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Guillaume de Machaut- Le Jugement du Roi de Navarre

Guillaume de Machaut was a major influence on Chaucer, not as musician but as poet. Modern studies, especially those by James Wimsatt, show how Chaucer uses and transposes textually, from Machaut's French into his own English poems, a vast number of ideas, images and expressions. Of particular importance here are Machaut's narrative poems or dits amoureus, nine of substantial length plus four shorter pieces. The Jugement du Roi de Navarre (1349) belongs to a sub-category of 'Judgement Poems', along with the Jugement du Roi de Bohème; both of these were used extensively by Chaucer, most notably in his Book of the Duchess...

Two of Machaut's dits amoureus, the Remede de Fortune and the Livre du Veoir Dit, are of special interest because they contain interpolated songs complete with music. The Jugement du Roi de Navarre on the other hand, even though it ends with three texts in lyric forms, contains no music at all and there seems never to have been any question of a musical performance. It thus comes a something of a shock to find selected passages from this poem presented along with twenty interpolated musical items that have absolutely nothing to do with it! The CD Notes, by José Carlos Cabello, explain the thinking behind this idea: to use Machaut's poem, which contains interesting allusions to contemporary historical events, as a kind of framework for the presentation of a concert of his songs. This does raise the question of how to present Medieval narrative poems, with or without music, before a modern public. No one knows how this was done at the time, but the creation of such hybrid presentations may not be the best, and certainly not the most authentic, answer.

The texts are delivered in a sepulchral voice, neither Middle French nor Modern. The Kyrie from the Messe de Nostre Dame, for voices alone, is excellent. The polyphonic songs have the merit of using instruments successfully. Interspersed with all this, however, are a number of monodies deprived of their texts and interpreted in the 'Arabic mode' which has so bedevilled Medieval music making in France! It is all rather incongruous. NIGEL WILKINS

Ensemble Gilles Binchois:

Anne-Marie Lablaude, voz

Brigitte Lesne, voz, arpa y percusión

Akira Tachikawa, voz

Dominique Vellard, voz y guiterne

Emmanuel Bonnardot, voz, viola gótica y rebec

Pierre Hamon, flauta dulce, flauta travesera medieval y cornamusa

Randall Cook, viola gótica y flauta dulce

Jean-Paul Racodon, recitador

Dominique Vellard, director

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