| 1. Rose Que J'Aimais |
| 2. Ils Ont Changé Ma Chanson |
| 3. Lady d'Arbanville |
| 4. Comment Faire Pour Oublier |
| 5. Avec le Temps |
| 6. Si C'était À Refaire |
| 7. Jésus Bambino |
| 8. Darla Dirladada |
| 9. Pour Qui Pour Quoi |
| 10. Mamy Blue |
| 11. Tout au Plus |
| 12. Mon Frère le Soleil |
| 13. Entre Les Lignes Entre Les Mots |
| 14. Jardins de Marmara |
| 15. Jeunesse |
| 16. Diable de Temps |
| 17. Ram Dam Dam (La Vie Bat le Tambour) |
Editorial Reviews
Product Description
Reissue of the Original Album.
This is not to say I have a totally tin ear but rather to indicate that there is as strong or stronger connection between these secular songs and the liturgical music of the day as there is between Aretha Franklin's soul singing and Southern Baptist church songs. One would be foolish to think that church music influenced secular music for the first time in 1956.
The text for these songs is based on the Montpellier Codex from the 13th century and, as I said, are all in what I believe is an early version of French. The accompanying booklet gives all the French lyrics, plus translations of these lyrics into English and German (since the record company, harmonia mundi, is, I believe, headquartered in Germany and the recording is manufactured in Germany.
While this is the first album I have reviewed by this group (named after an anonymous 13th century English writer on music who lived and worked in Paris and wrote about the music done) I have been listening to their recordings for several years now and I decided to start with this one and leave some of the liturgical works for later, closer to the Christmas season.
On a purely visceral level, I like this recording very much. On an intellectual level, I believe this is as good or better than any other medieval pieces, and most other Renaissance vocal pieces I have heard, except for some works with larger choruses such as Guillaume Du Fay's Mass for St. Anthony of Padua and Ensemble Gilles Binchois recording of eleventh century French Polyphony.
For those who are new to Anonymous 4 recordings, they are generally done not in a studio but in the nave of a large church, so there is a distinct sense of their singing in a great open space, with little or no sense of electronic enhancement. I really like this effect for this music and find it just one more reason to recommend this and other Anonymous 4 recordings. I think my highest recommendation comes from the fact that I can listen to this recording many times over and not become tired of it. There are other unusual types of music such as Russian chants, tangos, and even jazz which I can take for an hour or so and then must change. This material I can listen to for hours on end.
Highly recommended for fans of early music or for people who want something different.
The Montpellier Codex has over 300 different motets (not including duplications), including many double motets, where the tenor piece is based on a plainchant, and different voices have their own texts. These 'fin amours' songs were most likely performed mostly in private entertainment settings, and song have argued that certain parts should be done by instruments rather than voices. Of course, the Anonymous 4 is an a capella group, so that idea does not come into practice here.
This is a playful and fun recording, full of lovely songs that reach the heart in strong ways.
-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections (however, the French lyrics are in the older French language; a modern translation would be helpful). The cover art is a section of the lovely Tapestry, Lady and the Unicorn, Atelier of the Loire Valley, 'mille fleurs', fifteen century in the Museum of Cluny, France.
-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.
Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'
The group ended a touring career of nearly two decades in 2004.
I'm still fairly new to classical music, so I can only speak of my attempts at overcoming my difficulties in listening to mediaeval polyphony. When one knows any piece of music has a text, one wants to be able to hear the words - even if one doesn't know the language -, and this is main reason why a first listening of LOVE'S ILLUSION may be disturbing, if not annoying. One initial solution is to think of it as instrumental, and take the words for granted; I suggest also repeated listening of your favorite tracks, while trying to follow one singer's voice, with booklet in hand. I have paid some attention to this record and I believe it has helped me.
The major flaw of this record is not presenting a translation of the 13th century French songs into contemporary French. The difference is indeed quite astounding.
This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.
This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.
