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Mia Yrmana Fremosa - Medieval woman's songs of love and pain (reissue)

Triphonia

Mia Yrmana Fremosa - Medieval woman's songs of love and pain (reissue)

Price: € 14.95
Format: CD
Label: Fineline
UPC: 0608917242324
Catnr: FL 72423
Release date: 12 July 2024
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1 CD
€ 14.95
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Label
Fineline
UPC
0608917242324
Catalogue number
FL 72423
Release date
12 July 2024
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

mia yrmana fremosa - Medieval woman‘s songs of love and pain

"Woman‘s songs, embodying mostly love lyrics, were found throughout Europe during the Middle Ages and reflect a more popular character. The language in these poems tends to be simple and direct. The songs often incorporate aspects of nature: in German songs the linden tree, fields, woods, flowers, and birds are common, whereas the romance-language lyrics tend to utilize the images of the sea, waves, beaches, rivers, and wind. Even in modern the popular traditions of Portuguese fado or French chanson the image of the sea is still prevalent. Other prevailing themes may involve the conflict between the upper and lower classes, strife among married couples resulting in frustrated and dejected wives and suspicious and jealous husbands, dissension between mothers and daughters, as well as discrepancies between sisters, or intimacy between sisters. The woman‘s song unfolded in a variety of genres: strophic refrain songs, dance songs, ballads, chanson de toile, chanson de malmarée, pastourelles, dialogues, motets, etc.

One may ask why a recording of primarily “woman‘s songs“ would contain no single song actually attributed to a female composer. The category of medieval woman‘s song embodies lyrics written not necessarily by women, but rather in the female voice – songs seen through the eyes of a woman, spoken by a female speaker. Such songs do not depict the typical male devotion to the lady and do not emphasize the high courtly love tradition of the unattainable lady, but they rather tell more seemingly personal, yet also archetypal stories of the wishes, desires, sorrows, and disappointments of young women. Woman‘s songs, mainly written by male composers – although many have been transmitted without authorship – could perhaps be thought to reflect the male desire and fantasy about women and their reflection of the female stereotype during the Middle Ages, as well as providing a diversion for an audience more sophisticated than the characters represented in the songs themselves. The trobairitz (female troubadour), like their male counterparts, on the other hand, composed mostly in the more artistic courtly love tradition, and except for a few dance songs, they did not seem to have written songs in the more popular style of the woman‘s song. This leads to the speculation that the creation of woman‘s songs could indeed have been a mostly male practice." (Parts of the text of the cd linernotes with this CD)
Middeleeuwse vrouwenliederen over liefde en pijn
Op dit album nemen de oude stemmen en klanken van Triphonia de luisteraar mee terug naar de tijd van de Middeleeuwse vrouwenliederen over liefde en pijn.

Vrouwenliederen zijn populaire liederen die in de Middeleeuwen door heel Europa werden gevonden. De teksten gaan vaak over de liefde, en zijn geschreven in eenvoudige en directe taal. Er werden ook aspecten uit de natuur in verwerkt, zoals de lindeboom, bloemen, vogels, de zee en de wind. Andere thema’s die vaak worden gebruikt zijn het conflict tussen de hoge en lage klassen, ruzie tussen getrouwde koppels, en onenigheid tussen moeders en dochters, of tussen zussen.

Vrouwenliederen werden niet door vrouwen gecomponeerd. Een lied is een vrouwenlied als de hoofdpersoon een vrouw is. De liederen bekijken de situatie vanuit de ogen van de vrouw, maar worden door mannen geschreven. Deze liederen benadrukken niet de toewijding van de man voor de onbereikbare vrouw, maar vertellen de meer persoonlijke verhalen over de wensen, verlangens, teleurstellingen en het leed van jonge vrouwen. De liederen weerspiegelen misschien wel de fantasieën van mannen over vrouwen, of het vrouwelijke stereotype tijdens de Middeleeuwen.

Het Berlijnse ensemble Triphonia is gespecialiseerd in oude muziek. Het ensemble bestudeert deze muziek grondig en maakt ook eigen bewerkingen. De musici van Triphonia maken niet alleen gebruik van hun betoverende stemmen, maar ook van historische instrumenten uit de Middeleeuwen.
Mit dieser Aufnahme präsentiert das Berliner Ensemble Triphonia eine vielseitige Auswahl von Frauenliedern des weltlichen Mittelalters, ergänzt von einigen geistlichen Liedern, die in Manuskripten aus deutschen Frauenklöstern gefunden wurden. Frauenlieder handeln meist von Liebe und sind überall im mittelalterlichen Europa verbreitet und haben einen grundsätzlich volkstümlichen Charakter. Amanda Simmons, Gaby Bultmann und Leila Schoeneich gründeten 2004 das Ensemble Triphonia und entwickelten einen Aufführungsstil, der sowohl auf dem genauen Umgang mit den Originalquellen als auch auf der Lust am Improvisieren basiert.

