music of the troubadours

7"--5
Early Music Alte Musik
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MUSIC OF THE TROUBADOURS
Ensemble Unicorn Oni Wytars
Michael Posch Marco Ambrosini
Music of the Troubadours
The poems and songs of the troubadours pmvide a
repenoire of early European secular song. It is i~sualto
distinguish the lxxts and musicians of the Occitanian
tradition of souther^^ France from those who flourished
slightly later in the north, the first as nnrth~tclottrsand
the second as rroitvi.rrs.The trouhadours themselves. in
the twelfth ant1 thirteenth centuries, were. in general.
not the wandering minstrels o f nineteenth-century
imagin;~tion,hut often of high social position, kings,
princes ant1 lords, however limited their domains.
Among these poets. however. there were individuals of
lower social status. sons o f shopkeepers and tradesmen.
All. though, wcrc influcnced by a tradition and by
coavc~~tioris
o f the court and by courtly notions o f
itlealiscd love, its joys and sorrows. Other subjects of all
kinds occur. political. satirical. apologetic or bawdy.
The language of the troubadours. the Intrjirre d'oc, is
Provcnqal and closely related variants, to be greatly
distorted by the rro~t)~l.res.The activities o f the
tmtlbadours extended into Cntalonia and into Italy. A
large number of troubadour poems survive and a fairly
s~~hstantial
body of monodic music, offering a single
melodic line following the rhythm and pattern of the
verse set.
The present anthology o f troubadour music and
verse opens wirh 7irrrret irhelis by Berenguier de Palou,
who tlo~~rished
in the early twelfth century. His place of
binh seems to have been Palol, near Elne, in the district
or Ko~~sillon,
at the modern border between France and
Spi~in.The son of an i~npoverishedknight, he is one of
the earliest of the Calalx~ntroubadours. Toni nt'cthe1i.s
co~isists01' five seven-line stanias, each line including
ten syllables. These decasyllabic lines rhyme in the
pattern ABRACDD. with the same rhymes continued in
each stanza. There is a funher example of his work in Ai
rol clotnno. a setting of an eight-line stanza of sevensyllable lines. rhyming ABABCCDD. There follows an
instrumental version of the anonymous twelfth-century
Do~nncr.p ~ vos
s
i:h~tifsi~lu.
No pitesc sfflir is the work of the troubadour Ciraut
de Rornclh, whose esrcrrnpie. Reis glorios is also
8.554257
included. The latter is an olh[r. s composition that marks
the paning of a couple at dawn (olhn). after a night
together. perhaps observed by a thirtl party. a
watchman. The music by Giraut is one ol' only two
surviving musical examples, whilc thcrc are nine
surviving examples of the texts. Giraut was born at
Excideuilh. near Wrigoeux in ;~hout 1140 ant1 tlicd at
the turn of the century. Of relatively In~mblcparellrage.
he rose to be respected as the master of the troobadours
and quotations fmm his work arc incl~~tled.
witli those
o f other troubadour poets, in Dantc's Dc, vrtlgctri
ebqrtet~ticr.evidence of his contemporary reputation.
Four of his 79 surviving poems arc preserved \\pith thcir
music. No prresc sofiir consists of ten eight-syllable
lines, rhyming ABABCDDCDD. The ~ ( n ~ f r t i ~ ~:II~
cttrr~
imitation, following current practice. follows the same
pattern, using the same rhyme-sclic~~ie
and same
rhyming syllables, in a series of five stanzas (r.oh1fr.x).
with a final three-line envoi (tornncln). This is by tlie
poet Peire Cardenal, probably born about the ycar I 180
at Le Puy-en-Velay in the Haate-Loire. Thrcc of his
surviving ninety poems are extant with thcir music and
two of these are co~irrqfoc!o. Peire Cardenal livctl a
remarkably long life and seems to have died at thc agc
of nearly a hundred at Montpellier. whcrc Jacqucs I.
K i l ~ go f Aragon had his resitlence until his death in
1276. The verbal intricacies o f the poem arc o f
pariicular interest, with an excursion into s~lli~cr:~tion
in
each line of the final stanza.
A bagpipe improvisation on the nietlieval hltjo is
followed by Raimon tle Miraval's Rcl 11r'cs fltt'i~rr
chcr~rt.The Provenqal tro~~badoar,
whose name ktals to
possible conti~sionwith his fhther. making the tla~tingof
his birth difficult, flo~~rished
between I IXI) ant1 12 1.5.
