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The Boston Camerata, Joel Cohen -- Douce Beauté - Pierre Guédron et l'Air de Cour (1590-1640)

Posted By: wdilbert

Date: 29 Aug 2012 13:23:40

The Boston Camerata, Joel Cohen -- Douce Beauté - Pierre Guédron et l'Air de Cour (1590-1640)

This jaunty disc takes a novel approach to the air de cour – novel at least in terms of the current discography. The usual way into this repertory is embodied in a recent disc, also centred on the composer Pierre Guedron (Sinfonia, 5/98), in which a single singer is accompanied by a lute. For the most part, the songs recorded here were published in that form; but in a very few prints the music was presented in versions for four voices. Joel Cohen adopts a mixture of styles, including not only the ‘straight’ solo/lute option, but also the vocal quartet, the mixed instrumental ensemble, and a combination of voices, instruments and assorted percussion. As I have just indicated, hard evidence for this sort of flexibility is fairly thin on the ground; on the other hand, it is of a piece with the Boston Camerata’s longstanding approach to secular music in general.

The showmanship is enjoyable on its own terms, and makes for varied and (mostly) entertaining listening – if one is prepared to overlook weak links in a patchy cast, and a type of vocal production that comes across as rather dated. The wider question is whether it is appropriate to the air de cour. Cohen’s introductory essay draws a comparison between this genre and Broadway musicals. The analogy appears to validate the Camerata’s emphasis on “putting on a good show”, with bells and whistles; but sociologically and aesthetically it is very debatable. For all its popularity, the air de cour (as its name implies) was in essence a courtly genre, refined and affected. (It is significant that even the airs with risque subject-matter include very few of the obscenities commonly found in the songs of 50 years earlier.) So Cohen’s occasional descents into slapstick strike me as ill-judged and overblown; compare the drunken tomfoolery of Qui veut chasser une migraine with Nigel Rogers’s reading with Anthony Bailes (EMI Reflexe, 12/80 – nla) which captures the spirit of a drinking-song without needlessly spoiling a fine tune. Thankfully, nothing else here is quite as extreme, but Cohen’s broad interpretation of the style tends to get in the way of that crucial conjunction of text and music. In this regard, the air de cour is the Gallic response to the Italian stricture, “Prima le parole, doppo la musica”. While there is certainly a danger of taking that injunction too literally (Guedron’s contemporaries were perfectly happy to set his most popular melodies, Est-ce Mars, for instance, to foreign ditties), here the opposite danger looms: that of losing the wood for the trees. Whether or not Guedron was “the finest French melodist between Dufay and Offenbach” (dixit Cohen), his music has sufficient charm and strength to stand on its own.
Fabrice Fitch, Gramophone [9/1998]

EAC Log

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 4. August 2012, 18:07

The Boston Camerata - Joel Cohen / Douce Beauté: Pierre Guédron et l'Air de Cour (1590-1640)

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_TRACKS_

I- La nacelle d'Amour
1. Quand l'infidelle usoit envers moy (Pierre Guédron)
2. Courante "Bien qu'un cruel martire" (Pierre Guédron)
3. Lorsque Leandre amoureux (Pierre Guédron)
4. En ce bois si beau (Pierre Guédron)
5. Douce Beauté (Anonymous)
6. D'un mesme vent, Madame (instrumental) (Pierre Guédron)
7. Si tu veux apprendre les pas à dancer (Pierre Guédron)
8. Où luis-tu, soleil de mon âme (Pierre Guédron)
9. La voilà, la nacelle d'amour (Pierre Guédron)

II - Sacré et prophane: Le larcin glorieux
10. Quand ce beau printemps je voy (Adrien Le Roy)
11. Chrétien, apprens en la croix (Anonymous)
12. Seconde Entrée (instrumental) (Robert Ballard)
13. Cesse, mortel, d'importuner (Anonymous)
14. Si tu veux apprendre les pas à dancer (Anonymous)
15. Vous à qui plaist la dance (Anonymous)
16. Le cerf si fort ne désire (Anonymous)

III - Mascarade: La France et Les Nations
17. Ballet (instrumental) (Robert Ballard)
18. Ballet pour Madame: Est-ce Mars (Pierre Guédron)
Courante Mars (Jacob van Eyck)
Had ick duysend ijsere tongen (Anonymous)
Tweede Courante Mars (Jacob van Eyck)
Aujourd'huy la musique céleste (Anonymous)
Est-ce Mars (Suite) (Pierre Guédron)
19. Hereux séjour de Partenisse (Antoine Boësset)
Als ihm Cupido eins zu reisen (Gabriel Voigtlaender)
20. Qui veut chasser une migraine (Gabriel Bataille)
21. Voulès ausi uno nouvello (Anonymous)
22. Sylvia, not long since halfe-affrighted (Edward Filmer)
23. El baxel esta en la playa (Anonymous)

The Boston Camerata
Anne Azéma, soprano
William Hite, tenor
Donald Wilkinson, baritone
Paul Guttry, bass
Jesse Lepkoff, flute
Robert Mealy, violin
Carol Lewis, viol
Lynn Tetenbaum, viol
Roland Hutchinson, viol
Olav Chris Henriksen, theorbo, guitar
Joel Cohen, lute, percussion, baritone
Joel Frederiksen, lute

Joel Cohen

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