The four soloists are variable: von Otter is magnificent (her contribution was recorded separately in Stockholm, the other singers in three spearate locations!), and Thomas Allen rises to a high level of artistry even in the simplest songs. Tenor John Aler is uncomfortable in French, I would guess, and tends to mumble. Soprano Frnacoise Pollet, being a native speaker, has perfect diction but a wobbly voice that tends to spread out in loud passages. The biggest letdown is the piano accompanist, Cord Garben, who is routine and unimaginative. His lack of spark affects every song, unfortunately, although the overall level of performance is always good enough to provide enjoyment of these rarely recorded songs.
For someone who doesn't want to explore this deeply into Berlioz's vocal writing, von Otter's five solo songs have been excerpted on a marvelous recital album that features an incomparable Les Nuits d'Ete. In all, I found this 2-CD set highly enjoyable, although there are no hidden masterpieces to be uncovered.
Dr Jacques COULARDEAU
Reissue of the Original Album.
La Rose Que J'aimais,Dalida,Polygram,French Pop,Vocal Pop,World Music
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Love's Illusion-Music From The Montpellier Codex 13th Century
Anonymous 4 , and Marsha Genensky Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD  Vocal & Song
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ASIN: B0000007E5 Release Date: 1994-08-23 |
Tracks:
- Montpellier Codex: Plus Bele Que Flor - Quant Revient - L'autrier Joer - Flos Filius (Mo 21)
- Montpellier Codex: Puisque Bele Dame M'eime - Flos Filius (Mo 231)
- Montpellier Codex: Amours Mi Font Souffrir - En Mai - Flos Filius (Mo 111)
- Montpellier Codex: Ne Sai, Que Je Die - Iohanne (Mo 185)
- Montpellier Codex: Si Je Chante - Bien Doi Amer - Et Sperabit (Mo 311)
- Montpellier Codex: Or Ne Sai Je Que Devenir - Puisque D'amer - Kyrieleyson (Mo 267)
- Montpellier Codex: H? Dieus, De Si Haut Si Bas - Maubatus - Cumque (Mo 92)
- Montpellier Codex: Celui En Qui - La Bele Estoile - La Bele, En Qui - Iohanne (Mo 20)
- Montpellier Codex: Qui D'amours Se Plaint - Lux Magna (Mo 215)
- Montpellier Codex: Amours, Dont Je Sui - L'autrier, Au Douz Mois - Chose Tassin (Mo 270)
- Montpellier Codex: Au Cuer Ai Un Mal - Ja Ne M'en Repentirai - Jolietement (Mo 260)
- Montpellier Codex: Quant Voi La Fleur - Et Tenuerunt (Mo 241)
- Montpellier Codex: Quant Se Depart - Onques Ne Sai Amer - Docebit Omnem (Mo 131)
- Montpellier Codex: Joliement - Quant Voi La Florete - Je Sui Joliete - Aptatur (Mo 34)
- Montpellier Codex: Amor Potest Conqueri - Ad Amorem Sequitur (Mo 238)
- Montpellier Codex: Ce Que Je Tieng - Certes Mout - Bone Compaignie - Manere (Mo 33)
- Montpellier Codex: J'ai Si Bien Mon Cuer Assiz - Aucun M'ont - Angelus (Mo 128)
- Montpellier Codex: Ne M'oubliez Mie - Domino (Mo 236)
- Montpellier Codex: J'ai Mis Toute Ma Pensee - Je N'en Puis - Puerorum (Mo 255)
- Montpellier Codex: Blanchete - Quant Je Pens - Valare (Mo 168)
- Montpellier Codex: Dame, Qeu Je N'os Noumer - Amis Donc Est - Lonc Tans A (Mo 337)
- Montpellier Codex: Li Savours De Mon Desir - Li Grant Desir - Non Veul Mari (Mo 323)
- Montpellier Codex: Entre Copin - Je Me Cuidoie - Bele Ysabelos (Mo 256)
- Montpellier Codex: S'on Me Regarde - Prenn?s I Garde - H?, Mi Enfant (Mo 223)
- Montpellier Codex: Quant Yver La Bise Ameine - In Seculum (Mo 223)
- Montpellier Codex: Ne M'a Pas Oubli? - In Seculum (Mo 207)
- Montpellier Codex: On Doit Fin[e] Amor - La Biaut? - In Seculum (Mo 134)
- Montpellier Codex: Ja N'amerai Autre Que Cele - In Seculum (Mo 3)
- Montpellier Codex: Quant Je Parti De M'amie - Tuo (Mo 200)
Amazon.com essential recording
