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Compact Disc Booklet:
Customer : Tintoy
Catalogue No. : DCD34063
Job Title : Fires Of Love
DCD34063
Pages (24, 1)
CTP Template: CD_DPS1
Compact Disc Booklet:
Customer : Tintoy
Catalogue No. : DCD34063
Job Title : Fires Of Love
Chansons a Plaisir Music from the time of Adrian Le Roy
Frances Cooper soprano and percussion; Marcus Claridge percussion
Gordon Ferries lute, 4-course guitar and percussion; Jonathan Hugh-Jones baritone, recorders and lute
1. Puis que vivre – Adrian le Roy (g)
2. Pimontoyse – Adrian le Roy (h)
3. Laissez la verte couleur – Adrian le Roy (g)
4. Padvane – Guillaume Morlaye (k)
5. Une jeune fillette – anonymous French mid-16th century
6. Au temps heureux – Jacques Arcadelt, arr. for guitar by G.Morlaye (k)
7. Oyez tous amoureux – Adrian le Roy (g)
8. Prelude & Fantasie – Adrian le Roy (h,f)
9. J’atens secours – Claudin de Sermisy, text: Clemènt Marot (b)
10. Pavane & Galliarde – Pierre Attaignant (c)
11. L’ennuy que me tormente – Adrian le Roy (g)
12. Branle & Galliard – Guillaume Morlaye (k)
13. Cessez mes yeulx – Thomas Crequillon, text: Mellin de S.Gelais (d)
14. Fortune, laisse moy la vie / Pavane: Sy je m’en vois – Adrian le Roy (after P.Attaignant) (i) [2:56]
15. Qui prestera la parole – Didier le Blanc, arr.G.Bataille, text: Joachim du Bellay (e)
16. Branle simple – Adrian le Roy (f)
17. Joyssance vous donneray – Claudin de Sermisy,, text: Clemènt Marot (b)
18. Branle de Poitou – Adrian le Roy (i)
19. Vivray je toujours – Claudin de Sermisy (b)
20. O cômbien est heureuse – Adrian le Roy (g)
21. Il me souffit – Claudin de Sermisy (b)
22. Les Buffons – Guillaume Morlaye (j)
23. Conte Clare – Guillaume Morlaye (j)
24. Il bianco et dolce cigno – Jacques Arcadelt, text: Alfonso d’Avalos (or ?Giovanni Guidiccioni) (a)
25. J’ay le rebours – Pierre Certon, arr. Adrian le Roy (g)
Sources (all published in Paris unless stated):
Jacques Arcadelt: a. Madrigali A.Gardane, Venice 1539
Pierre Attaignant: b.Très brève et familière introduction 1529;
c. Dixhuit basses dances 1530.
Thomas Crequillon: d. Horti musarum P.Phalèse, Louvain 1553
Didier le Blanc: e. Livre d’airs de different auteurs G.Bataille, 1613
Adrian le Roy: f. Premier livre de guiterre 1551; g. Second livre 1552/5, h.Tiers livre 1552; i. A brief and easye introduction 1567 (lost) and London 1568. Guillaume Morlaye: j. Premier livre de guiterne 1552; k. Second livre 1553.
Pages (2, 23)
Early Music on Delphian
Marionas - The Guitar Music of Francisco Guerau (1649-1722)
Gordon Ferries, baroque guitar (DCD34046)
Baroque guitarist Gordon Ferries weaves his way through the seductive labyrinth of Francisco Guerau’s ‘harmonic poem’ with sensual ballads, sublime passacalles and the virtuosic dance music of baroque Spain’s fiery underbelly. Ferries’ playing brings this beguiling world to life with elegance and passionate vitality.
‘the melodic line enchants, the percussive strumming seduces’
- Classic FM Magazine, February 2008
La Preciosa – The Guitar Music of Gaspar Sanz (c.1640-c.1710)
Gordon Ferries, baroque guitar (DCD34036)
Baroque guitarist Gordon Ferries visits the music of seventeenth century Spain’s streets – a time when the five-course guitar produced abject horror in the morally inclined, through its association with popular ballads, taverns, criminality, sensuality and in particular dancing. Ferries assumes the role with panache and breath-takingly virtuosic flair.
