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L'Amor De Lonh: Medieval Songs of Love and Loss Import

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Audio CD, Import, October 26, 2010
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Product Details

  • Audio CD (October 26, 2010)
  • Number of Discs: 1
  • Format: Import
  • Label: Glossa
  • ASIN: B0046M14YO
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #711,543 in Music (See Top 100 in Music)

1. Esta montaña d'enfrente (This Mountain in Front)
2. Lanquan (Lancan) li jorn son lonc en may
3. Quand la pastora, song
4. Triste ei lo cèu, song
5. Quan lo riu de la fontana (Can lo rius de la fontana)
6. Trop desir a veoir, rondeau for 3 voices
7. Una hija tiene el rey
8. Dinz la roubieira de Lissac, song
9. Quantas sabedes amare amigo, cantiga for voice and accompaniment
10. Altas undas, song
11. Meu amor, meu amoriño, song
12. Fine Amors me fait chanter, song
13. Ai Deus, se sab' ora meu amigo, cantiga for voice & accompaniment
14. Del grant golfe de mar
15. A vous Tristan, song
16. Au repairier de la douce contree, monophonic chanson, R. 500
17. Quant voi le douz tens, song

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Lyle Crawford on April 2, 2011
Medieval music can call to mind experiences, beliefs, and expectations that are rather alien to the modern listener. It tends to resonate with modern audiences (if it does at all) on either a purely musical or a fairly abstract spiritual level. This new recording by Dominique Vellard's Ensemble Gilles Binchois, however, is united by a theme that even an audience in an age of instant and ubiquitous electronic communications can surely relate to: love and the pain of separation from a beloved.

To be sure, the title L'Amor de Lonh comes from a peculiar experience of love that many will not relate to, the almost masochistic "hunger" of the Occitanian troubadour Jaufré Rudel for "love from afar." According to legend, his love was the Countess Hodierna of Tripoli. Tales of her beauty had inspired his searing devotion to a remote ideal, and, ailing, he promptly died in her arms upon finally meeting her during the Second Crusade. What is striking about the other works recorded here, though, which span several languages, origins, and musical forms, is their moving evocation of the more human, and common, experience of the pain of unrequited love, of being unloved, or of love separated by geography, by war, by life.

As is not uncommon in medieval music, part of the thrill of this recording is hearing back in time via the most tenuous threads of surviving material. Although there is some adapted and arranged music here (e.g. songs by the troubadour from Limousin, Gaucelm Faidit, and by Raimbaut de Vaqueiras), other works include two of the mere six surviving notated Portuguese cantigas de amor ("songs about a boyfriend," usually written by men, but in the voice of a woman) from the Galician Martim Codax.
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