Per-Sonat
Paris, 13th century. In Notre-Dame, a second voice hovers above the Gregorian chant. And then another. What begins as simple ornamentation grows into a dizzying web of melodies. Per-Sonat found the spark from which a new musical style ignited: a treatise that teaches singers how to improvise. With the composed organa of Leoninus and Perotinus as a guide, our favourite medieval experts navigate between canon and creativity.
Programme
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Organum – The Queen of Melody
-
Perotinus
Beata viscera
fl. 1207-1238 -
Anonymous
Two improvisation models on ascending intervals
(from: Vatican Organum Treatise, 13th century) -
Anonymous / Baptiste Romain
Improvisation models on a longer segment
-
Anonymous
Alleluya, Hic Martinus
(from: Vatican Organum Treatise) -
Leoninus
Alleluya, Hic Martinus
1150-c1201 -
Anonymous
Alleluya, Vidimus stellam ejus in Oriente
(from: MS Pluteus 29.1, Parijs c1245-55) -
Rhythm – The New Star
-
Perotinus
De Stephani Roseo Sanguine
-
Anonymous
Ave virgo regia / Ave gloriosa / Domino
(from: MS La Clayette, Paris 13th century) -
Anonymous
Go-Clausulae
(from: MS Pluteus 29.1) -
Anonymous
Mater Patris et Filia
(from: Codex Las Huelgas, Burgos c1325) -
Perotinus
Sederunt principes
(uit: MS Pluteus 29.1)
Musicians
- Hannah Ely, Karin Weston, Katalin Tarnai soprano
- Tessa Roos mezzo-soprano
- Elizabeth Rumsey vielle
- Baptiste Romain vielle, bagpipes
- Sabine Lutzenberger musical direction, mezzo-soprano
