que on porroit

Sans cuer, dolens, R4

Le lay de bonne esperance 'Longuement me sui', L13

Dis et sept, cinq

Puis qu'en oubli, R18

Quant Theseus / Ne quier veoir, B34

Se pour ce muir


The Orlando Consort: Matthew Venner (countertenor), Mark Dobell (tenor), Angus Smith (tenor) & Donald Greig (baritone)

The Orlando Consort performs the music of Machaut, the most significant French poet and composer of the fourteenth century. Sometimes described as ‘the last of the trouvères’ because of his dual talents as poet and musician, Machaut built on past traditions yet spearheaded a new school of lyric composition. In the field of literature, he developed several of the poetic forms and genres that dominated for generations to come. His impact on the musical life of his age was equally profound; he is closely associated with the new style of polyphonic love-song that became so popular in the fourteenth century, and today is considered the supreme representative of the Ars nova musical tradition that revolutionized composition and notation in that period.

Livre dou Voir Dit (‘Book of the True Tale’) is Machaut’s masterpiece. By its very title, the tale purports to be autobiographical: it relates a supposedly recent episode in the ageing poet-composer’s life, his love affair with a lady some forty years his junior.

“[Venner and Dobell] display the most magnificent articulation of the texts alongside the understanding of the lines gained from their senior colleagues...Those who know the Orlando Consort will know what to expect. No instruments, just solo men's voices...always dead in tune, always beautifully balanced.” Gramophone Magazine, November 2013

“The performances by the Orlando Consort of four male voices are masterly.” New York Times, December 2013

GGramophone Awards 2014

Shortlisted - Early Music

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Machaut: Sovereign Beauty

Machaut: Sovereign Beauty


Machaut:

Tres bonne et belle

Foy porter, V22

Dame, ne regardes pas, B9

J'ay tant / Lasse! Je sui / Ego moriar pro te

Se quanque amours, B21

Dame, a qui m'otri de cuer, V12

De desconfort, B8

Quant j'ay l'espart

Comment qu'a moy

De Bon Espoir / Puis que la douce / Speravi

Un Lay de consolation


The latest instalment in a series which continues to garner the highest critical plaudits. The Orlando Consort bring their customary virtues of ‘supreme text-sensitivity and beauty of tone’ (Early Music Today) to another recital showcasing the breadth of Machaut’s musical and poetic inventiveness.

“Machaut at his most engaging and varied...this really is one bullseye after another...Rarely since the Gothic Voices has the vocalisation of the lower lines appeared so self-evidently the right approach...if I hear a finer recording of 14th-century music this year I’ll be very surprised.” Gramophone Magazine, July 2017

“In this enticing and entirely satisfying collection of substantial works by Machaut, the Orlando Consort continues its series, begun for Hyperion with Le Voir Dit, followed by The Dart of Love, and A Burning Heart. The penetration and purity of their singing convey great insight into the music of a composer whom they consider ‘close to the summit’ of the greatest composers of all time.” MusicWeb International, August 2017

GGramophone Magazine

Editor's Choice - July 2017

Released or re-released in last 6 months

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Guillaume de Machaut : The dart of love

Guillaume de Machaut : The dart of love


Grant, Denis Le:

Se je chant mains que ne suelh

Machaut:

Il m'est avis qu'il n'est dons de Nature, B22

Se vous n'estes pour mon guerredon nee

Amour et biaute/Quant en moy voint/Amara valde, M1

S'Amours tous amans joir/S'il estoit nulz qui pleindre/Et gaudebit cor vestrum, M6

Phyton, le mervilleus serpent, B38

Ay mi! dame de valour

Se j'aim mon loyal ami/Lasse! comment oublieray/Pour quoy me bat mes matris?, M16

Pour ce que tous mes chans fais

Helas, tant ay doleur et peinne

Sans cuer, dolens, R4

Fins cuers doulz/Dame, je sui cilz/Fins cuers doulz, M11

Rose, liz, printemps


Western music as we know it today—many individual lines of whatever nature combining in whatever manner into a single whole—has its roots in the fourteenth century, and most famously in the pioneering works of Guillaume de Machaut. Why he chose to set his remarkable poetry to music in this way we may never know, but the results continue to hold those who hear it enraptured.

Few groups have matched The Orlando Consort—formed in 1988 specifically to explore this repertoire—in capturing and recording the essence of Machaut. This is the second volume in their Machaut Edition for Hyperion.

“The second anthology in the Orlando Consort’s Machaut marathon…[is] characterised by supreme text- sensitivity and beauty of tone. One marvels at their trademark exquisite balance and their ability to reveal even the most complex of Machaut’s structures with enviable agreement and ensemble.” Early Music Today

“Machaut, in the skilled hands of these musicians, turns these brutalities into music of ethereal purity, pulsating with poised, almost jaunty rhythms. Music for quiet concentration.” The Observer, 25th January 2015 ****

“Much of the time the musical and textual argument puts the spotlight on the consort's younger members, the countertenor Matthew Venner and the higher tenor Mark Dobel...Their agility and Venner's clear, well-modulated timbre and admirably control of phrasing play no small part in the Orlandos' rejuvenation.” Gramophone Magazine, March 2015

“Here we get a mix of 13 songs and motets taken from across his output, sung with suavity and control…'Quant en moy/Amour' provides a lesson in quiet poise and ensemble” BBC Music Magazine, June 2015 ****

GGramophone Magazine

Editor's Choice - March 2015

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Lancaster and Valois

Lancaster and Valois

French & English Music, c1350–1420


anon.:

Puis qu’autrement ne puis avoir

Soit tart, tempre, main ou soir

Le ior

Avrai je ja de ma dame confort?