His castle at Miraval, to the north of Carc;~ssonne. held
by him together with his three hrothers. was seizctl hy
the Albigcnsian cn~sadersin 1209 or 121 l sntl in tlie
present poem he looks fonvard to its recapture. Rainlon
de Miraval's patrons inclutled Count K;~itnon\'I of
Touloose, defe;~tetlby the cmsatler Sinion dc 1Monlfort
in 1213. and Raimon-Rogier of Reiiers. who appear
2
under pseudonyms in his poems, as do other members
of the nobility. 48 chansons survive, 22 of them with
their music, an unusually large number. The four
stanzas of Be1 m'es qu'ieu chant consist of nine sevensyllable lines, with a repeated rhyme scheme for each
stanza, ABBACDDCC, reflected in the music.
Cantahen els ocells is the work of Ramon Llull
(Raymond Lull), distinguished as a Catalan
philosopher, theologian, poet and mystic. Born about
the year 1232, he died in 1315. A prolific writer, he left
some 243 works, in Latin and in Catalan, to the second
of which he gave scholarly respectability. His passing
and varied references to music have a distinct bearing
on contemporary practice. From a land-owning
Barcelona family, he was bom in Palma de Mallorca,
possibly in 1235, but at the age of thirty turned away
from secular poetry to a life religious activity urging the
foundation of colleges to study other religions. A figure
of the greatest importance in Catholic Europe, Ramon
Llull devoted much of his life to missionary activity, the
cause of his death in 1315. His short poem is recited to a
characteristic musical accompaniment.
Ara lausatz, lausat,lausat is an anonymous work of
bawdy suggestion from the Monastery of Sant Joan de
les Abadesses in Catalonia, its collegiate church
founded in 887 by Count Wilfred the Hairy (el Velloso),
whose daughter was the first of the abbesses.
A native of Narbonne, where he was born about the
year 1230, Guiraut Riquier is regarded as the last of the
troubadours. His 89 surviving poems can be dated
through frequent topical references and fall between the
years 1254 and 1292. He was in the service of
Amalrich IV, Viscount of Narbonne, and then of
Alfonso X of Castile. In 1279 he entered the service of
Henry 11, Count of Rodez, and died at the turn of the
century. 48 of the poems survive with their music, an
unusually large number. Humils, forfaitz, repres e
penedens consists of two eight-line stanzas with a final
three-line envoi. The rhyme-scheme is ABBACCD,
with the final three rhymes echoed in the envoi,
matched by the repeated melodic formula, with its
ornamentation.
Bernart de Ventadorn was born in the castle of
3
Ventadorn, in Limousin, between about 1130 and 1140
and was influenced by the example of Eble I1 and his
successor, both Viscounts of Ventadom and proponents
of the traditional courtly traditions of troubadour poetry.
It appears, from various allusions elsewhere and from
the usual surviving vida, the customary and sometimes
imaginative biographical notice of the lives of
troubadours, that he was the son of a baker or a footsoldier. Whatever his origins, he left Ventadorn to enter
the service of Eleanor of Aquitaine, who married the
future Henry 11 of England. He was later in the service
of Raimon V, Count of Toulouse, and after the latter's
death in 1194 is said to have entered a monastery in the
Dordogne, where he died in the last decade of the
century. 45 poems survive, with music to eighteen of
them. Quan vei la lauzeta mover is not only the most
famous of Bernart de Ventadom's songs, but among the
most widely known in troubadour repertoire, variously
imitated and a possible influence on the northern French
trouvere repertoire, deriving from the troubadours. The
poem consists of seven eight-syllable eight-line stanzas,
with a rhyming scheme ABABCDCD. The final four
lines form an envoi.
Jaufre Rudel, who flourished in the mid-twelfth
century, is known in particular for his poems to his
distant love. He took part in the second crusade in 1147
and it has been suggested that the distant love was the
Countess of Tripoli or even, metaphorically, Jerusalem
itself. The derivative and imaginative vida repeats the
story of Rudel, described as prince of Blaye, and his
infatuation with the Countess, seemingly known only
by repute. As a pilgrim, he set out to see her but was
taken ill on the ship, to die in the arms of the Countess,
once he had reached Tripoli. At his death she took the
veil. Of seven poems attributed to Rudel, four survive
with their music. Lanquan li jorn has a particular
interest in that it was imitated by the German
Minnesinger Walther vou der Vogelweide in his
Palastinalied (Naxos 8.553442). The poem itself
consists of seven eight-syllable seven-line stanzas,
followed by a three-line envoi. The rhyme-scheme is
ABABCCD, with the word loing (distant) ending the
second and fourth lines of each stanza.
