The Machaut recordings by Ensemble Gilles Binchois have long been some of
my favorites, but since the Harmonic label went out of business, they've
been totally unavailable. Even before that, they ceased being distributed
in the US, and required almost superhuman effort to obtain. However, all
of that is changing.
The Cantus label in Spain has acquired the rights to these ground-breaking
recordings, and will be reissuing them. Before that, they picked up an
already-recorded Machaut recital from Ensemble Gilles Binchois which had
never been released. It's available now, beginning this month in the US.
The catalog number is Cantus C9626, and detailed information is available
at:
http://www.medieval.org/emfaq/cds/can9626.htm
"The Judgement of the King of Navarre" is the natural second volume of
Dominique Vellard and company's recitals of Machaut's songs & motets,
beginning with "The True Remedy of Love" recorded in 1988. Although "The
Judgement" was recorded in 1994, it's existence had been unknown to me
until it was announced by Cantus. It is certainly a wonderful addition
to the discography, and shows much of the same transcendence as did "True
Remedy."
The "Mass of Notre Dame" is more widely cited (and Ensemble Gilles
Binchois' recording of this cycle will be reissued by Cantus), but the
bulk of Machaut's music is of course French songs. Indeed, Machaut is
considered one of the most important French poets of the Middle Ages, music
aside. Fortunately for us, he wrote & composed together, to fine effect.
Machaut's French songs are not only the bulk of his output, they contain
the jewels of it, from this connoisseur's point of view at least. The
motets, whether in Latin or French, are also extremely potent and still
under-recorded in many cases.
The present recital focuses on Machaut's French songs, together with the
poetry-without-melody which surrounds them in manuscript, and two Latin
motets (Machaut's motets break down into 17 in French and 6 in Latin, but
it is two of the grandest Latin examples which are included here). The
inclusion of spoken poetry may be something of a departure (although it was
also included in "True Remedy"), but actually serves to place the musical
examples better into context, as well as to illustrate this aspect of
Machaut's art in all its glory. Even if poetry readings are not the
reason we buy recordings, the performance here is immaculate. From the
pronunciation to the energy projected, the readings take on a radiant
quality. This is an aspect of "True Remedy" (perhaps my favorite medieval
music recording to date) which I regretted at first, but which increasingly
became something to be savored.
The pronunciation and phrasing which are exemplified in the poetic readings
take on an even bigger life in the real musical pieces, as they are charged
upon contact with written pitches and rhythmic constructions. This is what
makes Machaut's songs: both the poetic nuances and the musical qualities
of melody, harmony and rhythm. Although it is sometimes asserted that
Medieval composers do not react to text in their musical settings, what
they do not do is react in the same manner as Renaissance & Baroque word
paintings. If anything, their refinement is more sophisticated, and it is
the smallest nuance which conveys a depth of meaning. To appreciate these
nuances requires the very best in performance, and that is just what the
present recital has to offer.
One thing the Ensemble Gilles Binchois will not do is skimp on preparation.
While many Early Music ensembles are notorious for sight-reading onto
record, the Ensemble Gilles Binchois (formed in 1978) painstakingly
performs its repertory in a variety of preparatory sessions as well as
concert tours before committing it to record. Although the difference may
not be evident to the naive ear, it becomes increasingly welcome over years
of exposure. In this recital, the act of having recorded Machaut some six
years previously also serves to intensify the effect. Of course, in
keeping with medieval aesthetics itself, this intensification is not felt
in superficial elements or outward appearances, but in a deep resonance
with the music which becomes clear over time. If ever there were a
recording which repays repeated exposure, this is it. There is little
flash, but there is a wealth of substance.
Ensemble Gilles Binchois, as directed by Dominique Vellard, employs a
variety of voices or instruments on the different lines in individual
songs. The basic philosophy encourages a variety of sonority, in keeping
with the different ensemble constitutions mentioned in medieval sources.
However there is never a sense in which particular songs are too heavily
orchestrated, as the ensemble is content to let some members be silent when
appropriate, yet contribute to the overall recital at the appropriate time.
Machaut's Mass is in four parts, and the songs & motets of this program
range from items in one to four (including a second performance of the
Kyrie from the Mass) parts, as does Machaut's output as a whole. Each
of the different combinations is treated with a rare grace and insight,
featuring an exquisite vocally-oriented phrasing. Of course it is the
singing itself which is the highlight, with a very clear tone, excellent
diction and a complete internalization of the melody as the hallmarks of
the interpretation. The pacing is always comfortable, and the entire
recital manages to balance both large- and small-scale concerns in
idiomatic and compelling ways. If there is an interest in a discussion
of each track on the disc, I am willing to prepare one, but for now I
feel that the review is long enough.
The Cantus production itself is also noteworthy. The packaging is lavish,
and the liner notes are extensive. No less than six essays on various
aspects of the music, history and performance are included. Although
the Cantus label can perhaps be described as a catalog in the process of
becoming, and so some details of production are being refined, the overall
care invested is evident. The sound is natural and clear, and the
dedication of editor Jose Carlos Cabello is very welcome. There is no
question but that these Machaut issues will serve to launch Cantus onto the
world stage, and their dedication will more than fulfill the listeners'
demand for products of the highest quality. Cantus also has a new "under
construction" website to which readers can go for information:
http://personal2.redestb.es/cantus/
If you've never quite connected with Machaut's songs, especially if you've
never really heard them, or if you've not heard the Ensemble Gilles
Binchois perform medieval secular music, buy this disc at the first
opportunity. I cannot recommend it highly enough.
Todd McComb
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