Guillaume de machaut composer biography dvd

Guillaume de Machaut: The Complete Poetry and Music, Volume 2: The Boethian Poems

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Guillaume de Machaut, one of the most important cultural figures of fourteenth-century France, was a polymath—a poet, composer, and illuminator. The volume Complete Poetry and Music is the only series to present Machaut’s multimodal oeuvre in its entirety, interpolating his Middle French texts (in facing translation), musical scores, and grisaille miniatures as they appear in BnF fr. with historical context and scholarly commentary. The Boethian Poems include the Remede de Fortune (Remedy for Fortune) and the Confort d’ami (Consolation from a Friend), two dits which adapt Boethian themes of worldly suffering, fickle Fortune, and divine justice into love poetry. The Remede follows a fearful male protagonist who is counseled by the allegorical Lady Esperence (Hope) in the art of love; their emotional expression is elevated by seven musical insertions. The Confort offers consolation and advice to Machaut’s patron Charles of Navarre, during his imprisonment by his political rivals, through classical and biblical exempla—many of which are highlighted with illustrations.

Guillaume de Machaut composing music for the lady (from Le Voir Dit)

Guillaume de Machaut

born: c

died: 13 April

country: France

Guillaume de Machaut (c) is considered now, as he was in his own day, the most significant French poet and composer of the fourteenth century. Sometimes described as &#;the last of the trouv&#;res&#; because of his dual talents as wordsmith and musician, Machaut built on past traditions yet spearheaded a new school of lyric composition. In the field of literature, he developed several of the poetic forms and genres that dominated for generations to come. His impact on the musical life of his age was equally profound; he is closely associated with the new style of polyphonic love-song that became so popular in the fourteenth century, and today is considered the supreme representative of the Ars nova musical tradition that revolutionized composition and notation in that period.

Machaut enjoyed the patronage of some of the ruling families of medieval Europe. For some thirty years he served Jehan of Luxembourg, King of Bohemia, whose famously heroic demise at the Battle of Cr&#;cy in is recounted by Machaut&#;s contemporary Jehan Froissart in his

Most of Machaut's 23 motetswere based on the traditional pattern: an instrumental liturgicaltenor and different texts in the two upper voices. They continuethe contemporary trends toward greater secularity,greaterlength, and much greater rhythmic thm is present in thetenors of nearly all of these. Isorhythmic structure sometimes involvestheupper parts, the motetus and triplum, as well as the tenor. Equalityof imperfect and perfect mensurations is now wholly achieved, withno preference for one or the other. Considerable use is made of hocketin these motets, but the only work of Machaut's specifically called a "hocket"is an apparently instrumental three-part motet-like piece with an isorhythmictenor whose melody came from the Gregorianintonation of the word "David" in an Alleluiaverse.

Machaut's monophonic songs may be regarded as continuing the trouveretradition in France. They comprise eighteen "lais,"a 12th-century form similar to that of the sequence,and about twenty-five songs which he called "chansons balladees," though the more common name for them is virelai. Characteristic of the virelai is the form "Abba",in which "A" stands for the

Machaut described himself as small in stature, but intellectually he was a towering figure. Born in Rheims around and living to the age of 77, he dominated the 14th century as a composer and poet who was admired by Chaucer, valued by royalty, and cherished by the Church. He set to music more than of his own love poems in the three main poetic forms of the day—the virelai, the ballade, and the rondeau. Machaut meticulously oversaw the copying of his complete works into luxuriously illustrated manuscripts, a process which was paid for by rich patrons and helped to ensure his legacy. He had a gift for catchy solo songs (“Douce Dame Jolie”) and reveled in rich, pungently dissonant harmony and complex textures in his 23 motets (especially “Inviolata Genitrix”). His masterpiece (and a pinnacle of medieval music) is the Messe de Nostre Dame (c), the first complete mass setting by a single composer.

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