8.554257
The Interpretation
The music and language of the troubadours,
together with their content have, over the centuries, in
no way lost their importance. Still in our own time,
particularly in the field of folk-music, their effects can
be observed in the musical and poetic culture of
Southern France and Catalonia. In our search for a
person who would be for us an ideal interpreter, with a
true understanding of this repertoire, we settled on
Maria LaAtte. She is one of the most important singers
of Cans6 Catalana and combines with long experience
in early music ensembles the experience of intensive
research in the field of medieval romance languages and
a deep engagement w ~ t hthe i n t ~ r ~ r c t a t ~ o nrelated
~of
methods of poetic expression. From the convict~onthat
this music is part of a living tradition has come a
confluence, in interpretation, of elements from the field
of early music with the continuing traditions of
Mediterranean music. The collaboration of the
Ensemble Unicorn with the Oni Wytars Ensemble as
representatives of these two stylistic trends has proved
very effective, as in the release On the Way to
Bethlehem (Naxos 8.553132). Well founded historical
research and general freedom for improvisation, with
the use of a varied group of instruments and strictly
text-related arrangements, offer, in this recording, a
refreshing wealth of colour, together with poetic
profundity.
Michael Posch and Marco Amhmsini
Oni Wytars
The internationally renowned ensemble Oni Wytars was formed in 1983 to perform music of the Middle Ages
and Renaissance as well as classical and traditional Arab and Turkish music. The ensemble seeks to unite the many
traditions that have influenced and enriched European musical culture for centuries by building a bridge between
ancient and still-thriving musical traditions, between east and west. Performing on instluments from the European
Middle Ages and Renaissance, on contemporary Arabic and Eastern European instruments and blending elements
from both the rich cultural heritage of Medieval Europe and from their own diverse backgrounds, the
instrumentalists and singers come from Austria, Germany, Italy ,Iran, Hungary, Spain, England and the U.S.A. Oni
Wytars has appeared in concerts and festivals throughout Europe, Canada and the Middle and Far East.
Ensemble Unicorn
Under the direction of Michael Posch, the Ensemble Unicorn has undertaken the task of making the music of
the Middle Ages and early Renaissance more accessible to a wide audience through refreshingly new
interpretations. At the heart of this international ensemble are musicians fmm Austria, Italy and Germany, skilled
in lively performance practice and historically based improvisation. The work of the Ensemble Unicorn is further
enriched by the research and varied interests of its members. With the encouragement of the Federal Ministry for
Education and the Arts and Austrian Embassies and Cultural Institutes, the ensemble has acted as a vehicle for
cultural promotion, to which may be added a highly siiccessful series of recordings. The group has appeared in
countries throughout the world, often in major festivals.
Marco Ambrosini
Marco Ambrosini was born in Italy. He studied the violin, viola and composition at the Pergolesi Institute in
Ancona and the Rossini Conservatory in Pesaro. In 1983 he founded the ensemble Oni Wytars, to focus on the
synthesis of many traditions from both the East and the West that have influenced and enriched European musical
culture for centuries. He works with many of the leading early music ensembles, as well as writing about music,
giving master-classes and participating in jazz performances, both as a performer and composer.
8.554257
4
Michael Posch
Born in Austria in 1969, Michael Posch studied recorder at the Carinthian State Conservatory, the Vienna
Academy of Music and Performing Arts and at the Tmssingen Academy. He won the competition Jugend musiriert
and now has a reputation as a performer of a wide repertoire of recorder music in a career that has taken him to
countr~esthrouehout the world. His activities have broueht a laree number of recordings. broadcast\ and television
appearances an; collaboration with ensembles that inzude ~ L n t u s Oni
, Wytars, k e Clemencic Consort and
Concentus Musicus. He has won equal distinction as a teacher in master-classes and is director of the Department
of Early Music at the Vienna Conservatory.
Ensemble Unicorn / Oni Wytars
Maria D. Lafitte
Thomas Wimmer
Riccardo Delfino
Peter Rabanser
voice
fiddle, laud
Gothic harp, hurdy-gurdy,
bagpipe
gaita, bujo, ud, nay, saz
Katharina Dustmann
Wolfgang Reithofer
dawl, zarb, bendir, deff
tenor drum, bowl drum,
tambourine
Marco Ambmsini
fiddle, keyed fiddle, shawm
Michael Posch (director) recorder, reed-flute
Tant m'abelis
Tant m'abelis jois et amors et chans
err alegrier deports e corteria,
oue l'mon non a ricor ni manentia
h n mielhs d'aisso'm renguesper benunans
doncs. sai ieu hen aue midons sen /as ciaus
de o&
t. 10s bes qu'i;u aten ni esper
e ren d'aiso sens lieys non puesc aver.
So much I love
So much I love joy and love and song,
mirth, sport and courtesy,
that in the world there is no wealth nor riches
that could make me feel happier.
Therefore I know well that mv lady holds the kcvs
.
of all the good that I expect and hop for,
and none of this can I have w~thoulher.
