Early Music-----Machaut "Le Remede de Fortune"

For the last few years, I have come to appreciate the music of the poet-composer Guillaume Machaut (1300-1377). My latest addition is the narrative poem "Le Remede de Fortune" set to a series of lyrical song forms that were central to the musical world in the 14th century. What is interesting is his format for setting the poem to music. He starts with the oldest form,the lai, a very early musical form used by the trouveres (northern French troubadours). In this case, it is a poem of courtly love set to music. Next a very long complainte (over 44 minutes!), this musical form like the lai were homophonic with instrumental accompliment. The complainte itself deals with the mystery of fate and fortune in poetic terms. Fortune est l'amour empli de haine, le bonheur malheureux, c'est l'avare generosite, c'est l'orphelinage.....[Fortune is hateful love, unhappy happiness, she is avaricious generosity, she is misery......]. Both these lyical forms are very ancient forms but in the hands of Machaut, seem almost new ( new for the 14th century!). He concludes the narrative with 5 relatively short pieces, a chanson royale, balladelle, ballade, chanson ballade, and ends with a rondelet. These last narrative songs with their different musical forms tells the story of the lover who professes his love for his lady. These last five musical forms are the latest musical styles for the times. And of course, Machaut, adds his own little twists and turns to this music and narrative,that is, in this case: there is a little doubt whether she loves him as much as he loves her (sound familar?).

This stuff is addictive and very engaging, if you have the time and inclination. The performance is outstanding musically and dramatically. This recording is done by a group of perfomers who understand the music and how this should be performed. The later being very hard since the musical notation at that time was not the modern 5 line staff/notation that we know today.

The label: Eloquentia LC11983

Of course this type of musical drama is not opera nor anything like a modern musical. It stands on its own for what it is: an engaging musical narrative of 14th century musical styles and forms from its arguably most musical poet-composer Machaut. I will make the statement: easily as good as Bach, in method and as easily as good as Schubert for aesthetic content. And if you think this stuff is good music, ahhhh......his Mass is for the Ages.....