This is the companion website to the book, Medieval Song from Aristotle to Opera by Sarah Kay, published by Cornell University Press, 2022.

This site hosts audio recordings, realized by Concordian Dawn, professional musicians specializing in early music, of twenty-three songs discussed in the book, together with performance scores, performers’ reflections, and translations of all recorded texts. These audiovisual materials represent an extension in practice of the research aims of the book—to better understand the sung dimension of medieval song.

Artistic Director for the Website: Christopher Preston Thompson

Website Contents (Click on the number to access the resource.)

0.0 Introducing the website. A conversation between Sarah Kay and Christopher Preston Thompson (video)
    0.1 Transcript

1.1 Aimeric de Peguilhan “Qui sofrir s’en pogues” (contrafact)
    1.1.1 Recording / Thompson (voice and medieval harp)
    1.1.2 Text and translation / Shepard and Chambers / Kay
    1.1.3 Performance score / Thompson

1.2 Aimeric de Peguilhan, “En greu pantais m’a tengut longamen”
    1.2.1 Recording / Thompson (voice), Seligmann
    1.2.2 Text and translation / Shepard and Chambers / Kay
    1.2.3 Performance score / Thompson

1.3 Machaut, Remede de Fortune (lines 905–2892): Song between touch and thought
    1.3.1 Recording (video) / Weston, Thompson (voice and medieval harp), Dickey (recorder), Seligmann
    1.3.1a Balladelle “En amer” / Weston, Thompson (voice), Dickey, Seligmann (alternate recording of this song)
    1.3.2 Text and translation / Wimsatt and Kibler / Kay
    1.3.3 Performance score / Thompson

1.4 Performance reflections on Chapter 1 / Thompson

2.1 Boethius, “Tunc me discussa,” Consolation of Philosophy, 1 m. 3
    2.1.1 Recording / Thompson (voice)
    2.1.2 Text and translation / Büchner / Kay
    2.1.3 Performance score / Thompson, after Barrett and Bagby

2.2 Anon., alba of Fleury-sur-Loire, and 2.3 Giraut de Bornelh, “Reis glorios, verays lums e clardatz”
    2.2.1/2.3.1 Recording (video) / Fleury alba: Kennedy, Massey, Dickey (voice), Padgett, Thompson (medieval harp), Seligmann; followed by “Reis glorios”: Thompson (voice)
    2.2.2 Fleury alba, text and translation / Kay
    2.2.3 Fleury alba, performance score / Thompson
    2.3.2 “Reis glorios,” text and translation / Di Girolamo / Kay
    2.3.3 “Reis glorios,” performance score / Thompson

2.4 Peire de Corbian, “Domna, dels angels regina” (contrafact)
    2.4.1 Recording / Thompson (voice and medieval harp)
    2.4.2 Text and translation / Scheludko / Kay
    2.4.3 Performance score / Thompson

2.5 Performance reflections on Chapter 2 / Thompson

3.1 Rigaut de Berbezilh, “Atressi com lo leos”
    3.1.1 Recording / Thompson (voice)
    3.1.2 Text and translation / Várvarro / Kay
    3.1.3 Performance score / Thompson

3.2 Anon., “Ensement com la panthere”
    3.2.1 Recording / Thompson (voice and medieval harp)
    3.2.2 Text and translation / Gouiran / Kay
    3.2.3 Performance score / Thompson

3.3 Anon. chantepleure, “En esmai et en confort”
    3.3.1 Recording / Thompson (voice)
    3.3.2 Text and translation / Kay
    3.3.3 Performance score / Thompson

3.4 Performance reflections on Chapter 3 / Thompson

4.1 Bernart Marti “Amar dei” (contrafact)
    4.1.1 Recording / Padgett, Seligmann
    4.1.2 Text and translation / Kay, after Beggiato & Gaunt
    4.1.3 Performance score / Thompson

4.2 Bernart de Ventadorn, “Can lo boschatges es floritz” (contrafact)
    4.2.1 Recording / Massey, Seligmann, Thompson (medieval harp)
    4.2.2 Text and translation / Lazar / Kay
    4.2.3 Performance score / Thompson

4.3 Disputed attribution, “Entre.l Taur e.l Doble Signe” (contrafact)
    4.3.1 Recording / Padgett, Seligmann
    4.3.2 Text and translation / Poe / Kay
    4.3.3 Performance score / Thompson

4.4. Machaut, “Lay de plour” (“Qui bien aimme”)
    4.4.1 Recording / Weston, Seligmann
    4.4.2 Text and translation / Hœpffner / Kay
    4.4.3 Performance score / Thompson

4.5 Performance reflections on Chapter 4 / Thompson

5.1 Philippe de Vitry, motet “In virtute nominum” / “Decens carmen edere” / “Clamor meus”
    5.1.1a Recording / Kennedy, Massey, Dickey (voice), Thompson (voice)
    5.1.1b Alternate recording / Kennedy, Massey, Dickey (voice), Thompson (voice)
    5.1.2 Text and translation / Rigg, Rihmer, Zayaruznaya
    5.1.3 Performance score / Thompson

5.2 Anon., “Volez vous que je vous chant?”
    5.2.1 Recording / Kennedy, Massey, Padgett, Thompson (medieval harp), Dickey (recorder), Seligmann
    5.2.2 Text and translation / Rosenberg & Tischler / Kay
    5.2.3 Performance score / Thompson

5.3 Anon., motet “De mes amours” / “L’autrier” / “Defors Compiegne”
    5.3.1 Recording Massey, Thompson (voice), Padgett
    5.3.2 Text and translation / Tischler / Kay
    5.3.3 Performance score / Tischler

5.4 Chant royal “Joie, plaisance” / Weston, Thompson (harp), Dickey, Seligmann (audio extract from 1.3.1)

5.5 Performance reflections on Chapter 5 / Thompson

6.1 Marcabru, “D’aisso laus Dieu” (contrafact)
    6.1.1 Recording / Thompson (voice)
    6.1.2 Text and translation / Gaunt, Harvey & Paterson / Kay
    6.1.3 Performance score / Thompson

6.2 Machaut, complainte “Mes doulz amis,” Voir dit, 1356–91
    6.2.1 Recording Kennedy (intonation)
    6.2.2 Text and translation / Imbs & Cerquiglini-Toulet / Kay

6.3 Machaut. Ballade “Nés qu’on porroit les estoilles nombrer,” Voir dit, 1626-46
    6.3.1 Recording / Kennedy, Dickey (voice), Massey
    6.3.2 Text and translation / Imbs & Cerquiglini-Toulet / Kay
    6.3.3 Performance score / Thompson

6.4 Performance reflections on Chapter 6 / Thompson

7 “Deserto sulla terra.” Verdi, Il trovatore, Act 1 sc. 2
    7.1 Recording / Thompson (voice and medieval harp)
    7.2 Text and translation / ed. Lawton / Kay
    7.3 Performance score / Thompson, after Verdi, ed. G. Schirmer piano-vocal score, 1898

7.4 Concluding performance reflections / Thompson

Musicians of Concordian Dawn, Ensemble for Medieval Music

Christopher Preston Thompson, Director
Tenor and medieval harp

David Dickey
Countertenor and recorder

Michele Kennedy
Soprano

Clifton Massey
Countertenor

Andrew Padgett
Baritone

Niccolo Seligmann
Vielle

Karin Weston
Soprano

concordiandawn.com

1.4 Performance reflections on Chapter 1

Full description