Sa gran valors e sos humils semblans
son gen parlar e sa bella paria,
m'an fait ancse voler senhoria
plus que d'autra qu'ieu vispueys ni dabans;
e si'l sieu cors amoros e suaus
e sa merce no'm denha rerener,
ja d 'als amors normpotjar mon plarer.
Her great courage and her modest look,
her gentle speech and her fair company
have made me alwavs love her dominion
more than any othe2s I have seen before or since;
and if her loving and tender heart
deigns not to kGp me under her mercy,
love cannot please me with anything else.
Tant ai volgut sos bes e sos enans,
e dezirat lieys e sa companhia
que ja no ere, si [onhar m'en volia
que ja partir s'en pogues mos tolam;
e s'ieu n'ai dit honor ni be ni laus,
no m'en fas ges per messongier tener,
qu'ab sa valor sap ben proar mon ver.
So have I wanted her good and her renown,
and so have I desired her and her company
that 1 believe if she wanted me ro leave her
I could never be able to pan from her:
and if I declare her honour, her good and her fame,
I could not be held to be a liar,
since her worth proves my honesty.
Belha domnu, corteza, benesrans,
ah segur Aen, ses blasme ses folhia,
so tor no 'us vey tan soven cum voln'a,
mo.spessamens aleuja mos afans,
en que'm deheyt e'm sojorn e'm repuus
e quan no'us puesc estiers dels huelhs vezer
vey vos ades en pessan jor e ser.
Fair lady, courteous, kind,
of sure judgement, without blemish or folly.
although I do not see you as often as I would,
my fancy lightens my desire
in which is my delight. my ease and my repose,
and when my eyes cannot see you,
I see you in my thoughts, day and night.
Sabetz per que no'm vir ni no'm balans
de vos umar ma belha dous'umia?
Quar ja no'm caldoptar, ri ieu'us aviu,
que mesclessetzfalria ni enjans;
per qu'ieu am mais, quar sol albirar n'aur
que vos puscan a mos ops eschazer
qu'autru baizar, embrassor ni tener.
Do you know why I do not turn aside or hesitate
in loving you, my fair, gentle friend?
Because if I had you, I should not fear
that you put forward any falsehood or deceit;
for I prefer, although I only presume it,
that you could some day be mine
than kiss, embrace or hold another woman.
Doncs si'eu ja'm vey dins vostres brarz enclaus
si qu'ambeduy nos semblen d'un voler,
meravil me on poiria'l joy caber.
So if I ever am held in your arms
so that both of us are of one mind.
I wonder how I could contain my joy.
Domna, pos vos ay chausida
(Instrumental)
Lady, for you
No puesc sofrir qu'a la dolor
Non putsc sojrir qu'a la dolor
de la dent la lenga no'm vir;
e'l cbr amb la nov.klapor,
lanqrrand vei 10s ramdlsflorir
e'lh chant son pel boscatge
dels auselets enamorals;
e si tot m'esau apensats
ni pres per malaururge,
quand vei chants e vergiirs eprats,
ieu renovPl e m'as,rola$.
I cannot prevent with pain
I cannot prevent with pain
in a tooth my tongue returning to it;
so does my hean to the new flower,
when I see the boughs blossom
and through the woodland sounds the song
of birds in love;
although 1 am pensive
and sad in my thoughts,
when I see these songs and meadows and fields,
I am rencwed and comforted.
A r me puesc ieu lauzar dYAmor
Ar me puesc ieu lauzar d'Amor.
que no 'm to1 manjar ni dormir;
ni'n senfriedura ni calor
ni no'm badall ni so'm sospir
ni'n vauc de nuex arratge,
ni'n soi conquistz ni'n soi cochutz,
ni'n soi dolenz ni'n soi irak,
ni no'n logi messatge;
ni'n soi trazitz ni enganarz,
que partitz m'en soi ab mos darz.
Now I can he satisfled with Love
Now 1 can be satisfied with Love,
for he takes from me neither eating nor sleeping;
nor through him do I feel cold or heat,
nor do I yawn or sigh,
nor do 1 wander at night,
nor am I conquered or weighed down,
nor am I sad or vexed,
nor do I hire a messenger;
nor am I betrayed or deceived,
since I am paned from her by cast of dice.
8.554257
Aurre plazer ndi ieu maior,
yue no'n traisc nifauc trair,
ni'n tem tracheiris ni trochor,
ni brau gilos yue m h azir;
ni'n fauc fol vassallntge.
ni'n soi feritz ni derocatz,
ni'n soipres ni derauhatz,
ni no'nfauc long budage,
ni dic qu'eu soi d7Amorforsatz,
ni dic que mos cors mPs emblatz.