How's this for a concept: "True love may exist only outside of marriage, and a man must subject himself totally to the will of his beloved, whether or not her requests seem rational." If you think these ideas strange, be glad you weren't looking for love in France in the Middle Ages. These precepts course through thousands of song lyrics and love poetry during the 12th and 13th centuries and some of them appear on this exceptional recording by Anonymous 4. Specifically, these four women perform 13th century French motets found in an important manuscript known as the Montpellier Codex. These polyphonic works span the entire century and thus express a variety of styles. Sometimes the use of texts is striking, as when a love song, a diatribe against hypocrisy, and a rousing drinking song are sung simultaneously. Not bad, if you can get away with it. Anonymous 4 can-and does. --David VernierCustomer Reviews:
Excellent Rendition of Early Music. Buy It........2005-10-29
This is not to say I have a totally tin ear but rather to indicate that there is as strong or stronger connection between these secular songs and the liturgical music of the day as there is between Aretha Franklin's soul singing and Southern Baptist church songs. One would be foolish to think that church music influenced secular music for the first time in 1956.
The text for these songs is based on the Montpellier Codex from the 13th century and, as I said, are all in what I believe is an early version of French. The accompanying booklet gives all the French lyrics, plus translations of these lyrics into English and German (since the record company, harmonia mundi, is, I believe, headquartered in Germany and the recording is manufactured in Germany.
While this is the first album I have reviewed by this group (named after an anonymous 13th century English writer on music who lived and worked in Paris and wrote about the music done) I have been listening to their recordings for several years now and I decided to start with this one and leave some of the liturgical works for later, closer to the Christmas season.
On a purely visceral level, I like this recording very much. On an intellectual level, I believe this is as good or better than any other medieval pieces, and most other Renaissance vocal pieces I have heard, except for some works with larger choruses such as Guillaume Du Fay's Mass for St. Anthony of Padua and Ensemble Gilles Binchois recording of eleventh century French Polyphony.
For those who are new to Anonymous 4 recordings, they are generally done not in a studio but in the nave of a large church, so there is a distinct sense of their singing in a great open space, with little or no sense of electronic enhancement. I really like this effect for this music and find it just one more reason to recommend this and other Anonymous 4 recordings. I think my highest recommendation comes from the fact that I can listen to this recording many times over and not become tired of it. There are other unusual types of music such as Russian chants, tangos, and even jazz which I can take for an hour or so and then must change. This material I can listen to for hours on end.
Highly recommended for fans of early music or for people who want something different.
Fun and full of love.......2005-10-13
The Montpellier Codex has over 300 different motets (not including duplications), including many double motets, where the tenor piece is based on a plainchant, and different voices have their own texts. These 'fin amours' songs were most likely performed mostly in private entertainment settings, and song have argued that certain parts should be done by instruments rather than voices. Of course, the Anonymous 4 is an a capella group, so that idea does not come into practice here.
This is a playful and fun recording, full of lovely songs that reach the heart in strong ways.
