ClubMediéval nous convie à découvrir cinq de ses chansons ainsi qu’une de ses deux messes, représentant l’essentiel de son oeuvre connue à ce jour. La musique de Joye constitue un témoignage précieux de la musique polyphonique bourguignonne du XVe siècle.

Although largely forgotten today, the Fleming Gilles Joye enjoyed great renown in the 15th century. His fame, fueled both by the scandals that marked his life and by his talents as a singer and composer, was undeniable. Although few of his works have survived, they were widely disseminated across Europe.

ClubMediéval invites us to discover five of his songs as well as one of his two masses, representing the bulk of his known work to date. Joye’s music is a valuable testimony to Burgundian polyphonic music of the 15th century.

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Pendant que Rubens peint ses chefs-d’oeuvre dans son atelier anversois, la famille Duarte, installée dans une rue voisine, joue de la musique. Cette famille d’origine juive-portugaise ne vit que pour la musique. Une invitation à un concert au domicile des Duarte a valeur de privilège. Gaspar, le père, et ses enfants y chantent et jouent non seulement leur propres compositions, mais aussi celles de leur large cercle de compositeurs amis. Le concert à domicile reconstitué par l’ensemble Transports Publics réunit notamment des compositions de Leonora Duarte, John Bull, Salomone Rossi, Frescobaldi et Huygens.

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However, his musical output probably included a large number of improvisations. Fortunately for us, some of them were judged worthy of being written down. As a result, at least some traces survive of what must have been a virtuoso art of improvisation. In addition there exists a repertoire of dance suites in the French style for the viol. Poole composed in both styles, as well as using the viol in ensemble pieces, such as the Sonata a 3 that opens this CD, in which the influence of the Austro-Italian stylus phantasticus is clearly recognisable. English divisions, French dance music, Italian stylistic traits: Anthony Poole’s compositions also reflect his life story, and in this sense his music can be described as Flemish, since it is clearly situated at that crossroads of cultural influences where North and South, Protestant and Catholic met.

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Paoloʼs musical language is in tension between two poles: the eccentrically abstract and hypersensitive mannerism of late Gothic art, against the simple beauty and straightforward nature of the upcoming humanism of the Renaissance. For us as contemporary performers Paolo’s lyricism plays subtly with the balance between impression and expression, between serving and being served by the music.

Demachy fait partie de ces compositeurs dont l’histoire nous dit peu de choses. Il n’en demeure pas moins un des jalons de la tradition de la viole de gambe en France sous le règne de Louis XIV. Il fut selon Jean Rousseau (Traité de la Viole, 1687), élève de Nicolas Hotman (1610-1663) à l’instar de Sainte-Colombe (ca.1640-ca.1700).

Demachy nous a légué un unique recueil de 8 suites pour viole seule: Pièces de Violle en Musique et en Tablature, differentes les unes des autres, et sur plusieurs Tons. Elles contiennent deux livres, et sont les premieres qui jusques à present ayent paru au jour, publié à Paris en 1685. Cette publication est relativement importante car effectivement c’est la première qui présente des pièces pour viole seule, un an avant que Marais ne publie son premier livre.

Cet enregistrement contient deux suites en tablature (les suites en ré majeur et ré mineur) et deux autres en notation traditionnelle (les suites en sol majeur et sol mineur) qui suivent le modèle classique de la suite de danses à la française de la fin du XVIIe siècle.

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