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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