-- Liner Notes --
This text accompaniment to this disc is very full, so much so that the booklet is not contained within the jewel case, but rather within a slipcover in which both the CD/jewel case and the booklet reside. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation - all repeated in English, German, and French sections (however, the French lyrics are in the older French language; a modern translation would be helpful). The cover art is a section of the lovely Tapestry, Lady and the Unicorn, Atelier of the Loire Valley, 'mille fleurs', fifteen century in the Museum of Cluny, France.
-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.
Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'
The group ended a touring career of nearly two decades in 2004.
from a newcomer viewpoint.......2003-02-23
I'm still fairly new to classical music, so I can only speak of my attempts at overcoming my difficulties in listening to mediaeval polyphony. When one knows any piece of music has a text, one wants to be able to hear the words - even if one doesn't know the language -, and this is main reason why a first listening of LOVE'S ILLUSION may be disturbing, if not annoying. One initial solution is to think of it as instrumental, and take the words for granted; I suggest also repeated listening of your favorite tracks, while trying to follow one singer's voice, with booklet in hand. I have paid some attention to this record and I believe it has helped me.
The major flaw of this record is not presenting a translation of the 13th century French songs into contemporary French. The difference is indeed quite astounding.
Love's Illusion.......2002-12-11
OUTSTANDING.......2001-01-11
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Leontyne Price (The Prima Donna Collection)
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ASIN: B000003FAF Release Date: 1992-08-11 |
Tracks:
- Dido and Aeneas: Act 3: Thy Hand, Belinda!
- Dido and Aeneas: Act 3: When I Am Laid In Earth
- Le nozze di Figaro: Act 3: E Susanna non vien!
- Le nozze di Figaro: Act 3: Dove sono
- La traviata: Act 3: Teneste la promessa
- La traviata: Act 3: Addio del passato
- L'africaine: Act 2: Sur mes genoux, fils du soleil
- Manon: Act 2: Allons! il le faut!
- Manon: Act 2: Adieu, notre petite table
- Otello: Act 4: Era piu calma?
- Otello: Act 4: Mia madre aveva una povera ancella (Willow Song)
- Otello: Act 4: Ave Maria
- Adriana Lecouvreur: Act 1: Ecco: respiro appena
- Adriana Lecouvreur: Act 1: Io son l'umile ancella
- Louise: Act 3: Depuis le jour
- Turandot: Act 2: In questa reggia
- Die tote Stadt: Act 1: Marietta's Lied
- Vanessa: Act 1: He Has Come, He Has Come!
- Vanessa: Act 1: Do Not Utter A Word
Tracks:
- Atalanta: Act 1: Care Selve
- Don Giovanni: Act 1: Don, Ottavio, son morta!
- Don Giovanni: Act 1: Or sai chi l'onore
- Der Freischuetz: Act 2: Wie nahte mir der Schlummer
- Der Freischuetz: Act 2: Liese, leise
- Tannhaeuser: Act 2: Dich, teure Halle
- Macbeth: Act 2: La luce langue
- Macbeth: Act 4: Vegliammo invan due notti (Sleepwalking Scene)
- Macbeth: Act 4: Una macchia e qui tuttora
- Mefistofele: Act 3: L'altra notte in fondo al mare
- Rusalka: Act 1: Song To The Moon
- L'Enfant Prodigue: Air de Lia: L'annee en vain
- Andrea Chenier: Act 3: La mamma morta
- Francesca da Ramini: Act 3: Paolo, datemi pace
- Suor Angelica: Senza mammo, o bimbo, tu sei morto!
