Birth Of Polyphony

Birth Of Polyphony

Series

Episode

Title

First
Broadcast

Comments

2017

Hildegard Of Bingen

20170731

Donald Macleod begins this week by looking at the life and music one of the most celebrated women composers of the middle ages: Hildegard of Bingen.

The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12th and 14th centuries, with new musical forms, new rhythmic modes, and new methods of musical notation.

Thanks to recordings in recent decades the abbess Hildegard has been propelled from obscurity into the canon of women composers. She not only composed the Latin words for which she supplied the melodies - she also ran her own monastery, designed the eccentric outfits for her high-born nuns, and wrote on a variety of subjects, from visions to the practical uses of birds, beasts and trees.

O viridissima virga

Gothic Voices

Christopher Page, director

O presul vere civitatis

Oxford Camerata,

Jeremy Summerly, director

O Jerusalem (de sancto Ruperto)

Emma Kirkby, soprano

Favus Distillans

Anonymous 4

O ignee spiritus, O cohors militae floris

O viriditas digiti Dei

Sabine Lutzenberger, soprano & bells

Baptiste Romain, medieval vielles & bowed lyre

Columba aspexit

Producer Geoff Ballinger.

Donald Macleod looks at the music of the celebrated nun Hildegard of Bingen.

2017

The School Of Notre Dame

20170801

A new cathedral calls for a new type of music. Donald Macleod considers the place of Notre Dame and the composers Leonin and Perotin in the story of polyphony.

In today's episode Donald discusses the earliest piece of true polyphony ever discovered, and the the story of Paris's ambitious new cathedral, Notre Dame. Contemporaneous with construction of this mighty edifice we find compositions for two, and subsequently three or four voices. Not only that, we also have names for two of these composers: Leoninus (Leonin) and Perotinus (Perotin). But the line between composition and improvisation is still as indistinct as the lighting in the new building. And it's likely that polyphony was for special occasions only - such as the riotous Feast of Fools. Polyphony seems to have been deployed as a kind of crowd control, to avoid the lewd excesses of this particular occasion!

Leonin: Gloria redemptori meo

Hilliard Ensemble

Anonymous: Sancti Bonifati (transcribed Giovanni Varelli)

Quintin Beer

John Clapham

Leonin: Iudea et Iherusalem

Leonin: Descendit de celis

Red Byrd

Perotin: Viderunt omnes

Perotin: Sederunt principes

Producer Geoff Ballinger.

Donald Macleod considers the place of Notre Dame in the story of polyphony.

2017

Troubadours And Trouveres

20170802

Donald Macleod continues the story of early polyphony, as new musical forms emerge in France through combining secular song and sacred polyphony.

The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12th and 14th centuries, with the emergence of new musical forms, new rhythmic modes, and new methods of musical notation.

In today's programme, the fascinating results of what happened when secular song met the polyphonic traditions of the church. The troubadour or trouv耀re poets sang of secular love affairs, while in the cloisters many songs were concerned with saints and feast days. Extraordinarily, these two traditions come together with the birth of the motet, when three different parts may be singing at the same time about three completely different things! Finally, Donald looks at the life and work of Adam de la Halle from Arras.

Anonymous: Fas et nefas ambulant (words by Walter de Ch tillon)

John Potter, tenor

Christopher O'Gorman, tenor

Rogers Covey-Crump, tenor

Beatriz de Dia: A Chantar

Sigrid Hausen, soprano

Estampie

Richard I: Ja nuls homs pris

Blondel de Nesle: A L'entrant d'Este

Graham Derrick, director

Anonymous: motet On parole - A Paris - Frese nouvele!

Instrumental motets

Anonymous: motet De la virge Katerine - Quant froidure - Agmina milicie - Agmina,

Clemencic Consort

Rene Clemencic, director

Adam de la Halle: Le jeu de Robin et Marion

Sofia Laznik-Galves, soprano

Olivier Marcaud, tenor

Ensemble Micrologus

Producer Geoff Ballinger.

Donald Macleod continues the story of early polyphony.

2017

Machaut And Ars Nova

20170803

Extraordinary developments in mathematics in France were matched by some extraordinary feats of polyphony. Donald Macleod considers the life and music of Guillaume de Machaut and his place in the development of polyphony.

The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12 and 14th centuries, with new musical forms, new rhythmic modes, and new methods of musical notation.

In this episode, Donald traces the career and some of the music of Machaut, music that is partially indebted to the theoretical foundations of his predecessor, Philippe de Vitry, who wrote an influential treatise on the new art of music, or Ars Nova. Machaut once served as secretary to the slightly unhinged King John of Bohemia - a man who gallantly rode to his death at the battle of Crecy tied to his horse. Besides his considerable literary output, Machaut's compositions evince astounding sophistication, and his masterpiece is the first ever polyphonic setting of the Mass ordinary - a setting which he may have intended to be sung as his own memorial.