Ihave a greater pleasure,
since Ibetray not nor am betrayed,
nor fear Waitress nor traitor,
nor do 1fear fierce jealousy;
nor do I suffer angry servitude,
nor am Iinjured nor overthrown,
nor am I ca~tivenor caumred.
nor do Isuffer long-deiryedhope.
nor do Isav that 1am forsaken bv Love.
nor say h
t; my heart has heen taken from me.
Ni diu qu'ieu mor per la gensor,
ni dic que.1 bellam fai languir,
ni non la prec ninon l'azor,
ni la deman ni la dezir;
ni no1fas homenatge.
ni no.1 m'autrei ni.1 me soi datz,
ninon soi sieus endomenjatz,
ni a mon cor en gaqe,
ni soi sos pres ni sos liah,
anz dic qu'ieu li sol escupalz.
Nor do Isay Idie for the most amiable,
nor say that the fair one makes me languish,
nor do I beg her nor adore her,
nor long for her nor yearn for her;
nor do Ido homage to her,
nor do Isubmit a) her nor give myself up,
nor am Iher sem~ant,
nor is my heart in thrall,
nor am Iher captive nor her bond-slave,
but Isay I have escaped from her.
Mais deu hom lauzar vensedor
nofai venpt, qui.1 ver vol dir,
car lo vencens porta laflor
e.1 venpt vai hom sebelir;
e qui venc son corage
de las desleials voluntatz
don ieis lofaitz desmezuratz
e li autre autratge,
d'ayuel venser es plus onralz
que si vensia cent ciutah.
But the victor deserves praise
rather than the conquered, to speak truth,
for the victor bears the flower
and the conquered the grave;
and he who conquers his spirit
away fmm disloyal desires
from which proceed unn~lyactions
and further excesses,
for that victory is the more honoured
who has conquered a hundred cares.
Pauc pres prim prec de pregador,
car cre qu'il, cuy quer convertir,
vir vas vil voler sa valor,
don dreirz deu dar dun alpartir,
si sec son sen salvatge,
leu l'er lo larcx laus lag loinhats.
Plus pres lauzablesque lauzatz:
nop ren estreg osratge
dreitz drurz del darr d'Amor nafatz.
Pus pauc pres, pus pres es compratz.
Little do Ivalue the suppliant's keen prayer,
for he believes that he whom he would persuade,
will bend his will to base desire,
that nghtly should bring h ~ m
death.
i f he follows his wild feelinn,
he will soon lose his good name;
I value more the praiseworthythan the praised:
held secure as a hostage
is the perfect lover, struck by Love's dart.
Then i f merit is bought,it is of worth little.
Non voilh voler volatge
que'm volv e'm vir mas volmtaz
mas lai on mos vols es volatz.
I want no changing desire
Bujo (htrumental)
Bujo
Bel m9esqu'eu chant
Be1 m'es qu'eu chant e coindei
pos l'aw'es dous'e.1 temps gais.
e per vergiers e per phis .
aug lo retint e.1 gabei
quefant l'auzeillet menut
entre.1 vert e.l blanc e.1 vaire;
adoncs se deuri'atraire
cel que vol c'amors I'ajut
vas chaptenenssa de drut.
It is fine to sing
that pulls at me and changes my will
except towards that to which my love takes flight.
It is fine to sing and to love,
for the air is sweet and the weather fair,
and through the meadows and hedge-rows
I hear the warbling and singing
of the little birds
amid the green, the white and the varied;
So, then, he who would
that love help him
must try to behave like a lover.
Eu M sui druh mas dompnei,
ni M tern pena nifais
nim rancur leu ni m'irai,
ni per orguoill no m'esfrei;
per0 temenssamfai mut,
c'a la bella de bon aire
non aus mostrar ni retraire
mon cor qu'ill tenc rescondut,
pois aic son prek conogut.
I am not a lover, but a suitor,
and I fear neither pain nor grief,
nor easily do 1 complain or become angry,
Ja non cre c'ab leis parei
beutatz d'autm dompna mais,
queflors de rosier qan nais
non es plusfresca de lei,
cors benfait e gen creguf,
boch'et oills del mon esckaire;
c'anc Beutah plus no.i saup faire,
se.i mes tota sa vertut
qe res m.il b'es remasut.
I do not believe that ever can be compared
her beauty with that of another lady.
for the flower of the rose, when it is born,
is not fresher than she is,
her body well made and grown in grace,
her mouth and eyes lighting up the world:
No greater beauty can there be,
in her lies all its virtue
so that none remains besides.
Chanssos,vai me dir a1 rei
cui jots guid'e vest epais,
q'en Iui non a ren biais,
c'airal cum ieu vuoill lo vei;
ab que cobre Montagur
e Carcasson'el repaire:
pois er depretz emperaire,
e doptaran son escut
saifrances e his masmut.