- Amelia Goes To The Ball: While I Waste These Precious Hours
Tracks:
- Alceste: Act 1: Divinites du Styx
- Don Giovanni: Act 2: Crudele? Ah, no, mio bene
- Don Giovanni: Act 2: Non mi dir
- I lombardi: Act 2: O madre, dal cielo
- I lombardi: Act 2: Se vano e il pregare
- Martha: Act 2: The Last Rose Of Summer
- Simon Boccanegra: Act 1: Come in quest'ora bruna
- La Perichole: Act 3: Tu n'es pas beau
- Die Walkuere: Act 1: Du bist der Lenz
- Die Fledermaus: Act 2: Czardas: Klange der Heimat
- Carmen: Act 3: Ces des contrebandiers
- Carmen: Act 3: Je dis que rien ne m'epouvante
- Cavalleria Rusticana: Voi lo sapete
- Thais: Act 2: Ah! je suis seule
- Thais: Act 2: Dis-moi que je suis belle
- Gianni Schicchi: O mio babbino caro
- Les dialogues des Carmelites: Act 3: Mes filles, voila s'acheve
Tracks:
- Semele: Act 2: Where 'er You Walk
- Idomeneo: Act 3: O smania! O Furie!
- Idomeneo: Act 3: D 'Oreste, d' Ajace!
- La damnation de Faust: Part 4: D'amour l'ardente flamme
- Oberon: Act 2: Ozean, du Ungeheuer!
- Norma: Act 1: Sediziose voci, voci di guerra
- Norma: Act 1: Casta diva
- Norma: Act 1: Ah! bello a me ritorna
- Rigoletto: Act 1: Gualtier Malde
- Rigoletto: Act 1: Caro Nome
- Tristan und Isolde: Act 3: Liebestod: Mild und leise
- Pagliacci: Act 1: Ballatella: Qual fiamma avea nel guardo
- Adriana Lecouvreur: Act 4: Poveri fiori
- Gloriana: Act 1, Scene 2: Soliloquy & Prayer: On Rivalries 'tis Safe For Kings
- Gloriana: Act 1, Scene 2: Soliloquy & Prayer: O God, My King, Sole Ruler Of The World
Customer Reviews:
A brilliant collection from a great soprano.......2007-04-30
If I could have only one collection.............2006-11-12
Yes this is great!.......2006-10-14
The Grandest Collection of Leontyne Price Arias.......2005-08-08
This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.
The Greatest Soprano Ever Recorded.......2005-03-20
This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.
Average customer rating: 
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The Golden Age of Opera in France, Vol. 1
Manufacturer: Symposium ProductGroup: Music Binding: Audio CD All Works by Berlioz
| Berlioz, Hector
| ( B )
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| Delibes, Léo
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| Massenet, Jules
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| Thomas, Ambroise
| ( T )
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| Verdi, Giuseppe
| ( V )
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ASIN: B0009J4SXW Release Date: 2005-08-30 |
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Berlioz: Melodies
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Berlioz
| Berlioz, Hector
| ( B )
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| Baroque (c.1600-1750)
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Allen, Thomas
| ( A )
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Deutsche Grammophon: Music
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ASIN: B000001GGX Release Date: 1994-10-11 |
Tracks:
- Nocturne a deux voix (H. 31, 1818-30) 'Je veux dans l'inconstance'
- Le maure jaloux: Romance (H. 9B, 1819-21/1822): Moderato ma non troppo: 'Je vais revoir'
- Amitie, reprends ton empire: Romance et invocation (H. 10B, 1819-21/1823): Andante sostenuto: 'Am...
- Canon libre a la quinte (H. 14, 1822); Lento sostenuto: 'La nuit de son voile epais'
- Pleure, pauvre colette: Romance a deux voix egales (H. 11, 1822): Andantino: 'Aupres de moi Colette'
- Le Montagnard Exile: Chant Elegiaque (H. 15, 1823): Andante Poco Lento: 'Loin De La sauvage Campagne
- Le Roi De Thule: Chanson Gothique (H. 33A, 1828: Huit Scenes De Faust Op.1 N.6): Poco Andante: 'A...
- Serenade De Mephistopheles (H.33, 1828: Huit Scenes De Faust Op.1 N.8): Allegro: 'Devant La Maiso...
