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 trouvère 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 Châtillon)
John Potter, tenor
Christopher O'Gorman, tenor
Rogers Covey-Crump, tenor
Beatriz de Dia: A Chantar
Sigrid Hausen, soprano
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!
Anonymous: motet De la virge Katerine - Quant froidure - Agmina milicie - Agmina,
Rene Clemencic, director
Adam de la Halle: Le jeu de Robin et Marion
Sofia Laznik-Galves, soprano
Olivier Marcaud, tenor
Producer Geoff Ballinger.