Song, go speak for me to the king
who guides, forms and nurtures joy,
in whom there is nothing base,
that 1see him as I wish,
that he may recapture Carcassonne
from Montagut and return;
he will be a wonhy emperor,
and there will fear his power
the French and the ~ G b s .
nor does pride ftighten me;
but fear makes me silent,
for to the fair and favoured one
I dare not show nor speak of
my heart, that I keep hidden,
since I have learnt her worth.
Cantaben els ocells
Cantaben els ocells I'alba,
i es despertd l'amat qui es l'alba:
e 10s aucellsfiniren llirr cant;
i l'amic moriper l'amat, en I'alba
The birds were singing
The birds were singing the dawn.
and the beloved awoke, who is the dawn;
and the birds finished their song;
and the lover died for the beloved. at the dawn.
Ai taldomna
Ar tai domno com ieu sai
rrcha e de b6las faicons,
amb cors convenent e gai,
amb dichs plasenti6rs e bow,
si volguh prPc.7 ni demandas sofrir,
degra [m onmr, car tener e senzir,
que no'?falh ren qu'en bona damna sia,
mas car Amors y perd sa senhoria.
Such a lady
Such a lady as I know,
noble and fair in demeanour,
with gentle, well-favoured body,
pleasing words and good,
allowing any requests and demands,
her you would have to honour, cherish and serve,
for she lacks nothing of what befits a good lady,
so that Love loses his dominion over her.
[SI Estampie: Reis glorios (lnstrumntal)
Estampie: Reis glorios
Ara lausatz, lausat, lausat
Ara lausatz, lausat, lausat.
il comandament I'abat.
Praise, now, praise, praise
Praise now. praise, praise,
the abbot's command.
Bela, si vos eravak monja
de ndstra maison,
a profiPch e tots 10s monges
vos prendifz liurason.
Mas vos non estaretc, bela,
si tots jorns enversa non,
co dik I'abat.
Fair one, if you were a nun
in our house,
to the profit of all the monks
you would take tribute.
But you shall not pass a day. fair one,
except on your back,
so the abbot says.
Humils, forfaitz, repres e penedens
Humils,forfaitz, repres e penedens,
entristeiits, marrit de revenir
so, qu ay perdut de nlon temps perfalhir.
Vos clam merce, Dono, Vergesplazens,
maires de Crist,filh del tot poderos,
que no gordetz cum suy forfaitz vas vos;
si us plai, gardatz I'ops. de m'arma marrida
Humble, sinful, accused and penitent
Humble. sinful. accused and wnitent,
saddened,afflicted I am in m'y return,
for I have wasted my time in sinning.
I seek mercy, Lady, Virgin kind,
mother of Christ, son of the all-powerful,
that you consider not my sin against you;
consider, if it please you. the need of my afflicted soul.
Mas esper ai que'm siatz vos guirens
del greu perilh mortal que'm fa marrir,
de que no puescper ren ses vos issir;
tans e tan greus trobi m
s fallimens!
E donc pregatz vostre Filh glorios
que'm fassa far sos plazers e mos pros,
qu'aissi'm podeh. tornar de mort a vida.
BUI I have hope that you will protect me
In the grave mortal danger that aflllcts me,
from which 1 can in n o i a v,escaw
, without vou:
so great and so g a v e are our sinc!
Pray, then, your glorious Son
that he make me do his will, for my own good,
so can you bring me from death to life.
8.554257
Per nos, Dona, verger regina,fm
maires delfilh d~ Dieu tot poderos:
domacopraz d'elh a nos crta guida.
For us. lady, V ~ r g ~Queen,
n
you were
mother of the Son of God all-powerful:
then take from him this guide for us.
Quan vei la lauzeta mover
Quan vei la lauzeta mover
de joi sas alas conrra'l rui,
que r'ohlid'e's laisso chazer
per la doussor c'al cor li vai.
ai tan grans enveya m'en ye
de cui qu'eu veyo jauzion.
meravillrosai, car desse
lo cor de dezirer no'mfon.
When 1see the lark move
When I see the lark move
forjoy his wings in the sun,
and disappear and swoop
for the delight that comes to his heart,
great envy comes upon me
at one so joyful,
and I wonder that in an instant
my hean does not faint for desire.
Ai, l a y ! tan cuidava saber
d'amor c tan perir en sai!
car eu d'amur no'm posc rener
celeis don ja pro non aurai.
Tout m'a mo cor, e tout m'a me,
e se mezeis'e for lo mon:
e can se'm rolc, no'm 1ai.s.scr re
mas dezirer e cor volo.
Ay, alas! I thought I knew much
of love and I know so little!
for I cannot forbear to love her
from whom I shall have nothing.
She has stolen mv heart and mv being,
and for herself thk whole world;
and when I am parted from her, there is nothing
other than desire and my yearning heart.
