The art of music. Vol. 01 (of 14) : $b The pre-Classic periods
History
The art of music. Vol. 01 (of 14) : $b The pre-Classic periods
Music -- History and criticism; Musicians
The pastoral song survived the Middle Ages and was a favorite down to
the Revolution, long before which it had, however, found its way into
the aristocracy and polite society of cities and so lost the little
natural flavor which still clung to it in the days of the Troubadours.
Robin and Marion made way for Tircis and Aminta, Phyllis and Lycidas,
beribboned and bespangled counterfeits of the original article. To
illustrate how hackneyed this type of song and the plays later made
out of them had become in the time of Molière, we may quote Monsieur
Jourdain: 'Why all these shepherds? I see nothing else.’ To which the
dancing-master replies peremptorily: 'When characters speak in music
it is necessary, for the sake of realism, to make them shepherds. Song
was ever affected by shepherds; it is hardly natural that princes and
princesses should vent their passions in musical dialogue!’
Among Troubadour dance forms there should also be mentioned the _carol_
or _rondet de carol_, _retroensa_, _estampida_, and the _espringerie_
(jumping dance). Particularly notable is the _Estampida_ of Rambaut
de Vacqueiras (1180-1270), a Troubadour at the court of Montferrat,
the lover of the beautiful princess Beatrice. The story connected with
it aptly illustrates the influence of the _jongleurs_. When one day
a band of these, native of France, came to the court, they awakened
general merriment with a new _Estampida_ played on their viols. Only
Rambaut could not be roused from his melancholy, and Beatrice asked
him therefore to sing a song himself, and so regain a happier mood.
Whereupon he composed the charming dance song _Kalenda maya_ in the
manner of the _jongleurs’ estampida_:
[Illustration: ESTAMPIDA BY RAMBAUT DE VACQUEIRAS.]
Kal-len-da ma-ya
Ni fuelhs de fa-ya
Ni chans d’auzell ni flors de glaia
Non es quem pla-ya
Pros dom-na gua-ya
Tro qu’un ys-nelh mes-sat-gier a-ya
Del vos-tre bel cors quem re-tra-ya
Pla-zer no-yelh qu’ Amors m’a-tra-ya
E ja-ya
Em-tra-ya
Vas vos don-na ve- ra-ya
E cha-ya
De pla-ya
L’ge-los ans quem n’e-stra-ya.
(_5 Stanzas_)
Public-domain text, read in full here on John Shaqi.
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