- Helene: Ballade A Deux Voix (H.40A, 1829; Irlande Op.2 N.2): Allegretto: 'Qui Se Souvient D'Helene'
- Chant Guerrier (H.41, 1829: Irlande Op.2 N.3): Allegro Non Troppo: N'oublions Pas Ces Champs'
- La Belle Voyageuse: Ballade (H.42, 1829: Irlande Op.2 N.4): Allegretto Non Troppo: 'Elle S'en Va...
- Chanson A Boire (H.43, 1829: Irlande Op.2 N.5): Allegro Frenetico: 'Amis, La Coupe Ecume''
- L'Origine De La Harpe; Ballade (H.45, 1829: Irlande Op.2 N.7); Andante: 'Cette Haroe Cherie'
- Adieu Bessy: Romance Anglaise Et Francaise (H.46B, 1829/1849: Irlande Op.2 N.8): Andante Non Troppo
- Elegie En Prose (H.47, 1829: Irlande Op.2 N.9): Adagio: 'Quand Celui Qui Adore'
Tracks:
- La Captive: Orientale, Op.12 (H. 60C, 1832): Andantino: 'Si Je N'etais Captive'
- Sara La Baigneuse: Ballade, Op.11 (H.69C, 1834/1849, Reduction Pour Piano D'Auguste Morel): Alleg...
- Je Crois En Vous: Romance (H.70, 1834): Andantino Non Troppo Lento: 'Quand Mon Ame Ravie'
- Chansonette De Mr. Leon De Wailly (H.73, 1835): Allegro Mosso (Presque Le Mouvement De La Valse)...
- Le Matin: Romance (H.125, 1850: Fleurs Des Landes Op.13 N.1); Andantino Quasi Allegretto: 'Pour Chan
- Le Trebuchet: Scherzo A Deux Voix (H.113, 1846: Fleurs Des Landes Op.13 N.3): Allegretto Leggiero...
- Le Jeune Patre Breton (H.65C, 1833/1834: Fleurs Des Landes Op.13 N.4): Allegretto Simplice Un Po...
- Le Chant Des Bretons (H.71B, 1835/1849: Fleurs Des Landes Op.13 N.5): Allegro Fieramente: 'Oui, N...
- La Mort D'Ophelie: Ballade (H.92A, 1842): Andantino Con Moto Quasi Allegretto: 'Aupres D'un Torre...
- Zaide: Bolero (H.107B, 1845: Feuillets D'album, Op.19 N.1): Allegretto: 'Ma Ville, Ma Belle Ville'
- Les Champs: Romance (H.67B, 1834/1850: Feuillets D'album, Op.19 N.2): Allegretto: 'Rose, Partons...
- Priere Du Matin (H.112, 1846): Andantino: 'O Pere Qu'adore Mon Pere'
- La Belle Isabeau: Conte Pendant L'orage (H.94, 1843): Allegretto Moderato: 'Dans La Montagne Noire'
- Le Chasseur Danois (H.104A, 1844):Allegro Con Fuoco: 'Entendez-Vous Dans La Bruyere'
Customer Reviews:
Still the best collection of Berlioz's lovely songs.......2006-01-31
The four soloists are variable: von Otter is magnificent (her contribution was recorded separately in Stockholm, the other singers in three spearate locations!), and Thomas Allen rises to a high level of artistry even in the simplest songs. Tenor John Aler is uncomfortable in French, I would guess, and tends to mumble. Soprano Frnacoise Pollet, being a native speaker, has perfect diction but a wobbly voice that tends to spread out in loud passages. The biggest letdown is the piano accompanist, Cord Garben, who is routine and unimaginative. His lack of spark affects every song, unfortunately, although the overall level of performance is always good enough to provide enjoyment of these rarely recorded songs.
For someone who doesn't want to explore this deeply into Berlioz's vocal writing, von Otter's five solo songs have been excerpted on a marvelous recital album that features an incomparable Les Nuits d'Ete. In all, I found this 2-CD set highly enjoyable, although there are no hidden masterpieces to be uncovered.
