Album insights
Guillaume de Machaut (ca. 1300-1377) is a notable exception in our somewhat limited knowledge about medieval artists. Unlike many others from that era, we are fortunate to have a substantial collection of his works. Machaut's artistic vision led him to compile his literary and musical works in a single volume, intending to encompass everything he had ever created. This volume, crafted for his affluent patrons, saw luxurious manuscript copies produced. Preserved to this day are several of these codices, six of which contain his music, essential in broadening our understanding of Machaut beyond a few seemingly popular compositions.
An overview of Machaut's artistry is evident in this recording, featuring four motets that exhibit a range of his skill within this genre. These motets likely represent some of his earliest polyphonic compositions, dating back before 1350. During Machaut's time, the motet had evolved into a sophisticated form, demanding a blend of musical theory, practical skill, and literary knowledge. Typically structured around a fragment of a Gregorian chant in the tenor voice with recurring rhythmic figures (taleae), motets involve upper voices, known as triplum and motetus, moving at a swifter pace, coordinated with the talea. The texts interwoven in these compositions required a nuanced understanding, catering largely to experts familiar with composing and exchanging ideas. Also, Machaut's works display influences from Philippe de Vitry (1291-1361), another significant composer of the 14th century.
Across his works like "Hareu, hareu! le feu / Helas! ou sera pris confors / Obediens usque ad mortem (M10)", Machaut delves into themes of panic, fear of death, and the burning passion of a lover's heart. The context of the texts illustrates a lover's desire for their burning heart to cease, while fearing the looming "death" within. Despite "Obediens" lacking direct correspondence in the French texts of the upper voices, the concept of obedience to love and the lady serves as a potential savior for the lover. The musical intricacies emphasize the lover's emotional turmoil, with syncopations and contrasting rhythms further highlighting this internal conflict.
Furthermore, Machaut's poetic expressions often center on love experiences from a first-person perspective, mainly a male but occasionally a female narrator. His lyrical compositions reveal extensive rhetorical skills and musical effects, notably in forms like ballads, rondeaus, and virelais. Out of these, the ballad "Biauté, qui toutes autres pere (B4)" resonates with poignant contrasts, portraying an unattainable lady through vivid imagery and heightened emotions. The innovative use of red notation in this ballad sets a unique rhythmic tone, enhancing its thematic depth. Conversely, "Je ne cuit pas (B14)" portrays a jubilant female voice thankful for love's fulfillment. The shift in rhythmic structures between 3/4 and 6/8 adds a lively cadence to the composition, highlighting the joyous narrative.
As we explore Machaut's vast lyrical repertoire, we witness a progression in his composition style over time. Pieces such as "De petit po (B18)" stand out for depicting a female narrator's lament, tackling themes of trust, doubt, and deception within love relationships. These intricate tales evolve further in "Amours me fait desirer (B19)" and "Ma chiere dame (B40)", spinning intimate narratives of desire, doubt, and devoted longing, each with its unique melodic and rhythmic complexities.
Infusing his compositions with poetic brilliance and musical innovation, Machaut's virelais and rondeaus captivate the listener with their lyrical nuances and vibrant melodies. Songs like "Douce dame jolie (V4)" and "Diex, Biauté, Douceur, Nature (V19)" offer celebratory odes to love, intertwined with metaphors of nature and beauty, painting vivid portraits of admiration and longing. Simultaneously, compositions like "Ce qui soustient moy (R12)" and "Quant je ne voy (R21)" delve into themes of vulnerability and yearning, encapsulating the emotional complexities of affection and desire.
With this comprehensive recording of Machaut's secular compositions, the Orlando Consort concludes its in-depth exploration of his works across eleven CDs. By making high-quality recordings accessible, this project not only aims to raise awareness of Machaut's legacy but also highlights the breadth of his creative output—from intellectually structured motets to the emotional depth embedded in his lyrical offerings.
Anne Stone & Jacques Boogaart © 2025