‘Ferries exploits the instrument’s capacity for timbre and expression with inspired and impeccable technique.’ – Goldberg, February 2006
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Catalogue No. : DCD34063
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24 IL BIANCO E DOLCE CIGNO
Il bianco e dolce cigno cantando more The white and gentle swan dies singing Ed io piangendo giunge al fin del viver mio. while I weeping end my life.
Stran’e diversa sorte! How strangely different our fates.
Ch’ei more sconsolato ed io moro beato. He dies unconsolable, and I die blessed. Morte che nel morire, Yet even as I die M’empie di gioia tutto e di desire. I am filled with joy and desire. Se nel morir altro dolor non sento If this is the only pain I feel in dying, Di mille mort’ il di sarei contento. I would die a thousand such deaths a day.
25 J’AY LE REBOURS
J’ay le rebours de ce que je souhaite, I have the reverse of my desire. J’ai converti en joie contrefaite I have turned to a counterfeit joy tout le plaisir que perdre [je] craignais tant. all the pleasure I so feared to lose.
J’ai du mal tant, tant I feel such pain que le coeur me fend that my heart breaks de voir l’amour défaite. to see love so defeated.
Fi des beaux chants et des vers de poète. Enough of lovely songs and poems.
J’aime trop mieux Jérémie le prophète. I prefer the prophet Jeremiah. Avec lui [je] vais mourir en languissant. With him I shall languish and die.
J’ai du mal... I feel such pain…
Adrian le Roy dominated French musical life in the second half of the sixteenth century, as a virtuoso musician, teacher, composer, arranger, and music publisher. Le Roy collaborated with the older generation of composers – Sermisy, Arcadelt and others – with new talents such as Le Jeune, and with incomers, notably Lassus, who he made a star. The firm of Le Roy & Ballard led the field, issuing chansons, sacred works, dance music and instruction books. Le Roy became Royal Printer in 1553, a position he held until his death in 1598 and in which he served three kings. This extraordinary career came at the height of French Renaissance classicism, during which the Pléiade poets –Ronsard and friends – claimed for French verse a standing alongside Latin and Greek. Ronsard, keen that his poetry be sung, supplied musical scores with his first book of Petrarchan sonnets, the 1552 Amours. French high culture might have achieved remarkable unity, had it not been for thirty years of civil war.
Religious persecution grew in the 1530s. Fighting commenced in 1562 at the village of Vassy, where a Huguenot (Calvinist) congregation worshipping in a barn were massacred. Huguenots were slaughtered again on St Bartholomew’s Day 1572, and conflict
only ended in 1598 when the new Protestant king, Henry IV, decided that ‘Paris is worth a mass’ and converted to Rome, but also decreed tolerance for Calvinists. Meanwhile, France had lost perhaps 4 million people, with plague and famine adding to the misery. How did music fare? The flood of publications begun in 1529 by Pierre Attaignant – Le Roy’s predecessor as Royal Printer – continued unchecked by conflict. Some 4,000 chansons were published in sixteenth-century France, besides numerous sacred and instrumental collections. Stylistically, the ‘Parisian chanson’ seems so calm and relaxed – quite unlike the expressionist contortions of Italian madrigals – that few commentators make much of the historical context. But musicians were not immune to danger. The Protestant composer Claude Goudimel died at Lyons in the St Bartholomew killings, while the Catholic Antoine de Bertrand was murdered by Huguenots at Toulouse. Others temporized; Paschal de L’Estocart set poems by the Catholic zealot Guy de Pibrac, author of a verse justification for St Bartholomew’s Day. But De L’Estocart’s chef d’oeuvre was his Octonaires de la Vanité du Monde, an essay in Calvinist musical moralising.
