Miracles of Notre-Dame

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There are so many difficulties for performers of Gautier de Coincy. Quite aside from the problems of all monophonic song from the 13th century (whether to use instruments or not, how literally... — Gramophone Classical Music Guide, 2010 More…

Release Date: 9th Jun 2003
Catalogue No: HMU907317
Label: Harmonia Mundi
Length: 69 minutes

Gramophone Magazine

July 2003

Editor's Choice

Coincy: Cui donrai je mes amours

Work length0:21

$1.00

$1.25

Coincy: Amours qui bien set enchanter (instrumental)

Work length2:17

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$1.25

Coincy: Hui matin a l'ajournee

Work length8:22

$1.20

$1.50

Coincy: Douce dame (instrumental)

Work length3:18

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$1.25

Coincy: Ma viële

Work length3:32

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Coincy: Efforcier m'estuet ma voiz (instrumental)

Work length1:51

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$1.25

Coincy: Cui donrai je mes amours

Work length0:14

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Coincy: Quant ces flouretes florir voi (instrumental)

Work length1:57

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Coincy: Puisque voi la fleur novele

Work length0:39

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Coincy: D'une amour quoie et serie (instrumental)

Work length1:47

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Coincy: Conductus: De la sainte Leocade

Work length1:15

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Coincy: Talenz m'est pris orendroit (instrumental)

Work length1:28

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Coincy: Pour Dieu (instrumental)

Work length0:57

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Coincy: Hyer matin a l’enjornee (The Art of the Trouvères, Northern France, 12th & 13th c.)

Work length0:54

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Coincy: Motet: Benedicamus Domino

Work length1:02

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Coincy: Ja pour yver

Work length13:34

$1.60

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Coincy: Amours dont sui espris (instrumental)

Work length2:17

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$1.25

Coincy: Royne celestre

Work length9:28

$1.20

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Coincy: Conductus: S'amours dont sui espris

Work length1:13

$1.00

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Coincy: Entendez tuit ensemble

Work length13:32

$1.60

$2.00

Reviews
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Reviews

2010

There are so many difficulties for performers of Gautier de Coincy. Quite aside from the problems of all monophonic song from the 13th century (whether to use instruments or not, how literally to take the written notes, how much can be improvised and so on), most of the music is demonstrably not by him, but adaptations of wellloved pieces of his time. His main contribution is therefore the poetry. So an important feature of this issue is that the texts are treated with the utmost seriousness: the seven songs that form the core are all sung complete, all treated as coherent poems without gratuitous repetition of sections, all with the words taking absolute primacy in the performance, and all done in ways that makes it quite clear that the performers know exactly what they are singing about. There's something marvellously refreshing in the way they relish the sound of their texts, enunciated with a deliciously hard-edged approach to medieval French.
Around these seven songs, Andrew Lawrence- King has created a frame designed from shorter fragments. Many are instrumental renditions of the melodies, with some particularly remarkable and fascinating performances by Ian Harrison on cornett and shawm, alongside some astonishingly attractive examples of group improvisation.

Miracles of Notre-Dame

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