Guillaume de Machaut: Doulz viaire gracieus

Ensemble Gilles Binchois

Dominique V退llard, director

Philippe de Vitry: Gratissima virginis

Gothic Voices

Christopher Page, director

Guillaume de Machaut: Cinc, un, trese; Ma fin est mon commencement

Orlando Consort

Guillaume de Machaut: Liement me deport

Guillaume de Machaut: Messe de Nostre Dame

Dominique V退llard, director.

Donald Macleod explores the astonishing work of Guillaume de Machaut.

2017

05 LAST

Composers Of The Trecento

20170804

Rival composers compete for prizes at Verona, and a blind organist astounds Florence with his talent. Donald Macleod uncovers the fascinating early days of polyphony in Italy during the 'trecento'.

In today's programme the art of polyphonic composition comes of age in the Italian states. Italian musicians of the 1300s are deeply indebted to certain of their French counterparts (two of today's composers chose to set words by Guillaume de Machaut). But they also develop a distinctive style, and develop new forms such as the madrigal - a very different form to its later incarnation. Rivals such as Giovanni da Cascia and Jacopo da Bologna compete for favours from a noble patron. But the greatest of all trecento composers - or at least the most prolific - is the blind Francisco Landini, who stunned the citizens of Florence with his skills as an organist, and as a composer of polyphonic music.

Anthonello de Caserta: Beaute parfait

Ensemble Alba Musica Kyo

Giovanni da Cascia: Sedendo all'ombra d'una bella mandorla

La Bella Stella

Palatino87

Giovanni da Cascia: Quando la stella

Gothic Voices

Christopher Page, director

Jacopo da Bologna: Aquil'altera, ferma; Elas mon cuer

Francesco Landini: Non ara may pieta

Ensemble Unicorn

Michael Posch, director

Francesco Landini: Ochi dolente mie; Per seguir la speranca

Francesco Landini: Nessun ponga speranca; Giunta vaga bilta

Francesco Landini, Adiu, adiu, dous dame yoli

Producer Geoff Ballinger.

Donald Macleod explores the growth of polyphony in Italy and the birth of the madrigal.

