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That exuberant poem is griskov with the joy of excellent love, quite one in the great poetry, and its difficult setting is no less way. Forklarede, til takes day, og. kvjnder It experiences a new or on the blood of the poem; the outcome of the worst performed in a perfect tempo becomes rather ironic than foreign. The think was made with ad attention to the text. The possible has invested perfect in varying the ability by spectacular declamation and lively imitative has, where canonic contest plays a comedy role.
While the form seems up-to-date, the sound and Datin of the song appear a bit dated. In this song, tsore discover that a young composer in the s still found the techniques of the Binchois generation attractive and useful. The composer has invested effort in varying the setting by alternating declamation gribsskov lively imitative sections, where canonic imitation plays a major role. In the Segovia manuscript it was ascribed to Loyset Compere. The credibility of this ascription, however, is weakened by the fact that the song in this source has the character of a clumsy revision, which destroys the original ideas of the music and causes new contrapuntal knots for a discussion of the sources and the changes to the music including musical examples see the commentary to the edition.
The two songs have so many traits in common that they must have been copied Dating for store kvinder gribskov the same collection gribzkov exemplars and originate from the same composer. It puts a new light on the happiness of the poem; the impression of the song performed in a brisk tempo becomes kvinde ironic than happy. This original idea probably confused later copyists. Kvinde song, however, remained in kvinde repertory in the 16th century, its popularity probably founded on its ear-catching sequences. On the other hand, nobody knows what Compere did in his early years, where he worked etc. Presumably, he was of the same age as Basiron, and his early style may have been like his, original, bold, and occasionally immature in mastering contrapuntal and formal difficulties.
Thus, if Segovia might be proved right, it could happen that both chansons fr to be ascribed to the young Compere. Tant fort me tarde ta venue. The connections between the two poems are clear enough, but the differences in attitude are just as striking. Gilles Mureau c spent his long career kvinnder the service of sotre Chartres Cathedral. His position in the clerical world apparently was very secure, and at an early date he appears to have become quite affluent with extensive land fro in the areas near Blois and Bourges. He supplemented his income by educating private pupils from the nobility in grammar and in the singing of polyphony.
This busy life did not offer much incentive to compose new music after the early years of his career for example, no sacred music is preserved from his handand music formed only a part of his professional life. His talents apparently unfolded just as much in the arts of language and words, and in connection with his administrative capacities as a canon of the cathedral. His reputation as a musician may have depended more on his skills as a performer and as a teacher, as a man knowledgeable in music and poetry, than as a composer. Mureau contrasts the declamation of the opening with canonic imitation of short sequential motives in the second line see Example 3.
An ear-catching feature is the staggered play with brevis-values in triadic formations see Example 4which then are elaborated with the help of stepwise motion and shorter and longer note values, and end up getting chopped up in shorter segments bb. But this is as far as his respecting the intended meaning of the poem reaches; his setting seems rather like a travesty of a lovesick courtly song. It covers most of the song except for the run-ups to the cadences. The canon is flexible, the distance between the voices are fluctuating between a semibrevis and a brevis. It starts with the tenor in the lead, but this is reversed in the third line, placing the upper voice in the lead until the end.
The basic material of the song is presented in the first line: The second line bb. This effect is strongly supported by the contratenor, which enters in minima-syncopation already in bar 14 see Example 6. And it contrasts with the following third verse line bb. Here the contratenor has to function as structural counter voice to the resulting monophony of the upper voices. Basiron has discovered that everything works out painlessly if he keeps the canonic voices within the range of a fifth occasionally a sixth and lets the contratenor take care of everything else below or in between the canonic duet. The setting was made with close attention to the text.
An examination of the examples 4, 6, 8, and 9 makes it evident that Basiron and Tinctoris are indebted to Caron who made this effect popular. The extant sources for these settings were made after the death of Basiron, but there cannot be much doubt that they were composed during his early years in Bourges. The challenge of composing double chansons is to combine the setting of a poem in forme fixe, usually a rondeau, with one or two pre-existent popular tunes and their texts. Basiron has transformed the popular tune into tempus imperfectum diminutum, but keeps traces of its original rhythm in triple time.
The two contratenors relate primarily to the tenor tune, supporting and imitating it, but at the same time, they allow the phrasing of the superius c. It is quite ingenious made. It is possible to perform both songs as complete rondeaux. It is possible to put the rondeau text under both the new voices and perform the song as a rondeau. Stylistically nothing hinders this setting in being an experimental work by Basiron. We can establish that it does not seem improbable, but is impossible to prove. This whets the appetite for searching the sources for other candidates for an ascription to the hand of the young Basiron.
There are many possibilities. As soon as he had finished with the songs spelling out the dedicatee of the manuscript in the form of an acrostic, he turned to the music of Basiron. They seem worth a closer look: For both of them applies that they could have been copied into the three chansonniers by the three different scribes using the same or closely related exemplars. It was originally on pages torn out between f. Bars are simply repeated in toto as bars In this way the composer created a rounded form in a rondeau cinquain refrain: This uniformity is underscored by the rhythmic and melodic similarity of the openings of the two sections; and just before the medial cadence b.
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