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OSSUAIRES / Graindelavoix, dyr. Björn Schmelzer

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Kod produktu: GCD P32107


Office for Elizabeth of Hungary by Pierre de Cambrai

Zespół Graindelavoix,  dyr. Bjorn Schmelzer

w y k o n a w c y
v o i c e s    Olalla Alemán, Patrizia Hardt, Eurudike De Beul, Silvie Moors, Katrien Tibau
v o i c e s    Marius Peterson, Yves Van Handenhove, Paul De Troyer, Lieven Gouwy,  Björn Schmelzer, Thomas Vanlede, Tomàs Maxé, Antoni Fajardo, Mark Makelberge
f i d d l e   Thomas Baeté

GCD P32107    1 CD

Villard de Honnecourt: 
Métier, memories and travels
of a 13th-century cathedral builder 
vol. 1   

z a w a r t o ś ć


Pierre de Cambrai & Gérard de Saint-Quentin (?) 
Office for Saint Elizabeth of Hungary

01 Antifona I (Vesperae I). Gaudeat Hungaria

02 Responsorium II (Nocturnus II). Sub Conrado Dei viro

03 Responsorium V (Nocturnus II). Ante Dies exitus

04 Responsorium VI (Nocturnus II). Cui nec apex

05 Responsorium IX (Nocturnus II). Tante signa glorie

Pierre de Cambrai (?)
Un chant renvoisie / Decantatur

Volek syrolm thudothlon


The first in a trilogy of recordings exploring religious, social and political discourses around 13th-century music sees Björn Schmelzer and Graindelavoix set off on a journey across Europe, reflecting on the medieval working world of the artist Villard de Honnecourt, who was responsible for a collection (still in existence) of drawings made in connection with the new Gothic cathedrals then being built.

The travels of Villard took him from Cambrai to Vaucelles and Reims, and then across Germany, Switzerland and Hungary and in this first volume,  Ossuaires (ossuaries being receptacles for holy relics), the lines of this journey unite medieval Northern France and Hungary: musical treasures performed here concentrate on an Office for Saint Elizabeth by Pierre de Cambrai and  Volek syrolm thudothlon (an example of an early Hungarian poem being set to music from France).

The characteristic and imaginative approach of Björn Schmelzer, along with his Graindelavoix singers, stands back from preconceived notions of how such medieval music may have been sung, and aligns itself instead more with the working practices of artists such as Villard de Honnecourt (examples of the draughtsman’s work are included in the CD booklet), medieval and modern artists embellishing and improvising, combining and recycling their materials from a practical perspective.


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