Content DesirMusic from 16th century France
With Armelle Cardot-Froeliger (soprano)
The Vingt et sept chansons musicales of Pierre Attaingnant (Paris, 1533), specified on the title page as being particularly suitable for flutes and recorders, form part of the core repertoire for flute consort. Starting from the chansons contained in this collection, this programme provides an insight into French music from the 1530s to the 1560s, and includes chansons and sacred works by Orlando di Lasso (1530/32-94) and Claude Goudimel (1514/20-72). The well-known chanson ‘Content desir’ by Claudin de Sermisy (c.1490-1562), which also survives in a basse dance arrangement and as a textual paraphrase of Psalm 23 (without music), forms the centrepiece of the programme.
Les Sonneurs de Flustes explore this repertoire alongside dances taken from Musique de Joye (Jacques Moderne, 1554), enabling the rich variety of the music of this period to be presented.
Was wirdt es dochTenorlieder in early 16th century Germany
Amongst the many Tenorlieder that have come down to us, two collections are important for the flute: Georg Forster’s Frische teutsche Liedlein (Nuremberg, 1539), which survives with handwritten annotations referring to flutes; and Das Liederbuch des Arnt von Aich (Cologne, c.1519), whose title page indicates that some pieces work well on these instruments.
This programme presents a selection of Tenorlieder from these two sources, including ‘Was wirdt es doch’ by Ludwig Senfl (c.1486-1542/43), which refers to the dubious circumstances surrounding the election of Charles V as Holy Roman Emperor.
Alongside music from these publications, the programme includes works from another important Tenorlieder source (Vienna Nat.Bib.MS18810) and lute intabulations from Arnolt Schlick’s collection of 1512, thus presenting a charming array of moods in this oft-neglected music.