Composer: Guillaume de Machaut (ca. 1300-1377)
Works: et l’art des Trouvères
Performers: Emmanuel Bonnardot (voice, bowed strings: vielle, rebec, bowed citole, crwth, psaltery), Barnabé Janin, Jean-Loup Descamps, Susanne Meyer, Valérie Ingert, Hélène Moreau
Recording: June 2001, Église de Sergines
Label: Calliope 9308
Guillaume de Machaut stands as a towering figure at the crossroads of the late medieval and early Renaissance periods, a composer whose influence resonates through the evolution of polyphonic music. While renowned for sacred compositions like the “Messe de Nostre Dame,” this recording, “et l’art des Trouvères,” attempts to encapsulate the broader tapestry of medieval music, drawing primarily from the traditions of the trouvères. However, it is noteworthy that Machaut’s own contributions here are limited to just two pieces, stirring a potential ambiguity in the compilation’s intent, as it seems designed more to showcase the richness of medieval music rather than to focus solely on Machaut’s oeuvre.
The interpretation by Emmanuel Bonnardot and his ensemble reveals a thoughtful selection of works that span a fascinating spectrum of styles, from the lively and exotic “La quarte estampie roial” to the introspective “Ne m’oubliez mie.” The former, featuring a drone-like texture from the vielles, captures the rhythmic vitality characteristic of medieval dance forms, setting a celebratory tone that invites the listener into the world of early European music. In contrast, “Ne m’oubliez mie,” with its poignant vocal line floating over a delicate instrumental backdrop, showcases the emotional depth and lyrical sophistication that were hallmarks of the period. The juxtaposition of these diverse pieces not only highlights the versatility of medieval music but also allows Bonnardot’s expressive voice to shine in various contexts, from the buoyant to the melancholic.
The technical execution of the ensemble is commendable, with each performer delivering nuanced interpretations that enhance the overall tapestry of sound. The interplay between instruments is particularly noteworthy; for instance, in Adam de la Halle’s “Fi maris,” the three vocal lines are deftly woven together, creating a rich harmonic texture that exemplifies the polyphonic advancements of the time. Bonnardot’s clear diction and emotive phrasing bring a modern sensibility to these ancient texts, ensuring that the emotional weight of the music is felt even by contemporary audiences. The recording quality is also exceptional; the acoustics of Église de Sergines lend an intimate resonance to the performances, capturing the subtle nuances of both voice and instrument with clarity.
While some may critique the limited presence of Machaut’s own repertoire in a collection bearing his name, the album succeeds in presenting a broader narrative of the trouvères’ musical landscape. The selection represents a well-curated exploration of the interconnectedness of medieval musical traditions, from the Arabic influences that permeate works like “Le lay mortel” to the vibrant polyphony of the French chansons. It offers a tantalizing glimpse into the cultural milieu that shaped Machaut’s own innovations.
This collection stands as an essential exploration of medieval music, rich in variety and emotional resonance. The thoughtful programming, combined with Bonnardot’s engaging interpretations and the ensemble’s skilled execution, makes for a compelling listening experience that not only honors the legacy of Machaut but also illuminates the broader artistic currents of his time. A commendable addition to the discography of early music, it invites both seasoned enthusiasts and newcomers alike to appreciate the timeless beauty of these medieval treasures.
