Mia Yrama Fremosa - Mittelalterliche Musik
Mia Yrama Fremosa - Mittelalterliche Musik
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Frauenlieder des Mittelalters über Liebe und Schmerz aus alten Bibliotheken & Handschriften arrangiert vom Ensemble Triphonia.
- Künstler: Triphonia (Ammanda Simmons: Gesang, Harfe, Tambourin, Kastagnetten, Jakobsmuscheln / Gaby Bultmann: Gesang, Fidel, Psalter, Flöten, Glocken, Trommeln / Leila Schoeneich: Gesang, Flöten, Tambourin, Trommel)
- Label: Challenge, DDD, 2009
- Bestellnummer: 4898655
- Erscheinungstermin: 2.9.2010
Mit dieser Aufnahme präsentiert das Berliner Ensemble Triphonia eine vielseitige Auswahl von Frauenliedern des weltlichen Mittelalters, ergänzt von einigen geistlichen Liedern, die in Manuskripten aus deutschen Frauenklöstern gefunden wurden. Frauenlieder handeln meist von Liebe und sind überall im mittelalterlichen Europa verbreitet und haben einen grundsätzlich volkstümlichen Charakter. Amanda Simmons, Gaby Bultmann und Leila Schoeneich gründeten 2004 das Ensemble Triphonia und entwickelten einen Aufführungsstil, der sowohl auf dem genauen Umgang mit den Originalquellen als auch auf der Lust am Improvisieren basiert.
"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.
One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD)
"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.
One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD)
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Triphonia: Motet: Endurez, endurez les dous mas d'amer
- 2 Triphonia: Cantigas de amigo
- 3 Triphonia: Cantigas de amigo
- 4 Triphonia: Cantigas de amigo
- 5 Triphonia: Cantigas de amigo
- 6 Triphonia: Cantigas de amigo
- 7 Triphonia: Cantigas de amigo
- 8 Triphonia: Cantigas de amigo
- 9 Triphonia: Motet: Trois serors sor rive mer
- 10 Triphonia: Sephardic Ballad: Tres hermanicas eran
- 11 Triphonia: Motet:: Endurez, endurez les dous mas d'amer
- 12 Triphonia: Estampie (instrumental): Endurez, endurez les dous mas d'amer
- 13 Triphonia: Chanson de toile: Bele Yolanz
- 14 Triphonia: Motet: Bele Aelis pas matin se leva
- 15 Triphonia: Blôzen wir den anger ligen sâhen NL
- 16 Triphonia: Motet: Endurez, endurez les dous mas d'amer
- 17 Triphonia: Chanson de malmariée: Trop est mes maris jalos N
- 18 Triphonia: Conductus: Procurans odium
- 19 Triphonia: Motet: Endurez, endurez les dous mas d'amer
- 20 Triphonia: Motet & Chanson de femme: Onques n'amai tant que jou fui aimee
- 21 Triphonia: Ich was ein chint sô wolgetân NL
- 22 Triphonia: Motet: Endurez, endurez les dous mas d'amer
- 23 Triphonia: God de bat eyn zelelin
- 24 Triphonia: Cantiga de Santa Maria: De vergonna nos guardar
- 25 Triphonia: Ik draghe an mynes herten grunt
- 26 Triphonia: Motet: Endurez, endurez les dous mas d'amer
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