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Catalogue No. : DCD34063
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Music was known to enflame passions; in 1580 the Parisian authorities forbade musicians to excite people ‘par cris et dictz de chansons’. Music could also, however, heal division and mollify anger – as in the classical story of King Alexander and Timotheus, whose lyre so excited the king that he grabbed for his sword, whereupon Timotheus switched to a different mode, calming him. The story was a favourite. After the Treaty of Sainte-Germain in 1570, amid fragile hopes for peace, Jean-Antoine de Baïf established in Paris his Academy of Poetry and Music, with the aim of emulating those calming Antique skills. The metres of classical verse would be applied to French poetry, in musical settings following that metrical pattern. Baïf was a Catholic, his Academy under royal (Catholic) patronage, but he deliberately brought Catholic and Protestant musicians together; his leading composer was Claude le Jeune, a lifelong Huguenot. Baïf’s Academy foreshadows today’s orchestra established by Daniel Barenboim and others, in which young Israeli and Palestinian musicians play side by side.
The Timotheus tale was updated in a story about Claude le Jeune. At an Academy concert, a gentleman was so impassioned by Le Jeune’s playing that he ‘swore loudly that he felt
absolutely impelled to fight someone’. When Le Jeune switched mode, he became tranquil. Only two years after the founding of the Academy, French cities witnessed the greatest atrocity of the wars, on St Bartholomew’s Day. Yet hope was resilient, that the arts might bring an end to strife. At the Entry of King Charles IX into Paris in 1571, and at the Joyeuse Magnificences of 1581, Ronsard and his Catholic friends provided neo-classical verse for which the Huguenot Le Jeune wrote festive settings. The message was clear: a wise French monarch would restore a Golden Age of harmony. Reality proved different; kings, cardinals and poor folk were murdered, while war, disease and starvation tormented the people. This does not render the aspiration naive, just terribly poignant.
This recording straddles generations and the onset of war. It illustrates how the music published by Adrian le Roy and his rivals reflects their troubled world in a curiously oblique way, responding with neo-classical civilisation. Classical mythology appears in Le Roy’s own Laissez la verte couleur, depicting the discovery of the dead Adonis by Venus, who fills the valley with her grief; the blood stains upon the ground remain to teach a terrible lesson. The piece suggests a tableau vivant; the links
Hélas, qu’il fût possible Alas, were it only possible Que [tu] puisses être moi, that you could be me, Pour voir s’il m’est pénible to see how terrible Le mal que j’ai pour toi: is the pain I bear for you. Tu prendrais grande pitié Then you would take pity De ma ferme amitié. on my devotion.
De vous seul je confesse You alone, I declare, Que mon coeur est transi: have pierced my heart.
Si j’étais grande princesse, Were I a great princess, Je dirais tout ainsi: I would put it like this: Si le vôtre ainsi fait, If you feel as I do, Montrez-le par effet. show it by your deeds.
21 IL ME SOUFFIT
Il me souffit de tous mes maulx, I’ve had enough of my griefs Puis-qu’ils m’ont livré a mort. for they’ve passed me over to death.
J’ay enduré peine et travaulx, I’ve endured pain and travail, Tant de douleur et desconfort. and such grief and misery.
Que faut il que je face, What must I do pour estre en vostre grace? to stand in your good graces?
De douleur mon coeur si est mort, My heart dies with grief
S’il ne voit vostre face. if it cannot gaze upon your face.
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Catalogue No. : DCD34063
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20 O CÔMBIEN EST HEUREUSE
Ô cômbien est heureuse O how blissful
La peine de celer the pain of concealing
Une flamme amoureuse, an amorous flame
Qui deux coeurs fait brûler, that sets two hearts ablaze, Quand chacun d’eux s’attend when both soon expect D’être bientôt content. to be happy.
Si femme en ma présence If any woman, in my presence, Autre vous entretient, approaches you, Amour veut que je pense Love wills me to believe Que cela m’appartient; that it belongs to me, Car lui et longue foi for love and long fidelity Vous doivent tout à moi. have made you all mine.
Que me sert que je soie What use is it to me, to be Avec princes, ou Roi, among princes, or with the King, Et qu’ailleurs je vous voie and see you far off, Sans approcher de moi? not drawing near to me?
La peur du changement The fear of change Me cause grand tourment. torments me.
Quand par bonne fortune When, by good fortune, [vous] Serez mien à tout point, you are all mine, Lors parlez à chacune, then you may speak to any woman, Je ne m’en plaindrai point. without my complaining. Bien [je] vous prie cependant But I beg you meanwhile N’être ailleurs prétendant. not to look elsewhere.
