Between 1150 and 1450, these recordings showcase the musical diversity of France and England. They offer insights into the monophonic chants of the twelfth and thirteenth centuries, the conductus and motets of the Ars Antiqua, polyphonic compositions from the fourteenth and early fifteenth centuries, and English music for liturgical celebrations. In the second part, most of the pieces come from earlier periods, primarily the songs of the trouvères of the twelfth and thirteenth centuries. These works originate from regions such as Picardy, Artois, Champagne, and Belgium. While the grand chants focus on themes of love, the jeu parti addresses arguments and questions about love among trouvères. In Lorraine, chanson de toile were very popular; there, songs recounted the amorous experiences of queens.
In contrast to the grand chants, the pastourelle depicts stories of physical desire and is characterized by regular rhythms. In contrast, the Descort form uses varying meters and melodies within the verses, resulting in a dissonant sound. The Balade and Dansa forms are dance songs, accompanied by instruments and featuring mensural rhythms. Estampies, dating from the early fourteenth century, complete the repertoire. Typical of trouvère poetry is the use of paradoxes and oxymorons to express the feeling of love and the art of poetry. Musically, monophonic songs, based on metrical structures and end rhymes, predominate.
Closely connected to the medieval culture of France, trouvère songs reflect the complexity and diversity of this era. Even today, with sensitive and respectful performance, numerous musical treasures from this period can be rediscovered.