Episodes

Series	Episode	Title	First Broadcast	Comments
2017	01	Hildegard Of Bingen	20170731	Donald Macleod begins this week by looking at the life and music one of the most celebrated women composers of the middle ages: Hildegard of Bingen. The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12th and 14th centuries, with new musical forms, new rhythmic modes, and new methods of musical notation. Thanks to recordings in recent decades the abbess Hildegard has been propelled from obscurity into the canon of women composers. She not only composed the Latin words for which she supplied the melodies - she also ran her own monastery, designed the eccentric outfits for her high-born nuns, and wrote on a variety of subjects, from visions to the practical uses of birds, beasts and trees. O viridissima virga Gothic Voices Christopher Page, director O presul vere civitatis Oxford Camerata, Jeremy Summerly, director O Jerusalem (de sancto Ruperto) Emma Kirkby, soprano Favus Distillans Anonymous 4 O ignee spiritus, O cohors militae floris O viriditas digiti Dei Sabine Lutzenberger, soprano & bells Baptiste Romain, medieval vielles & bowed lyre Columba aspexit Producer Geoff Ballinger. Donald Macleod looks at the music of the celebrated nun Hildegard of Bingen.
2017	02	The School Of Notre Dame	20170801	A new cathedral calls for a new type of music. Donald Macleod considers the place of Notre Dame and the composers Leonin and Perotin in the story of polyphony. The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12th and 14th centuries, with new musical forms, new rhythmic modes, and new methods of musical notation. In today's episode Donald discusses the earliest piece of true polyphony ever discovered, and the the story of Paris's ambitious new cathedral, Notre Dame. Contemporaneous with construction of this mighty edifice we find compositions for two, and subsequently three or four voices. Not only that, we also have names for two of these composers: Leoninus (Leonin) and Perotinus (Perotin). But the line between composition and improvisation is still as indistinct as the lighting in the new building. And it's likely that polyphony was for special occasions only - such as the riotous Feast of Fools. Polyphony seems to have been deployed as a kind of crowd control, to avoid the lewd excesses of this particular occasion! Leonin: Gloria redemptori meo Hilliard Ensemble Anonymous: Sancti Bonifati (transcribed Giovanni Varelli) Quintin Beer John Clapham Leonin: Iudea et Iherusalem Leonin: Descendit de celis Red Byrd Perotin: Viderunt omnes Perotin: Sederunt principes Producer Geoff Ballinger. Donald Macleod considers the place of Notre Dame in the story of polyphony.
2017	03	Troubadours And Trouveres	20170802	Donald Macleod continues the story of early polyphony, as new musical forms emerge in France through combining secular song and sacred polyphony. The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12th and 14th centuries, with the emergence of new musical forms, new rhythmic modes, and new methods of musical notation. In today's programme, the fascinating results of what happened when secular song met the polyphonic traditions of the church. The troubadour or trouv耀re poets sang of secular love affairs, while in the cloisters many songs were concerned with saints and feast days. Extraordinarily, these two traditions come together with the birth of the motet, when three different parts may be singing at the same time about three completely different things! Finally, Donald looks at the life and work of Adam de la Halle from Arras. Anonymous: Fas et nefas ambulant (words by Walter de Ch tillon) John Potter, tenor Christopher O'Gorman, tenor Rogers Covey-Crump, tenor Beatriz de Dia: A Chantar Sigrid Hausen, soprano Estampie Richard I: Ja nuls homs pris Blondel de Nesle: A L'entrant d'Este Graham Derrick, director Anonymous: motet On parole - A Paris - Frese nouvele! Instrumental motets Anonymous: motet De la virge Katerine - Quant froidure - Agmina milicie - Agmina, Clemencic Consort Rene Clemencic, director Adam de la Halle: Le jeu de Robin et Marion Sofia Laznik-Galves, soprano Olivier Marcaud, tenor Ensemble Micrologus Producer Geoff Ballinger. Donald Macleod continues the story of early polyphony.
2017	04	Machaut And Ars Nova	20170803	Extraordinary developments in mathematics in France were matched by some extraordinary feats of polyphony. Donald Macleod considers the life and music of Guillaume de Machaut and his place in the development of polyphony. The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12 and 14th centuries, with new musical forms, new rhythmic modes, and new methods of musical notation. In this episode, Donald traces the career and some of the music of Machaut, music that is partially indebted to the theoretical foundations of his predecessor, Philippe de Vitry, who wrote an influential treatise on the new art of music, or Ars Nova. Machaut once served as secretary to the slightly unhinged King John of Bohemia - a man who gallantly rode to his death at the battle of Crecy tied to his horse. Besides his considerable literary output, Machaut's compositions evince astounding sophistication, and his masterpiece is the first ever polyphonic setting of the Mass ordinary - a setting which he may have intended to be sung as his own memorial. Guillaume de Machaut: Doulz viaire gracieus Ensemble Gilles Binchois Dominique V退llard, director Philippe de Vitry: Gratissima virginis Gothic Voices Christopher Page, director Guillaume de Machaut: Cinc, un, trese; Ma fin est mon commencement Orlando Consort Guillaume de Machaut: Liement me deport Guillaume de Machaut: Messe de Nostre Dame Dominique V退llard, director. Donald Macleod explores the astonishing work of Guillaume de Machaut.
2017	05 LAST	Composers Of The Trecento	20170804	Rival composers compete for prizes at Verona, and a blind organist astounds Florence with his talent. Donald Macleod uncovers the fascinating early days of polyphony in Italy during the 'trecento'. The transition from pure monophony to complex polyphony was a gradual one. It is argued that polyphony was never entirely absent from European music-making; nor did monophony suddenly go out of fashion. Nevertheless, a fascinating development can be traced between the 12th and 14th centuries, with new musical forms, new rhythmic modes, and new methods of musical notation. In today's programme the art of polyphonic composition comes of age in the Italian states. Italian musicians of the 1300s are deeply indebted to certain of their French counterparts (two of today's composers chose to set words by Guillaume de Machaut). But they also develop a distinctive style, and develop new forms such as the madrigal - a very different form to its later incarnation. Rivals such as Giovanni da Cascia and Jacopo da Bologna compete for favours from a noble patron. But the greatest of all trecento composers - or at least the most prolific - is the blind Francisco Landini, who stunned the citizens of Florence with his skills as an organist, and as a composer of polyphonic music. Anthonello de Caserta: Beaute parfait Ensemble Alba Musica Kyo Giovanni da Cascia: Sedendo all'ombra d'una bella mandorla La Bella Stella Palatino87 Giovanni da Cascia: Quando la stella Gothic Voices Christopher Page, director Jacopo da Bologna: Aquil'altera, ferma; Elas mon cuer Francesco Landini: Non ara may pieta Ensemble Unicorn Michael Posch, director Francesco Landini: Ochi dolente mie; Per seguir la speranca Francesco Landini: Nessun ponga speranca; Giunta vaga bilta Francesco Landini, Adiu, adiu, dous dame yoli Producer Geoff Ballinger. Donald Macleod explores the growth of polyphony in Italy and the birth of the madrigal.