Week One

Tecum principum from Vespers for Christmas Day

This example is antiphonal, led by one singer and joined by the congregation. The first part that is sung by one voice has more large interval jumps than the part sung by the congregation. It is sort of like a 'call' to the others to join the singing of the Antiphon before continuing to the Psalm.

Gradual: Viderunt omnes

This chant is more melismatic than the one preceding. Perhaps to exemplify the important words in the scripture. There is more of a presence of the (what we call today) major triad pattern. It sounds like it has more tonality than the Tecum principum. It is overall much more ornate as well. While it is one single line, there are multiple voices singing, but no introduction by a solo voice.

Kyrie Eleison from Christmas Mass

The first time through each section, the text is sung by a small group of cantors who are joined by the rest of the ensemble in the repeats. This is still antiphonal in a sense that more voices join after the cantor(s) introduce the chant.

Dies irae

Again, antiphonal where a small group of cantors sing one 'verse' and are joined by more singers on the second 'verse'. However, this trading continues for each verse. One being sung by the small group and the next being sung by the 'congregation'. While there is rhythm in the sense of note values, most of the rhythm comes from the rhyme in the text.

Can vei la lauzeta mover by Bernart de Ventadorn (troubadour song)

I just have to say that I love the first recording on the Spotify listening list for this piece. The introduction played by the vielle (not sure exactly what instrument it is) is beautiful and sets up a perfect atmosphere for the vocalist to sing the text to. I also really enjoy the space between the introduction and the entrance of the vocalist. That silence also helps set the mood. The lute interludes that accompany the vocalist give the piece a bit of spice, but in the context of the emotion of loss the singer is experiencing.

In the next recording, it is interesting to sense the difference in overall affect of this version of the piece. Because of the hurdy-gurdy (I think) that drones during the instrumental introduction, there is more of a sense of uncertainty, whereas the first recording sounds sad and mournful to me. The drone is then taken over by voices which is just chilling! The ornamentation in the vocalists part adds that same type of spiciness, but again, because of the drone, this version sounds foreboding.  The finger cymbals also add spice. Hopefully me using 'spice' makes some sense...

Each verse in the instrumental version (solo pipe/flute instrument) is more ornamented than the previous.

The next version with voice and lute is fairly simple. No introduction by the lute, rather, an interlude between verses. The last few verses are very ornamented in both the lute and vocal part.

The final version of this piece on the listening list uses a larger group of instruments than any of the previous recordings-both plucked and bow stringed instruments-and solo voice. The hammer dulcimer sometimes adds a percussive sound, which is new to my ears.

I found another version of this piece on YouTube that I also like.

https://www.youtube.com/watch?v=VfCkmiQ0nDs

This recording uses actual drums for percussion as well as vielles, flutes, hammer dulcimer, and voice. The drums add a whole new layer and realm to the piece. The vocalists' take on the text in this version definitely has an urgent and dramatic flair. I personally think this is how the text is interpreted the best. If someone were to speak the text as poetry, I think they would speak it in the way this vocalist sings-with urgency and broken hearted furor.

 "When I see the lark beating its wings joyfully against the sun's rays,
which then swoons and swoops down because of the joy in its heart,
oh! I feel such jealousy for all those who have the joy of love,
that I am astonished that my heart does not immediately melt with desire!"

Just one more observation- I think all of the recordings of this piece we have heard use female vocalists, while the text refers to the subject of the lover's lament as a 'lady'. Maybe the Occitan can be translated either way.

A chantar by Comtessa de Dia (troubadour song)

A simple voice and lute song with verses. The vocalist adds drama in her voice in corresponding parts of the text. There is musical rhyme between the text in the verses.

Robins m'aime by Adam de la Halle

The simplicity of the music in this piece reflects the simple concept of the text-joy that Robin loves. The tuneful melody is catchy and happy. The added bells are a nice effect, something we haven't heard yet in takes on troubadour songs.

The second recording begins quite plain with one voice singing the simple melodic line. However, it is joined by a few more voices (3 or 4?) who sing a very modal accompaniment. This reminds me of the chant we have been listening to.