Artist(s)

Triphonia

Triphonia  Ensemble for Medieval Music Berlin Amanda Simmons, Gaby Bultmann, and Leila Schoeneich founded Ensemble Triphonia in 2004 because of their mutual passion for medieval music. They studied in Berlin, Amsterdam, Milano and Bloomington/USA. It is their wish is to perform this music, with all its variegation and expressivity, in such a way that listeners may better understand and enjoy their experience. Triphonia developed a performance style based on the use of original sources and research, together with the desire to improvise and discover new possibilities of variation, a practice which also played a great roll in performance practice in the Middle Ages. Triphonia has since created various thematic concert programs, for example a musical pilgrimage to Santiago de Compostela with...
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Triphonia Ensemble for Medieval Music Berlin Amanda Simmons, Gaby Bultmann, and Leila Schoeneich founded Ensemble Triphonia in 2004 because of their mutual passion for medieval music. They studied in Berlin, Amsterdam, Milano and Bloomington/USA. It is their wish is to perform this music, with all its variegation and expressivity, in such a way that listeners may better understand and enjoy their experience. Triphonia developed a performance style based on the use of original sources and research, together with the desire to improvise and discover new possibilities of variation, a practice which also played a great roll in performance practice in the Middle Ages. Triphonia has since created various thematic concert programs, for example a musical pilgrimage to Santiago de Compostela with many musical stations along the way from Bingen on the Rhine river via Paris, southern France, and northern Spain (this program is also in a scenic version with projected pictures, dialogues, and props) or the Christmas program “Mit vrouden quam engel“ (The angel came rejoicing) with gregorian chant and medieval songs from Germany, England, Italy, and France. One of Triphonia‘s main emphases is in the use of many different combinations of instruments in their accompaniments of the mostly monophonic melodies, as well as the reconstruction of lost melodies through the use of related sources. Ensemble Triphonia utilizes a wide range of instruments: romanesque harp, psaltery, medieval recorders, pipe and tabor, stringed tabor, vielle, medieval brass bells, portative organ, hurdy-gurdy, medieval dulcimer, and various percussion instruments. Along with an occasional purely instrumental piece – partially self-composed in the style of existing medieval pieces – Triphonia places the highest priority on the instrumentation and accompaniment of the vocal songs. Various techniques are applied to accompany the solo voice or instrument such as drones or additional improvised vocal or instrumental parts, creating a unique polyphonic, heterophonic, or homophonic version of an original monophonic melody.

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01.
Motet: Endurez, endurez les dous mas d'amer
01:26
(Martin Codax) Triophonia
02.
Cantigas de amigo: Ondas do mar de Vigo
02:30
(Martin Codax) Triophonia, Triophonia
03.
Cantigas de amigo: Mandad` e comigo
01:32
(Martin Codax) Triophonia, Triophonia
04.
Cantigas de amigo: Mia yrmana fremosa
02:03
(Martin Codax) Triophonia, Triophonia
05.
Cantigas de amigo: Ay Deus, se sab
01:34
(Martin Codax) Triophonia, Triophonia
06.
Cantigas de amigo: Quantas sabedes amar amigo
01:07
(Martin Codax) Triophonia, Triophonia
07.
Cantigas de amigo: Eno sagrado en Vigo
01:15
(Martin Codax) Triophonia, Triophonia
08.
Cantigas de amigo: Ay ondas, que eu vin veere
01:49
(Martin Codax) Triophonia, Triophonia
09.
Motet: Trois serors sor rive mer
01:33
Triophonia, Triophonia
10.
Sephardic Ballad: Tres hermanicas eran
05:28
Triophonia, Triophonia
11.
Motet:: Endurez, endurez les dous mas d'amer
00:36
Triophonia, Triophonia
12.
Estampie (instrumental): Endurez, endurez les dous mas d'amer
03:20
Triophonia, Triophonia
13.
Chanson de toile: Bele Yolanz
04:36
Triophonia, Triophonia
14.
Motet: Bele Aelis pas matin se leva
01:11
Triophonia, Triophonia
15.
Blôzen wir den anger ligen sâhen
06:52
(Neidhart von Reuental) Triophonia, Triophonia
16.
Motet: Endurez, endurez les dous mas d'amer
00:37
Triophonia, Triophonia
17.
Chanson de malmariée: Trop est mes maris jalos
01:45
(Etienne de Meaux) Triophonia, Triophonia
18.
Conductus: Procurans odium
01:04
Triophonia, Triophonia
19.
Motet: Endurez, endurez les dous mas d'amer
01:09
Triophonia, Triophonia
20.
Motet & Chanson de femme: Onques n'amai tant que jou fui aimee
06:22
(Richart de Fournival) Triophonia, Triophonia
21.
Ich was ein chint sô wolgetân
05:13
Triophonia, Triophonia
22.
Motet: Endurez, endurez les dous mas d'amer
01:50
Triophonia, Triophonia
23.
God de bat eyn zelelin
05:17
Triophonia, Triophonia
24.
Cantiga de Santa Maria: De vergonna nos guardar
05:31
Triophonia, Triophonia
25.
Ik draghe an mynes herten grunt
04:24
Triophonia, Triophonia
26.
Motet: Endurez, endurez les dous mas d'amer
01:15
Triophonia, Triophonia
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