Pages
between music and theatre – street and court –were drawing closer. Fortune, laisse moy la vie likewise invokes a classical god, Cupid. Le Roy recycled material as he saw demand for new formats. This tune appears as Sy je m’en vois in his Premier Livre de Tabulature de Luth (1551), printed as dance music without text. Le Roy then eyes the educational market; the version recorded here appears in his Premier Livre d’Instruction (1567) as an exercise in diminution – variations by subdivision – but still without the words, which are now lost; we have borrowed anonymous lyrics from another setting.
Le Roy reused material from the earlier generation published by Pierre Attaignant. Songs such as Sermisy’s Joyssance, printed by Attaignant in 1529, had many reincarnations. Attaignant had published numerous dances such as the Pavane & Galliarde, played here as a lute duet. Le Roy followed Attaignant’s lead, favouring strongly rhythmic regional folk dances such as the Branle de Poitou and the Pimontoyse (from Piedmont).
J’ay le rebours, with its catchy refrain, shows how composers could make the popular sophisticated. Le Roy had a gift for spotting material and predicting trends, and his books
include the first original songs with guitar accompaniment published anywhere. The voixde-ville were urban songs doubling as dance tunes; Le Roy issued a collection in 1555, while Jean Chardavoine gathered 200 voix-de-ville with texts, described as ‘commonly danced and sung in the cities’. Une jeune fillette, with its strong narrative element, appears frequently. The storyline is found back in fifteenth-century Siena; the tune conquered Europe as ‘Monica’ (the little nun), and even resurfaced as a Bach chorale (Cantata 107).
Le Roy, looking ahead, saw a market for more refined vocal solos, developed from the voixde-ville. In 1571, he used the term ‘air’ for the first time in print. Many early airs de cour were available as 4-voice chansons, but were now issued as accompanied solo songs ‘miz sur le luth par Adrian le Roy’. The form evolved slowly: the air de cour edition of Qui prestera recorded here dates from 1613, but derives from Le Blanc’s 1579 four-part setting of du Bellay’s 1550s poem. Thomas Crequillon died c.1557 but, although published in both solo and 4-part formats, his Cessez mes yeulx is already a soprano ‘air’ at heart, its languorous melody set over lower lines in which, again and again, the grief literally rises up.
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Catalogue No. : DCD34063
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French music did not develop in isolation. Crequillon probably never worked in France, nor was French his first language. He was a Fleming, his music printed in Louvain. But his songs are all settings of French verse, and reflect the power of the Parisian music industry. Arcadelt – also possibly Flemish by birth – spent his early career in Italy. He moved to Paris c.1551 (to be published by Le Roy), bringing Italian stylistic features and celebrated pieces such as Il bianco e dolce cigno. This would be recast decades later by Orlando Gibbons as ‘The Silver Swan’. Whereas the English madrigal uses the dying swan to bemoan a decline in civic wisdom, the Franco-Italian original is about sex.
Sixteenth century French lyrics on love’s pains can seem formulaic, and some modern editors treat them disparagingly. But in a context of wars and plague, Fortune, laisse moy la vie – ‘Fortune, leave me my life and love, for you have taken everything else’ – seems vividly immediate. Why must the lovers in O cômbien est heureuse conceal their feelings at court? Is she a young Catholic, and he a Huguenot? The danger was real; the factions were assassinating each other. Le Roy’s song publications seldom refer to civil strife, although instrumental evocations of warfare are legion.
Sixteenth century ‘battle’ pieces (famously, La Bataille by Janequin) usually concern victories over the Italians or English. The suffering in most chansons is private and lasting, as in Qui prestera la parole: ‘Who will lend words for my grief?’ Where there is joy, as in Joyssance vous donneray, still Death hovers nearby.
There are delightfully upbeat pieces here, and the dances are spirited. But the chansons suggest an effort at self-control. They are restrained in structure, and usually syllabic; the melody moves with the text, syllable by syllable, with one musical phrase to each line of verse; Il me souffit is a good early example, Qui prestera typical of later work, a touch more florid. Chromaticism is muted, with little tortured word painting. How, then, can such songs be so beautiful while yet so simple? Not, surely, because their emotional life is formulaic; rather, because they are the product of a society striving to preserve its civilisation.
