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The Lay - its form - Guillaume de Machault's achievement The Lay, at the time when Machault decided to apply his genius to this particular genre of music-poetry, had in the preceding two or three centuries developed the characteristic 12-strophe form that Machault would use almost exclusively. Its origins seem to lie in the Breton-Celtic area, although we don't possess any surviving examples of this early stage. Subsequent development of the style was carried out by the trouvres in the 12th and 13th centuries. The Lay shares with the Sequens a formal setup in which each musical strophe is provided with double or quadruple text, except the first and last strophes which are usually single. This form must have held a singular fascination for Mauchault since he left no less than 24 specimens in this genre which was moreover virtually extinct at the moment of his arrival. No other comtemporary composer, nor any of the generation immediately preceding or following, seems to have had any appetite for a type of composition which by virtue of its size alone, required a new way of controlling musical and lyrical organization. This was particularly the case in competition with polyphonic music. All of Machault's Lays follow the basic 12-strophe scheme in which the first and last strophe are musically (not textually) identical. In detail, though, they display an unbelievable variety both in treatment of the music-'tonalities', tactus, metre, rhythm, phrase length, tessitura- and in treatment of the verse-numbers of syllables, of lines, rhymeschemes within and between versicles. Of course all this was precisely part of the Lay tradition, an exercise in metrical invention on a large scale or put otherwise: 'the art of composing lais was to show inventiveness' (Stevens). However, Machault's urge to experiment here within a particularly narrow frame-work seems almost pathological. To formulate 24 (lais) x 12 (strophes) = 288 strophes, he invents over 150 different syllable schemes, of which the majority are used only once (!).
Additional Information
| Main artist | LITTLE CONSORT |
|---|---|
| Composer | Machaut |
| Inlay | G. de Machaut a.o. Le Lay de Confort Little Consort of Amsterdam &, |
| Biography | FRANS BRGGEN was born in Amsterdam, studied both flute and recorder at the Amsterdam Conservatory, and pursued advanced studies in the 18th century performance practice at The Royal Conservatory, The Hague. At the age of 21 he joined the faculty of The Royal Conservatory as Professor of Early Music and Recorder, and soon after was appointed to a similar position at the Amsterdam Conservatory. His reputation as a teacher grew quickly and, with Gustav Leonhardt, he is credited with making the Netherlands an important world center of early music. An internationally renowned authority on the performance of music written before 1800, Mr. Brggen has given master classes and lectures throughout Europe, Japan and the United States, and was Erasmus Professor at Harvard in 1972-73 and Regents Professor at the University of California, Berkeley, in 1973-74. In addition to this annual schedule of 100 recitals and concerts, Mr. Brggen has made over 90 recordings, many containing previously unrecorded Renaissance and Baroque compositions, and has edited much early music for publication. He is the founder and director of the Orchestra of the 18th Century. In 1972 he formed the group Sour Cream, together with Kees Boeke and Walter van Hauwe. |
| Awards |
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| Quotes | (...) The performances are lovely and lively, the sound sparkling and pleasant, detailed and well placed on the acoustic satege. First rate, an unexpected pleasure. Classical C.D. Guide |
| Format | No |
| Running time | 46:25 |
| Year of release | 1990 |
| Number of cd's | 1 |
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(...) The performances are lovely and lively, the sound sparkling and pleasant, detailed and well placed on the acoustic satege. First rate, an unexpected pleasure. Classical C.D. Guide
(...) Meeuwsen sings well on this disc, backed by formidably skilled instrumentalists. Early Music
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