Anc non anui de me poder
ni nofui &us de I'or en sai
que'm laisset en sos 0111svezer
en un miralh que mout nre plai.
Miralhs, pus me mirei en te,
m'an mort li sospir de preon,
c'aissi'm perdei com perdei se
lo hels Narcisus en la font.
Never more have I power over myself
nor was I myself from the moment
that my eyes saw her
in a mirror that pleased me much.
A mirror, since the time I saw you,
deep sighs have brought death to me.
SO ihat i am lost as was lost
fair Narcissus in the fountain
De [as domnas me dexesoer:
ja mais en lor no'm jarai;
c'aissi corn las solh chaprener,
enaissi /as dechaprenrai.
Pois vei c'una Dro na m'en fe
vas leis que'm destrui e'm cojan,
rotas las dopr'e /as mescre,
car he sai c'atretab se son.
Of ladies I despair;
never more shall I trust them
and as I once defended them,
so shall 1 forsake them.
Since I see that none help me against her
who destroys and confounds me,
I fear them all and mistrust them,
for I know they are all alike.
D'aisso's fa be femna parer
ma domna per as'elh o rerrai,
car no vol so c'om deu voler,
e so c'om li devedafai.
Chazurz sui en nrala merce
In this does show herself true woman
my lady, for which I blame her,
since she wants not what she should
and does what is forbidden.
I am fallen in disgrace
-
et ai befoil1 co'1,folsen porr;
e N O sui per qire m 'esdeve,
mas car rrop prryei contra moll
and have acted like a fool on the bridge:
and 1 do not know what is happening to me.
unless l have aimed too high.
Merces es perduda, per irer
el eu non o sauhi altc smi
car eilh qiri p11r.s en degr'nver,
no'n a ges: el on kr qrrerrui?
A! cart iiml seinbla, ylri la ve,
qrred nques~rhoiriu de:irmr
qlie jo ses leis iron aura be,
icrisse morir, qrre 110 l'aon.
Truly, pity is lost
and I never Ihoi~ghtit,
Ibr she who ought to have much
has none: and where shall I seek il:)
Ah! how hard to believe, when I see
how she leaves to die
and gives no help to the lover
who without her has nothing.
Pus ab nridons no'm pot b~aler
precs ni rrercer ~ i 'dreilr:
l
qu'eu a;.
ni a leis fro IWII a plu-er
qu'cu I'cim,j(r tnais no 'lh o clirni.
Aissi'nt parrp leis e'fn rccre:
nrorl m'a, e per inort li respon,
e w u m'e~l,
prrs ilh no'nr rete.
cbaitius, en issil/r,no soi on.
Since with my lady there is no value
in prayers nor pity nor the right I have,
ant1 it not pleasing to her
that I love her, 1 shall say it no more.
So, then, 1 shall keep away from her and desist;
She has brought death to me. and in death I reply,
and go, now that nothing l~oldsme back.
diskraced, toexile. 1 know not where.
Tristans,ges iro'ni ourec de me,
qu 'cu m'eir t,au, chairiris110 srri on.
De chanlur nre gic c ' n ~
recre,
e de joi e d'urrior m'escon.
Tristan. from me yoit will have nothing,
since 1 go, disgraced. l know not where.
I give up singing and refrain,
and shun joy and love.
Lanquand li jorn son lone en mai
Lmqirirrrd 1;jorti son lortc en nrui
rn'e.5 hels doiiz chons d'arr:els de loing
e qnnd 1r1e srri pcrrtitz de lai
renimrbram d'rrn amor de loing.
Varrc (Ir falait entbroncs e dis,
si ylre clruirs nijlors d'albespis
no.m plat plus qse l'ivcrrfsgelar:.
When the days a r e long in May
When the days are long in May
then pleases mc thc song of birds afar
and when 1 have gone h m there
I rcmcmber my love afar.
Troubled and oppressed by longing,
I go, so that song nor \vhitethorn flower
pleases me more than icy winter.
Ja nrais d'arnor no.m gauzirui
si no.m gait d'est anror de loing
clue gensor ?tiineillor nor1 sai
vas nuillrr jmrl, ni pres iri Ioing.
?iotl rs sos pretz verais efis
qcre lai el renc dr1.s sarrciiis
fi7.s eft,per lieis, chaitiur clamaiz!
Never more shall I enjoy love
if I enjoy it not from far
since no kinder or better do I know
anywhcre. near or far.
Her wonh is so true and pure
that in the realm of the Saracens
you would be declared love's captive!
Sad and happy shall I go
when 1 see this love afar
mas non sai coras l a m veirai
car trop son nostras terras loing.
Assatz y a portz e camis!
E, per aisso, non sui devis...
Mas tot sia cum Dieu plarz'
but I h o w not when I shall see her
for our lands are far apm.