© 2008 Jonathan Hugh-JonesPages (6, 19)
19 VIVRAY JE TOUJOURS
Vivray je toujours en soucy Shall I always be anxious Pour vous ma tres loyalle amye? for you, my loyal friend?
Si vous n’avez de moy mercy, If you do not have mercy on me, Je languiray toute ma vie. I shall languish all my days. Vostre beaulté m’arresté pour son servant. Your beauty enslaves me, De tres bon coeur son serviteur me vois nommant. I willingly see myself its servant.
Je l’ay aymée at l’aymeray I have loved and will love her
Pour le grant bien qui est en elle, for the great goodness in her, Et jamais ne l’obliray and I shall never forget her, Par quelque chose que ce soit, not by any means.
Car son maintien et entretien, est si plaisant, Her bearing and company delight, Que langoreulx seroit joyeulx, incontinent. curing my langour instantly.
Ung jour luy dis tout doulcement One day I asked her gently
S’elle vouloit estre m’amye: if she would be my love.
Elle m’a dit tout en riant: Laughing, she said:
Il vous vauldra je vous assie, ‘You deserve my goodwill; Mais discret, saige et secret, soyez tousjours, only be discreet, wise & secret, Vous parviendrez, et joyrez, de voz amours. and you’ll enjoy your love.
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Catalogue No. : DCD34063
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17 JOYSSANCE
VOUS DONNERAY
Joyssance vous donneray I will give you joy Mon amy, et vous meneray my love, and will lead you
La ou pretend vostre esperance. to the place of your hopes.
Vivante ne vous laisseray, While I live I shall not leave you;
Encore quant morte seray, even in death
L’esprit en aura souvenance my spirit will remember.
Si pour moy avez de soucy, If for me you feel concern, Pour vous n’en ay pas moins aussi. mine for you is no less troubling.
Amour le vous doit faire entendre. Love itself should tell you so.
Mais s’il vous greve d’estre ainsi, But if it pains you to be thus, Appaisez vostre cueur transy; calm your wounded heart;
Tout vient a point qui peult attendre. all things come to those who wait.
[Response]
De vostre mort mary seray, I will be stricken by your death, Usant ma vie en desplaisanche; living my life out in misery.
Souvent je vous regreteray, Often will I miss you, Gros duel pour vous je porteray; deeply will I mourn you
Autre que vous je n’aimeray, and, filled with your memory, Aiant de vous la souvenanche. I will love no-one but you.
The Renaissance four-course guitar first appeared in Spain, but its most significant and idiomatic music is French. The earliest printed source for the Spanish guitarra is Alonso Mudarra’s tres libros de musica en cifras para vihuela (1546). Like his contemporary Miguel de Fuenllana, Mudarra printed guitar and vihuela1 music together, treating them in a similar contrapuntal style. French publishers soon caught on, spying the potential for their domestic market. The partnership of Granjon and Fezandat, under a privilege granted by Henri II, published the first collection entirely devoted to the guitar. This was the two Livres en tablulature de guiterne by Guillaume Morlaye (1550 -51), which survive in later editions (1551-53) alongside a book by Simon Gorlier and a third by Morlaye.2 Morlaye is first recorded as a merchant profiting from the African slave trade, then as a lutenist with ties to the art world.This recording presents a cross section of his work, illustrating the guitar’s unique voice, identity and lineage, quite distinct from the lute and its relations.
The Renaissance guitar is smaller than the baroque or classical instrument. Its four open courses3 correspond to the top four strings of the modern guitar stopped at the fifth fret. The high pitch of the instrument gives it a sound
capable of cutting through lower pitched instruments and voices. When accompanying a singer, it sounds higher than the voice.
Morlaye’s dance music highlights the ‘variations on a ground’ ubiquitous in seventeenth-century sources. The Buffons is based on the passamezzo moderno (here with an opening improvisation). Conte clare uses the Spanish ground Conde Claros favoured by the vihuelists. The Padvane employs the passamezzo antico but is through-composed. The Branle and Galliard demonstrate the strumming potential of the guitar,4 while my foot taps reflect the contagious rhythms! Au temps heureux is one of many intabulations of chansons, this one by Arcadelt. Morlaye captures the essence of the four-part original on the limited tessitura of the guitar.
