Arnold & Hugo de Lantins: Secular Works

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The vocal pieces are performed equally well with some arresting imitative singing in Celsa sublimatur, calm beauty in Tota pulchra es…and extraordinary fluency in the complex cross-rhythms of... — BBC Music Magazine, April 2016, 4 out of 5 stars More…

Release Date: 22nd Jan 2016
Catalogue No: RIC365
Label: Ricercar
Length: 66 minutes

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Lantins, H: Per amor de costey

Work length4:46

$1.00

$1.30

$2.05

Le miroir de musique, Baptiste Romain, Sabine Lutzenberger
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Un seul confort pour mon cuer resjoir

Work length1:52

$1.00

$1.30

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Las, pouray je mon martire celer

Work length2:48

$1.00

$1.30

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Ne me vueilles belle oblier

Work length3:43

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$1.30

$2.05

Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Helas amour, que ce qu'endure

Work length3:45

$1.00

$1.30

$2.05

Le miroir de musique, Baptiste Romain, Clara Coutouly
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Amour servir et honnourer

Work length5:07

$1.00

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Amour servir et honnourer (Basse danse & quaternaria)

Work length2:16

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Ce jour de l’an, belle je vous supply

Work length2:46

$1.00

$1.30

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Chanter ne scay ce poyse moy

Work length2:32

$1.00

$1.30

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Celsa sublimatur victoria / Sabine, presul dignissime

Work length1:47

$1.00

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Tota pulchra es amica mea

Work length2:12

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Tota pulchra es amica mea (2)

Work length2:43

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Grant ennuy m’est, tres douce simple et coye

Work length3:32

$1.00

$1.30

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Plaindre m'estuet de ma damme jolye

Work length6:04

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Le miroir de musique, Baptiste Romain, Sabine Lutzenberger
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Puis que je voy, belle, que ne m'ames

Work length5:23

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Le miroir de musique, Baptiste Romain, Clara Coutouly
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Je suy exent entre aman pour amour

Work length4:31

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Le miroir de musique, Baptiste Romain, Sabine Lutzenberger
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Helas emy! ma dame et ma mestresse

Work length3:44

$1.00

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Le miroir de musique, Baptiste Romain, Sabine Lutzenberger
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Mirar non posso ni conzerner

Work length2:04

$1.00

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, H: Io sum tuo servo

Work length2:57

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

Lantins, A: Puisque je suy cyprianes

Work length2:10

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Le miroir de musique, Baptiste Romain
Recorded: April 2014
Recording Venue: Castle Church Beuggen, Germany

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The composers Arnold and Hugo de Lantins were natives of the diocese of Liège, but it was in Italy, principally in Pesaro and Venice that their presence is confirmed between the years of 1420 and 1430. As with the works of Johannes Ciconia, a fellow native of Liège whose time in Italy had preceded theirs, their secular and sacred compositions are preserved in manuscripts copied in Italy. Closely rubbing shoulders with their illustrious contemporary Guillaume Dufay, the Lantins brothers combined archaic traits with the earliest characteristics of the Renaissance. Le Miroir de Musique presents a large selection of French and Italian chansons which enriches our view of the cultural sophistication of the Italian courts at the start of the 15th century.

An introductory note by Jérôme Lejeune

"The De Lantin brothers were both born in Liège and were active as composers during the beginning of the 15th century; RICERCAR had already devoted a CD (RIC207) to the works of one of the brothers in 2002. The Capilla Flamenca under the late Dirk Snellings presented the Missa Verbum Incarnatum by Arnold De Lantins, an important milestone in the history of music as it was possibly the first cyclic mass.

We now feature the works not only of Arnold de Lantins but also of his brother Hugo in a programme of their French and Italian chansons and canzone. The brothers were active in Italy, principally in Venice and Pesaro, where they were part of the highly refined style predominant there at the beginning of the 15th century; this was a period of transition between the archaic mediaeval style and the humanist and expressive style of the Renaissance.

The path to Italy had been laid down by another Liège-born composer several years earlier, one Johannes Ciconia; musicologist now acknowledge that Ciconia played a leading role in the creation of what would become the new musical structures of the Renaissance. Ciconia’s complete works have been recorded by La Morra and Diabolus in Musica for Ricercar on RIC 316.

What, however, caused these men from Liège, soon followed by other Flemish and French composers, to travel to Italy? Although some of these were priests and would have had a practical reason for their journey, travelling to Rome to speed up their requests for the granting of ecclesiastical endowments or prebends, they would in general have been attracted by the artistic development and refinement of the Italian courts. It is interesting to note that the French language was associated with high culture at that time, possibly as a result of Petrarch’s time spent in Avignon; this explains the many works of his that are set to French texts. Hugo de Lantins, however, seems to have had a rascally side, as can be seen by the acrostic (words formed by the initial letter of each line) of the rondeau Plaindre m’estuet de ma damme jolye, as it reads « putain de merde » (FILTHY WHORE); we may well wonder who the damme jolye or fair lady was that caused Hugo to insult her so."

Reviews

April 2016

The vocal pieces are performed equally well with some arresting imitative singing in Celsa sublimatur, calm beauty in Tota pulchra es…and extraordinary fluency in the complex cross-rhythms of Je suy extent

April 2016

Le Miroir de Musique is one of a number of young groups led by an instrumentalist but combining voices as well. These ensembles make the case for instrumental participation in this repertory as compellingly as Gothic Voices did for all-vocal performance…this is one of the most satisfying 15th-century recordings I've heard in a while: specialist repertory that doesn't deserve to be.

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