Les Motets, Guillaume de Machaut - ensemble Musica Nova

Описание

Ensemble: Musica Nova
Album: Les Motets, Guillaume de Machaut
Video: Guillaume de Machaut, ms 1586, XIVth cent.
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In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". In the early 20th century, it was generally believed the name came from the Latin movere (to move), though a derivation from the French mot ("word", or "phrase") had also been suggested. The Medieval Latin for "motet" is motectum, and the Italian mottetto was also used. If the word is from Latin, the name describes the movement of the different voices against one another. Today, however, the French etymology is favoured by reference books, as the word "motet" in 13th-century French had the sense of "little word". In fact, the troped clausulas that were the forerunner of the motet were originally called motelli (from the French mot, "word"), soon replaced by the term moteti. The earliest motets arose in the 13th century from the organum tradition exemplified in the Notre-Dame school of Léonin and Pérotin. The motet probably arose from clausula sections in a longer sequence of organum. Clausulae represent brief sections of longer polyphonic settings of chant with a note-against-note texture. In some cases, these sections were composed independently and "substituted" for existing setting. These clausulae could then be "troped," or given new text in the upper part(s), creating motets. From these first motets arose a medieval tradition of secular motets. These were two- to four-part compositions in which different texts, sometimes in different vernacular languages, were sung simultaneously over a (usually Latin-texted) cantus firmus usually adapted from a passage of Gregorian chant. Later the cantus firmus was instead played on an instrument, marked in the score with a word "mot" to indicate its origin. It is also increasingly argued that the term "motet" could in fact include certain brief single-voice songs. The texts of upper voices include subjects as diverse as courtly love odes, pastoral encounters with shepherdesses, political attacks, and many Christian devotions, especially to the Virgin Mary. Most medieval motets are anonymous compositions and significantly re-use music and text. They are transmitted in a number of contexts, and were most popular in northern France. The largest surviving collection is in the Montpellier Codex. Increasingly in the 14th and 15th centuries, motets made use of repetitive patterns often termed panisorhythmic; that is, they employed repeated rhythmic patterns in all voices—not only the cantus firmus—which did not necessarily coincide with repeating melodic patterns. Philippe de Vitry was one of the earliest composers to use this technique, and his work evidently had an influence on that of Guillaume de Machaut, one of the most famous named composers of late medieval motets (Wikipedia).
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1 Motet n°6 - S'il estoit nuls qui pleindre se deüst
2 Motet n°6 - Et gaudebit cor vestrum
3 Motet n°8 - Et non est qui adjuvet
4 Motet n°3 - Fine Amour (instrumental)
5 Motet n°9 - Fera Pessima
6 Motet n°5 - Fiat voluntas tua
7 Motet n°13 - Eins que ma dame
8 Motet n°13 - Tant doucement
9 Motet n°14 - De ma dolour
10 Motet n°14 - Maugré mon cuer
11 Motet n°15 - Vidi dominum
12 Motet n°19 - A christo honoratus
13 Motet n°18 - Bone pastor
14 Motet n°4 - De bon espoir
15 Motet n°7 - Ego moriar pro te
16 Motet n°20 - Je ne suis mie certeins
17 Motet n°17 - Super omnes speciosa (instrumental)
18 Motet n°21 - Tribulatio proxima est
19 Motet n°4 - Puis que la douce rousée
20 Motet n°11 - Fins cuers dous
21 Rondeau (anonyme) - Por coi me bait mes maris?
22 Motet n°16 - Por coi me bait mes maris
23 Motet n°23 - Ad te supiramus gementes et flentes
24 Motet n°20 - Je ne suis mie certeins (instrumental)
25 Motet n°12 - Libera me
26 Motet n°15 - Vidi dominum (diminution instrumentale)
27 Motet n°1 - Amara valde
28 Motet n°2 - Suspiro
29 Motet n°4 - Speravi (instrumental)
30 Motet n°10 - Obediens usque ad mortem
31 Motet n°17 - Super omnes speciosa
32 Motet n°11 - Fins cuers dous (instrumental)
33 Motet n°22 - Apprehende arma et scutum et exurge
34 Motet n°3 - Quare non sum ortuus
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