The remaining pieces are by Adrian le Roy whose business acumen matched his abilities as composer, arranger and performer. All come from his Livres de guiterre (1551-55).5
The improvisatory Prelude foreshadows the unmeasured preludes of the Baroque, which became the essence of French music. It is paired here with a Fantasie showing Le Roy’s contrapuntal skill, effortlessly finding full
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Catalogue No. : DCD34063
Job Title : Fires Of Love
Fires of Love
expression within the instrument’s compass. The Branle simple demonstrates French ornamentation and improvisation in Le Roy’s use of the diminuée (decoration by subdivision), and Le Roy gives guidance on right hand fingering and the use of thumb and index alternation, a link with lute technique.
The introduction of the guitar in France corresponds with the reign of Henri II, while royal patronage reached its apogee under Louis XIV. From these early aristocratic days until the present, the guitar has had sexual connotations, a tool of seduction for some, a threat to morality for others. As Ronsard says: My guitar I sing to thee; ‘Tis with thee that I decoy And ensnare enchantingly The ladies I enjoy.
© 2008 Gordon J S Ferries[1] The vihuela was a guitar shaped instrument closely related to the lute, which flourished in Spain during the second half of the sixteenth-century.
[2] Facsimile published by Editions Chanterelle.
[3] Courses were double strings tuned in unison or in octaves. The top course was often a single string.
[4] This incipient style was to become a well documented source of annoyance to certain serious minded observers who mourned the learned style of the vihuela.
[5] See note 2 above.
Frances Cooper soprano and percussion
Marcus Claridge percussion
Gordon Ferries lute, 4-course guitar and percussion
Jonathan Hugh-Jones baritone, recorders and lute
Fires of Love was formed in 1998 with the aim of performing renaissance and early baroque chamber music in a fresh, innovative and accessible style, bringing lesser-known gems of early music to a wider audience. Their first performance as a quartet at Rosslyn chapel was described in The Scotsman as ‘A rich mosaic of music; all human life and emotion is here’.
Based in Edinburgh, the group performs at venues and festivals across the British Isles delighting audiences with spirited and intimate renditions of music from sixteenth and seventeenth century Europe. The group’s repertoire centres on accompanied song and instrumental music played on lutes, guitars and woodwind, with the addition of improvised percussion to bring out the spirited dance rhythms of the time.
The group’s second CD with Delphian – featuring many world premiere recordings – marks Fires of Love’s tenth anniversary.
Pages (8, 17)
www.firesoflove.co.uk
15 QUI PRESTERA LA PAROLE
Qui prestera la parole Who will lend me words
A la douleur qui m’assole? for the grief that assails me?
Qui donnera les accens Who can express
A la plainte qui me guide the despair that leads me on?
Et qui laschera la bride And who will give rein
A la fureur que je sens? to the madness that I feel?
Qui baillera double force Who will supply the strength
A mon ame qui s’efforce to my soul that it may
De soupirer ses douleurs? sigh for these griefs?
Et qui fera sur ma face And who, on my face, will enable D’une larmoyante trace the traces of my misery
Couler deux ruisseaux de pleurs? to flow as two streams of tears?
Vous, a qui ces dus allarmes You, from whom these alarms Arracheront quelques larmes, will pluck tears, Soyés joyeux en tout temps, be always joyful. Ayés le ciel favourable, May Heaven favour you, Et plus que moy, miserable, and, more than unhappy me, Vivés heureux, & contents. live happy and content.
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Catalogue No. : DCD34063
Job Title : Fires Of Love
Et bien qu’il fût durable Even if it should last, Qu’en sera le propos what would be the benefit, Plus ou moins agréable pleasing or otherwise, Á ma cendre et mes os? to my ashes and bones?
Et m’en sera rendue Would my celestial part Ma céleste moitié, be returned to me?
Nenni trop tard venue No! Too late Sera cette pitié. would that pity be.
13
CESSEZ MES YEULX
Cessez mes yeulx de tant vous tormenter Eyes, cease to torment yourselves Puisqu’en vos pleurs n’y a point d’allegeance, for your tears betray you.
