The work of Duke Guillaume IX d’Aquitaine (1071-1127) represents the earliest known examples of Provençal poetry and music. Because of the often-explicit subject matter of his poems and his notorious, sexually indulgent lifestyle, when he died nearly all of his output was either destroyed or suppressed: only these 11 poems and a single notated line of music set to the first line of “Pos de chanter m’es pres talens” (Since I want to sing) survives. Accompanying himself on viele à archet (bowed medieval viol), vocalist Brice Duisit’s aim here is to offer for the first time informed restorations of these songs, a task even he admits is virtually impossible since no musicological models from this period exist. Nonetheless, Duisit is clearly passionate in his mission and the results are often quite moving.
Duisit bases his music primarily on the lyricism and subject matter of the poetry. For instance, his fiddling sounds like improvisations to reinforce and heighten the impact of the meter and verse. His animated, often declarative vocal delivery is more recited than sung, with qualities such as melody and tunefulness negligible or nonexistent. Duisit’s approach is sensible since, as with all music composed during the Middle Ages, instrumentation (if there was any) was subservient to the texts.
Guillaume’s poetry certainly reinforces his reputation. In “Ben vuelh que sapchan li plusor” (I want many people to tell me) he begins by enumerating his many (especially sexual) virtues, until about two thirds of the way through, when he can’t seem to control himself any longer he declares (sic) “Qu’ieu ai nom ‘Maiestre Certa'” (My name is “Master Infallible”). Equally delightful is “Farai un vers pos mi soneilh” (I shall compose a song while I sleep), where Guillaume describes a dream sequence involving his lusty escapades with the wives of two knights who, after striking up a conversation, believe him to be ripe for seduction. (You’ll have to listen to the CD for the details!)
Alpha’s audiophile-quality sound is remarkably convincing with excellent clarity and presence. In addition to Duisit’s erudite and at times entertaining notes, the booklet also includes a translation of each poem. Those interested in Medieval secular music are strongly encouraged to consider this engaging and very important recording. Highly recommended.
