Ars Nova - New Music

Ars Nova - New Music
Machaut / Schweinitz / Vitry
Helge Slaatto / Frank Reinecke
Neos 21802 [CD]

Contents:

    Machaut: Lais, Ballads, Virelais, Roundeau
  1. Lai No. 1: Loyauté, que point ne delay
  2. Ballade No. 8: De desconfort
  3. Ballade No. 6: Doulz amis
  4. Ballade No. 24: Tres douce dame
  5. Virelai No. 26/29: Mors sui, se je ne vous voy
  6. Ballade No. 15: Se je me pleing
  7. Virelai No. 13: Quant je sui mis au retour
  8. Virelai No. 24/27: En mon cuer a un descort
  9. Virelai No. 25/28: Tuit me penser
  10. Ballade No. 1: S'Amours ne fait par sa grace adoucir
  11. Virelai No. 30/36: Se je souspir parfondement
  12. Rondeau No. 2: Helas!
  13. Ballade No. 9: Dame, regarde pas
  14. Ballade No. 5: Riches d'amours
  15. Ballade No. 13: Esperance qui m'assure
  16. Virelai No. 4: Douce dame jolie
  17. Ballade No. 16: Dame, comment qu'amez
  18. Virelai No. 5: Comment qu'a moy lonteinne
  19. Virelai No. 31/37: Moult sui de bonne heure nee
  20. Lai No. 6/7: Amours doucement me tente

    21. Wolfgang von Schweinitz (b.1953): Plainsound Study No. 1 op. 61a
  21. The Two Diatonic Divisions of the Major Third Presented in Dorian Mode

    22. de Vitry: Motets from "Roman de Fauvel"
  22. Motet No. 31: Scrutator Alme Cordium
  23. Motet No. 1: Favellandi vicium
  24. Motet No. 2: Mundus a mundicia
  25. Motet No. 3: Quare fremuerunt
  26. Motet No. 6: In mari miserere
  27. Motet No. 7: Ad solitum vomitum
  28. Motet No. 19: Veritas Arpie
  29. Motet No. 20: Ade costa dormientis
  30. Motet No. 22: Inter amenitatis tripudia

Performers: Helge Slaatto (violin), Frank Reinecke (double bass)

Playing time: 62'

Recording dates: June 2016 & August 2017 (Munich); released: 2018

Although adapted for string duo (and carefully according to specific Pythagorean tuning principles — 3-limit JI), the Ars Nova selections are clearly recognizable. Other than the choice of modern instruments, these are thus straightforward (& unadorned) interpretations, highlighting period tuning for contemporary audiences.

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Todd M. McComb