Et vous mon cuer cesses de souspirer And, my heart, cease sighing;
Et desormais prenez en pacience. rather, learn patience.
Ce mal est tel que je n’y sçay science This evil is beyond my comprehending Fors seullement qu’il ne peult enpirer. except to see that it can’t get worse..
C’est desconfort, c’est ma desesperance It is misery, and it is the loss of all hope
Qui me fera longuement martirer. that make for my prolonged martyrdom.
14
FORTUNE, LAISSE MOY
Fortune, laisse moy la vie, Fortune, leave me my life, Puis que tu m’as osté les biens. now that you have taken my wealth.
Mets doncques fin à ton envie; Now, cease your envy;
Je te desclaire qu’ils sont tiens. I declare, everything is yours.
Helas, je croy, tu as envie Alas, I think you are envious Sur m’amye, et aussi sur moy. of my love and me.
Helas, Cupido, prens esmoy Have pity, Cupid, Et nous secours, je t’en prie. and help us, I beg you.
Pages (16, 9)
Texts and translations
1 PUIS QUE VIVRE
Puisque vivre en servitude Since once I lived in slavery
Je devais triste et dolent, growing sad and resentful, Bien heureux je me répute I think myself most fortunate
D’être en lieu si excellent to be in so fine a spot.
Mon mal est bien violent My pain is terrible
Mais amour l’ordonne ainsi. but love wills it so.
Veuillez en avoir merci. Have mercy, please!
Autre bien [je] ne veux prétende I expect no other reward
Pours mes plaintes et clameurs for my laments and cries, Sinon que [vous] veuillez entendre than to have you know
Que c’est pour vous que je meurs: it is for you that I die.
Dans mes yeux n’a plus des pleurs In my eyes are no more tears
Et mon coeur est jà transi. and my heart is run through.
Veuillez…
Ce vous est peu de conquête For you it would be a small conquest
D’aller ma fin poursuivant, to bring about my end.
Bien vous serait plus honnête It would be more honorable
Sauver le votre servant to spare your servant.
Un qui pourrait, en vivant One who, in living, could Votre nom rendre éclairci. bring glory to your name.
Veuillez…
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Catalogue No. : DCD34063
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3 LAISSEZ LA VERTE
Laissez la verte couleur Leave off your green shade, Ô Princesse Cythérée, O Citherean princess, Et de nouvelle douleur and with another shadow Votre beauté soit parée. let your beauty be arrayed.
Pleurez le fils de Myrrha Grieve for Myrrha’s son Et sa dure destinée. and his hard fate.
Votre oeil plus ne verra You will never see him more Car sa vie est terminé. for his life is ended.
Vénus à la nouvelle Venus at the news
Remplit toute la vallée filled all the valley
D’une complainte mortelle, with a grievous cry Et au lieu s’en est allée, and hurried to the place
Où le gentil Adonis where the gentle Adonis Étendu sur la rosée, stretched out on the dew, Avait ses beaux yeux ternis, his lovely eyes fading Et de sang l’herbe arosée. and the grass bloodied.
Dessous une verte branche Beneath a green branch, Auprès de lui [elle] se couchée, beside him she lay, Et de sa belle main blanche and with her fair white hand Sa plaie lui a touchée. touched his hurt.
Ô nouvelle cruauté O, new cruelty, De voir en pleurs si baignée to see bathed in tears
La déesse de beauté the goddess of beauty
d‘ami mort accompagnée! with her dead lover,
Pages (10, 15)
11 L’ENNUY QUE ME TORMENTE
L’ennuy que me tormente The grief which torments me
Est tel que sans secours is such that, without help, Espoir n’ai ni attente I can neither hope nor expect De prolonger mes jours, to prolong my days.
Et si je n’ai confiance And if I cannot count
D’avoir aucun confort on any solace, Toute mon ésperance all my hope
Gît en la seule morte. must lie in death.
Mort, des autres fuie, Death, by others shunned, Attendue de moi, awaited by me, Venez rendre finie[s] come, put an end
Ma peine et mon émoi: to my pain and my distress: Plus propre à la vengeance more fitting to vengeance d’une grande cruauté for some great cruelty, Vous serais recompense you will be the reward
De foi et loyauté. of faith and loyalty.