Average customer rating:
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The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle
Manufacturer: Analekta ProductGroup: Music Binding: Audio CD General
| Early Music
| Historical Periods
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Vocal & Song
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ASIN: B0002VYES6 Release Date: 2007-04-05 |
Tracks:
- Mout Me Fut Grief/Robin M'aime/Portare
- Robins M'aime/Je Me Repairoie/He Robins Se Tu M'aimes
- Lie Maus Amourous Me Tient/Dieus Par Quoi/Portare
- Vous Perdez Vos Paine Sire Aubert/Ne Sai Que Je Die/Johanne
- Bergeronnete Sui/Trairi Deluriau
- He Robechon
- Au Douz Tans/Biau Dous Amis/Manere
- Vous L'ores Bien Dire/Saltarello
- Bergeronnete/Robin Par L'ame Ten Pere
- He Marotele Alons Au Bois/En La Praerie/Aptatur/Li Maus D'amer
- L'Autre Jour/Au Tens Pascour/In Seculum
- Par Un Matinet/Les Un Bosket/Portare
- En Mai Quant Rosier/L'autre Jour/He Resveille Toi Robin
- Encontre Le Tans De Pascour/Quant Fuellent/In Odorem
- Quant Florist La Violete/El Mois De Mai/Et Gaudebit
- En Non Diu/Quant Voi La Rose Espanie/Eius Oriente
- Avoec Telle Compaignie/Quiconque Rira/Parodie (After Quant Voi Le Fleur/Et Tenuerunt)
- Je Voi Douleur Avenir/Fauvel Nous A Fait Present/Autant M'est Sie Poise/Emi Emi Marotele N'ocies/Emi Emim Marotele Sage/Portare
- Quant Froidure Trait A Fin/Domino Quoniam/Ronde: Le Sentelle
- J'ai Encore Un Tel Paste
- Audigier Dist Raimberge/Quant Voi Le Douz Tans Venir/En Mai Quant Rose/Immolatus
- Venes Apres Moi/Nota Domino Quoniam
- Mout Me Fut Grief/Robin M'aime/Portare/L'autre jour Par Un Matinet/Hier Matinet/Ite Missa Est
Album Description
Anonymus invites you to witness Robin and Marion's love, in the best musical tradition of the Middle Ages. A program with a rural accent that brings alive through poetry and music this lively and marvellously naïve romance by Adam de la Halle, the great troubadour from Arras.Customer Reviews:
Le creuset du déchant produit l'ébauche de l'opéra profane.......2005-01-09
Dr Jacques COULARDEAU
Université Paris Dauphine
That's where and when the profane opera started.......2005-01-09
Dr Jacques COULARDEAU
At the root of the profane secular opera.......2005-01-09
Dr Jacques COULARDEAU
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The World's Greatest Tenors
Manufacturer: Eagle ProductGroup: Music Binding: Audio CD Waltzes
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| Donizetti, Gaetano
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| Flotow, Friedrich von
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| Handel, George Frideric
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| Leoncavallo, Ruggiero
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| Mascagni, Pietro
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| Mozart, Wolfgang Amadeus
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| Puccini, Giacomo
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| Sullivan, Arthur
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ASIN: B000001YBQ Release Date: 1996-04-23 |
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Miguel Villabella - Airs français, volume 1
Francois-Adrien Boieldieu , Jean-Baptiste Lully , Christoph Willibald Gluck , Andre-Ernest-Modeste Gretry , Adolphe Adam , Francois Bazin , Aime Maillart , Georges Bizet , Ferdinand Herold , Miguel Villabella , Isabelle Izarie-Gallyot , Paul Lanteri , and Germaine Feraldy Manufacturer: L.Y.S. ProductGroup: Music Binding: Audio CD All Works by Gluck
| Gluck, Christoph W.
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| Lully, Jean-Baptiste
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ASIN: B00000FDM0 Release Date: 1997-08-05 |
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