There are too many gates and roads!
And, for this reason, l am no soothsayer...
But may all be as God pleases!
Bem parra jois qan li qerrai
per Amor Dieu, I'Amor de loing;
e, s'a lieis phi, albergarai
pres & lieis, si b e m sui de loing!
Adoncs oarra'l oarlamens fis
qanddhrz loinhs, er tan &is
c'ab bels dinz jauzirai solarz.
Joy is mine when I seek her
through God's Love. Love from afar;
and, if he pleases. I shall take shelter
near her, though I am far away!
Then there will be gentle talk
when, a distant lover, I shall be so near
that I shall take comfort from her fair words.
Ben tenc lo Seignor perkmi
per q'ieu veirai 1'Amor de loing;
mas, per un ben que m'en eschai,
n'ai dos mals, car tan! m% de loing ...
Ai! car mefos lai peleris
si que mosfustz e mos tapis
fos peb sieus bels huoilk remirn!
I hold him Lord indeed, through whom
I shall see Love afar;
but, as to a benefit to come to me,
I have doubts, for from me she is so far...
Ay! If I were a pilgrim,
and my staff and cloak
were seen by her fair eyes!
Dieus, qe fen tot qant ve ni vai
e fermet cest'Amor de loinn,
me don poder, qe'l cor eu n'ai,
q'en breu veia I'Amor de loinn.
ieraiament, en locs aizis, si qe la cambra e.1 jardis
mi resembles totz temps palat~r
God, who made all that goes and comes
and confirmed this Love afar,
give me power, the heart I have,
that soon I may see my Love afar.
truly, in a suitable place,
so that the chamber and the garden
may seem ever a palace!
Ver ditz qui,'apella lechai
ni desiran d'Amor de loing
car nuilk outre jois tan! nom phi
cumjauzimens d'Amor de loing.
Mas so q'eu vuoill m'es rant ahis
q'emissimfadet mos pairis
q'ieu ames e non fos amatz!
He tells the huth who calls me greedy
and desirous of Love afar
for no other joy pleases me
as much as the enjoyment of Love afar.
But what I want is so forbidden
since my Lord has decreed
that I love and be not loved!
Mas so q'ieu vuoill m'es tan! ahis!
Tot sin maudin lo pairis
gem fade! q'ieu non fos antan!
Cursed be my Lord
But what I want is so forbidden!
who has decreed that I be not loved!
English versions by Keith Anderson
MUSIC OF THE TROUBADOURS
8554257
piEiq
lDDDl
Ensemble Unicorn Oni Wytars
Michael Posch Marco Ambrosini
Berenguier de R b u (n.early 12th century):
456
T.nt m'abelis
Anon. (12th century):
2:23
Domns, pos vos ay chamid. (instrumental)
Giraut de Borndh (c.1140c.1200):
810
Non p u w soMr
Peire Cardenal(?1180-?1278):
A r me p u w (contrafactum)
@IBujo (instrumental)
2:42
Rainon de Muaval (fl. 1180-1215):
Be1 m'es qu'ieu chant
6:04
Ramon LIull (c.1232-1315):
553
Cantaben els osells
Bereuguier de Palou: Ai tal domna
3:24
Ciraut de Bornelh: Reis glorios
2:38
Anon. (MonaFtery of Sant Joan
de les Ahadesses): A n lausatz, lausat, lausat
2:17
Guiraut Riquier (c.lUO-c.lJ00):
6.59
Humils Wrlaitz
Bernart de Ventadorn (c.1130-40 - c.1190-1200):
6:03
Quan vei la lauzeta mover
Jaufre Rudel
mid-12th century):
J7:3l
Lanqunn lijorn
(n.
The Troubadours
The poems and songs recorded here
provide a vivid glimpse into the very
special world of European secular song
in the twelfth and thirteenth centuries.
The Troubadours themselves, dedicated
to the ideal of courtly love, were far
removed from the wandering minstrels
beloved of the nineteenth century
imagination. Often they were men of the
highest social position - princes and
lords, even kings, however limited their
domains, who ranked with the most
cultivated and widely educated members
of society. There were others, too, of
lower social status - the sons of
shopkeepers and tradesmen - and the
rich mix of outlooks and backgrounds
resulted in music and poetry of unique
refinement and emotional vitality.
Recorded in W*A*R Studio. Vienna from 4th to 6th June 1996
Pmduccr: Michael Poich
Engineer: W*A*R Studio. Elisabeth & Wolfgaog A. Reithofer
Music notes: Keith Anderson
Arrangements: Ensemble Unicorn 1 Oni Wytars
Cover Painting:Troubadours. German anon. 14th
Century (Archiv fiir Kunst und Gescbichte. Berlin)
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