Alors par aventure Then, perhaps, Émus de mes malheurs, moved by my griefs, Dessus ma sépulture over my tomb
[Ils] Répandront quelques pleurs, they will weep, Et ma fosse arrosée and my grave shall be bathed
De leurs larmes sera, in their tears.
Mais plus tôt que rosée But sooner than the dew, Ce deuil se passera. this grief shall pass.
Customer : Tintoy
Catalogue No. : DCD34063
Job Title : Fires Of Love
9 J’ATENS SECOURS
J’atens secours de ma seule pensée, I await relief from my one thought, J’atens le jour que l’on m’escondira, I await the day that I shall be taken
Ou que du tout la belle m’y dira: to where that beauty will say to me:
“Amy, t’amour sera recompensé.” ‘Friend, your love shall be rewarded.’
Mon alliance est fort bien commencée, My attachment has begun well
Mais je sçay comment il en ira, But I know how it will go.
Car s’elle veult, ma vie perira, For, should she wish, my life will end, Quoy qu’en amour s’attend d’estre avancée. though it looks to advance in love.
Si j’ay refuz, vienne Mort insensée; If I’m rejected, come, Death unfeeling. A son plaisir de mon cueur jouyra; My heart shall rejoice in her pleasure.
Si j’ay mercy, adonc s’esjouyra If I’m spared, then shall rejoice
Celui qui point n’a sa Dame offensée. one who has given his lady no offence.
Mais l’un sa plaie ne sent, but while one felt no wound, personne y’a trépasée having passed away, Et l’autre a le mal recent the other with the pain
De sa douleur amassée. of new grief was overwhelmed.
Et ne fût le sang qui sort, And were it not for the blood
De la partie entamée, gushing from his wound, Elle penserait qu’il dort, She’d have thought he was asleep Á sa grâce tant aimée. in his beloved gracefulness.
Autant de sang qu’il épand Just as the blood spread Dessus l’herbe colorée, a stain across the grass, Autant de larmes répand just so spread the tears La pauvre amante éplorée. of the grief stricken lover.
Le sang rougit mainte fleur The blood reddened many Qui blanche était autour née, white flowers nearby Et mainte est de large pleur, while others were again whitened En couleur blanche tournée. by the weeping.
Ce teint leur demeurera, These tints shall remain Pour enseigne de durée, as a lasting lesson, Tant que le monde sera as long as the world endures, De leur grande peine endurée. of their great suffering.
CTP Template: CD_DPS1
Customer : Tintoy
Catalogue No. : DCD34063
Job Title : Fires Of Love
5 UNE JEUNE FILLETTE
Une jeune fillette de noble coeur, A young girl of noble heart Plaisante et joliette de grand valeur, agreeable, pretty and worthy, Outre son gré on l’a rendu nonette, against her will was made a nun, Cela point ne luy haicte and thus it was that she dont vit en grand douleur. lived in sadness
Un soir apres complie seulette estoit, One evening after compline En grand melancolie se tourmentoit, very lonely and melancholy Disant ainsi: douce vierge Marie, she began: Sweet Virgin Mary, Abregez moy la vie, puis que mourir je doy. cut short my life, for I must die.
Mon pauvre coeur souspire incessement, My poor heart sighs incessantly Aussi ma mort desire journellement. and I daily desire death. Qu’a mes parens ne puis mander d’escrire, I cannot write to my parents, Ma beauté fort empire, je viz en grand tourment. my beauty fades; I live in torment.
A Dieu vous dy les filles de mon pays, Farewell, girls of my country, Puis qu’en c’est Abbaye me faut mourir, for in this abbey I must die. En attendant de mon Dieu la sentence, Awaiting my sentence from God, Je vy en esperance d’avoir reconfort. I have some hope of comfort.
7 OYEZ TOUS AMOUREUX
Oyez tous amoureux All you lovers, hear
Par amour je vous prie, (in the name of Love, I beg you)
La peine et la douleur of the pain and grief qu’on a pour une amie. that one bears for a lover.
Au sort, au sort O fate, Je ne suis pas tout seul I am not the only one qui vit en peine et en langeur. living in such pain and dejection.