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Medieval secular poetry

Fin'amour is a feeling, a lifestyle, symbolism of gestures and behaviour, and the favourite subject of European medieval literature. The concept of courtly love developed during the times of troubadours – the poets of XI and XII century’s Provence. Their works survived to our times in many texts; some of them were preserved with music notation. About the authors themselves we find out from their short biographies (vidas) placed in some of the songs collections.

Giraut de Borneilh, described by his contemporaries as the master of troubadours, among other things was famous for his song Reis glorios. It belongs to a genre called alba, which are songs telling about lovers parting at dawn. But here the subject is shown from the point of view of a lover’s friend, who stands on guard and warns about the forthcoming morning.

The songs performance was often accompanied by dance. A l'entrada del temps clar of anonymous author is a good example. Its lyrics tell about a queen starting to dance despite the jealousy of her husband. Not only the dance character, but also specific motives of fin'amour motywy especially admiration for mistress, yearning for her presence and expectation of her acceptance - are included in the song Calenda maia.

One of the subjects most willingly taken up by poets was the pain of love. It is described by the most famous song by Bertrart de Ventadorn, who had to leave the court of his protector because of the affection for his wife, Marguerite de Turenne. The song Can vei la lauseta mover is full of bitterness caused by unfulfilled love. The view of a flying lark does not ease the pain, it rather heightens the feeling of jealousy towards the happy ones. The song ends with full of resignation decision to leave in sadness and to abandon joy and singing.

In the works of trouveres – the authors of northern France and successors of troubadours – we find not on.......
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Miłość, erotyka, zazdrość i cierpienie z powodu niespełnionych pragnień to ulubione tematy średniowiecznych autorów pieśni, m. in. trubadurów i truwerów. Wyboru i interpretacji dzieł mistrzów
średniowiecza podjął się zespół Scandicus - ich pełne pasji wykonanie zarejestrowane na płycie "Bryd one brere" ożywia muzykę sprzed ponad 700 lat. Akompaniament z użyciem dawnych instrumentów, takich jak
fidel średniowieczna, symfonia, lutnia czy harfa romańska, podkreśla różnorodny charakter utworów i oddaje klimat epoki. Dodatkową zaletą jest to, że album zawiera książeczkę z polskimi tłumaczeniami tekstów.


Skład zespołu
Agata Kachel-Flis - oud, darabuka, riqq
Agnieszka Leśniak-Mucha - śpiew, darabuka, symfonia, triangel
Tymoteusz Dorda - śpiew, fidel
Jakub Kabus - śpiew, bendir, darabuka, symfonia
Piotr Flis - harfa romańska, flet prosty, oud, kierownictwo artystyczne

Utwory

Bernart de Ventadorn ( XII w.) [Paris, Bibl. Nationale, Ms U, f. 89v-90r]
Quan vei la lauseta mover

Anonim ( XII w)
A l'entrada del temp clar

Giraut de Bornelh (XIIw.) [Paris, Bibl. Nationale, MS R-8]
Reis glorios

Walther von der Vogelweide (XIII w.) [Bibl. de l'Arsenal, Paris 5198]
Under der linden

Raimbaut de Vaqueiras (XIIIw.) [Paris, Bibl. Nationale, MS R-62]
Calenda maia

Anonim (XIII w. ) [Codex Montpellier]
Pucelete / Je languis / Domino

Walther von der Vogelweide (XIII w.) [Münster Ms VII, 51]
Palastinalied

Anonim(ok. 1300 r.)
Brid one brere

Martin Codax (XIII w.) [Pierpont Morgan Library, New York, Vindel MS M979]
Ondas do mar de Vigo

Anonim (XII w.)[Carmina Burana]
Bacche bene venies

Moniot d'Arras (XIII w.)
Ce fut en mai

Anonim (XII w.)[Carmina Burana]
In taberna