Sanctus

Je vueil vivre au plaisir d’amours

Cesaris:

Mon seul voloir / Certes m’amour

Se vous scaviez, ma tres douce maistresse

Cordier, B:

Ce jour de l’an

Fonteyns:

Regali ex progenie

Machaut:

Donnez, signeurs

Quand je ne voy

Riches d'amour et mendians d'amie

Pas de tor en thies pais

Pycard:

Credo

Solage:

Tres gentil cuer

Sturgeon:

Salve mater Domini / Salve templum Domini


“We are exceptionally lucky to have such brilliantly persuasive advocates of such wonderful music” Gramophone Magazine

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Sacred and Secular Music from Six Centuries

Sacred and Secular Music from Six Centuries


anon.:

Dezí, flor rresplandeçiente

Nuevas, nuevas - ¡Por tu fe!

Byrd:

Ne irascaris Domine

Contractus:

Salve regina

Dufay:

Vergene bella

Gloria ad modem tubae

Fayrfax:

Most clear of colour

Flecha I:

Ensalada 'El jubilate'

Goudimel:

Bon jour mon coeur

Isaac:

Tota pulchra es

Janequin:

Le chant des oyseaux

Machaut:

Quant je sui mis au retour, V13

Penalosa:

Sancta mater istud agas

St Victoire:

Planctus ante nescia

Tallis:

O nata lux de lumine 5vv


“Music making of the highest order. Everything shows them at their superb best” Gramophone Magazine

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The Medieval Romantics

The Medieval Romantics

French Songs and Motets, 1340–1440


anon.:

Quiconques veut d’amors joïr

Je languis d'amere mort

Quant voi le douz tans / En mai / [Immo]

Plus bele que flors / Quant revient / L’autrier jouer

Degentis vita / Cum vix artidici / Tenor / Contratenor

Mais qu’il vous viengne a plaisance

Dufay:

Je requier a tous amoureux

Las, que feray?

Firenze, D P:

Sofrir m’estuet et plus non puis durer

Lymburgia:

Tota pulcra es, amica mea

Machaut:

C’est force, faire le weil

Tant doucement

Comment qu'a moy

Porta, C:

Alma polis religio / Axe poli cum artica / Tenor / Contratenor

Senleches:

En ce gracieux tamps joli

Solage:

Joieux de cuer en seumellant estoye

Velut:

Je voel servir plus c’onques mais


“Enthusiasm abounds in this landmark recording, sometimes overwhelmingly. The textless or partially-texted vocalisations that cocoon the poetry occasionally tip over into jarringly reedy vocal lines. Subtleties elsewhere - generally in Andrew Lawrence-King's playing - compensate for occasional longeurs.” BBC Music Magazine, July 2008 ***

“These performances reach an unrivalled level of excellence … and show just how marvellous medieval music can be” CD Review

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The Spirits of England and France

The Spirits of England and France

Music for Court and Church from the later Middle Ages


including:

Cooke, John:

Gloria

Machaut:

Ay mi! dame de valour

Perotinus:

Presul nostri temporis

Perugia, M:

Belle sans per

Pykini:

Plaisance, or tost


“Unalloyed pleasure ... once again a superb recording that stimulates, that charms” Gramophone Magazine

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The Spirits of England and France - Volume 3

The Spirits of England and France - Volume 3

Binchois and his contemporaries


anon.:

Abide, I hope

Exultavit cor in Domino

Binchois:

Qui veut mesdire

Shirley Rumsey, Christopher Wilson, Christopher Page (lutes)

Amoureux suy

Adieu mon amoureuse joye

Ay! Doloureux

Magnificat secundi toni

Se la belle n'a voloir

Bittering:

En Katerina solennia / Virginalis concio / Sponsus Amat Sponsum

Cardot:

Pour une fois

Shirley Rumsey, Christopher Wilson, Christopher Page (lutes)

Dunstaple:

Beata Dei genitrix

Fontaine, P:

J’ayme bien celui

Legrant:

Se liesse

Shirley Rumsey, Christopher Wilson, Christopher Page (lutes)

Lymburgia:

Descendi in ortum meum

Machaut:

Il m'est avis qu'il n'est dons de Nature, B22

Power, L:

Gloria

Velut:

Un petit oyselet

Shirley Rumsey, Christopher Wilson, Christopher Page (lutes)

Laissies ester vostres chans


“Another compelling release in this series—up to Gothic Voices’ usual standard” BBC Music Magazine

“Don’t wait to pick up this disc” Fanfare

“Deeply moving and magical” Gramophone Magazine

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The Study of Love

The Study of Love

French songs and motets of the 14th century


anon.:

Pour vous servir

Puis que l’aloe ne fine

Jour a jour la vie

Combien que j’aye

Marticius qui fu

Renouveler me feïst

Fist on, dame

Il me convient guerpir

Le ior ‘Faenza codex’

En la maison Dedalus

Combien que j’aye

La grant biauté

En esperant

Ay las! Quant je pans

Machaut:

Fins cuers doulz/Dame, je sui cilz/Fins cuers doulz, M11

Biaute paree de valour/Trop plus est belle/Je ne sui mie certeins, M20

Tres bonne et belle

Se mesdisans

Dame, je vueil endurer

Pycard:

Gloria

Solage:

Le Basile


“A simply superb CD … a recording which you might use to snare those as yet unconverted and resistant to the beauties of the Gothic” Fanfare

“A wonderful addition to the catalogue, and the recorded sound … is superlative” Gramophone Magazine

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