Work(s): Aucun se sont loés ... A Dieu commant ... Super te (motet) / A Dieu commant amouretes (rondeau)
Le jeu de Robin et de Marion (The Play of Robin and Marion): Mout me fu ... Robin m'aime ... Portare (Motet) / Robin m'aime / Je me reparoie / Hé! Robin
Le jeu de Robin et de Marion (The Play of Robin and Marion): Vous perdés / Bergeronnete / Trairi deluriau / Hui main
Le jeu de Robin et de Marion (The Play of Robin and Marion): Hé, Robechon!
Le jeu de Robin et de Marion (The Play of Robin and Marion): Vous l'orrés bien dire / Bergeronnette / Robin par l'ame
Work(s): Aucun se sont loés ... A Dieu commant ... Super te (motet) / A Dieu commant amouretes (rondeau)
Le jeu de Robin et de Marion (The Play of Robin and Marion): Mout me fu ... Robin m'aime ... Portare (Motet) / Robin m'aime / Je me reparoie / Hé! Robin
Le jeu de Robin et de Marion (The Play of Robin and Marion): Vous perdés / Bergeronnete / Trairi deluriau / Hui main
Le jeu de Robin et de Marion (The Play of Robin and Marion): Hé, Robechon!
Le jeu de Robin et de Marion (The Play of Robin and Marion): Vous l'orrés bien dire / Bergeronnette / Robin par l'ame
Work(s): Il n'a en toi ... Robin ... Omnes (Motet) / Or est baiars (Rondeau)
Ductia des bergeres
Le jeu de Robin et de Marion (The Play of Robin and Marion): Je muir d'amourete (Rondeau) / J'oi Robin flagoler / Hé! Resveille toi, Robin!
En mai, quant rosier sont flouri, motet for 3 voices (doubtful)
Le jeu de Robin et de Marion (The Play of Robin and Marion): Aveuc tele compagniez / Amours et ma dame aussi (Rondeau)
Hé marotele / En praerie / Aptat, motet
Quatrième estampie royale (Paris BNF, fr. 844)
Cinquième estampie royale (Paris BNF, fr. 844)
Le jeu de Robin et de Marion (The Play of Robin and Marion): J'ai encore / Audigiers de Raimberge / Venés après moi
Merci, Amours, de la douce doulour, monophonic chanson, R. 1973
Le jeu de Robin et Marion (The Play of Robin and Marian, from the late thirteenth century) has been one of those works that anyone who took a college music history survey course could name, but that few have ever actually heard or experienced. Certainly the play, which depicts a brief encounter between a seducer knight and a shepherdess who remains true to her boyfriend Robin, looked forward in some sense to the whole tradition of music drama. And, though it consists mostly of monophonic tunes, it has come down to us with ...
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Le jeu de Robin et Marion (The Play of Robin and Marian, from the late thirteenth century) has been one of those works that anyone who took a college music history survey course could name, but that few have ever actually heard or experienced. Certainly the play, which depicts a brief encounter between a seducer knight and a shepherdess who remains true to her boyfriend Robin, looked forward in some sense to the whole tradition of music drama. And, though it consists mostly of monophonic tunes, it has come down to us with several associated pieces in which its composer, Adam de la Halle, trotted out the latest polyphonic techniques. It was cutting-edge music at the time, and for textbook writers it has seemed to take its place in the march of music history. Yet it also looked backward in one important respect. The manuscripts that captured it in musical notation represent not the intentions of a composer, but rather further developments of the work accomplished by improvising minstrels. As with the...
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