Karen Siegel
KarenSiegel.com
chestnutoak press
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Notes on the text
These three separate poems were combined by an anonymous composer in the 15th Century, and set down in a Neapolitan manuscript. In keeping with the Franco-Flemish genre of the combinative chanson, the texts were set in different voices, but in such a way that none of the texts could be understood. The rondeau was sung by the upper voice, while the other two poems were simultaneously sung by the lower voices. These texts have been transcribed and reconstructed, in places relying on other versions of the chanson in related manuscripts, by Professor Emeritus Maria Rika Maniates. They are used here with permission from A-R Editions, which published them in 1989, along with this translation by Dr. Maniates and a modern edition of the original score in The Combinative Chanson: An Anthology, edited by Dr. Maniates. Brackets indicate text that is missing from the original source. KS
Notes on the music
This contemporary setting brings out the irony inherent in the combination of these poems. Las, quel plaisir is a formal rondeau, and a polite poem of courtship. In contrast, La mousque and Waleri la tire are vulgar poems that might have been originally set as popular songs and sung in taverns. My aim here is to give at least the most important parts of each poem enough space to be heard, while also layering them in juxtaposition. Different keys and meters highlight the differences between texts. KS
Performance notes
Pronunciation:
Early French is generally thought to have been pronounced with the following differences from modern French:
1) "oi" is pronounced "way" [wei]
2) "r" is gently flipped, even when it ends a word [!]
3) final "s" is often pronounced, as in "las" and "hélas"
Full settings of each poem are provided at the back of the score as a learning tool only, not for performance
KS
Las, quel plaisir
[L]as, quel plaisir ce me seroit, S'à vous porie parler apart.
Jamais nul mal ne [ferait part]
[De mon voloir, si grant que soit.]
Tousjours mais se [ras]sioiroit, Mon povre cuer que de deul part.
Las, quel [plaisir ce me seroit, S'à vous porie parler apart.]
Hélas amours, qui me poroit, De ma mestresse faire part?
Qui m'a percé de part en part, Danier me nuit, acuel me noit.
Las, [quel plaisir ce me seroit, S'à vous porie parler apart.
Jamais nul mal ne ferait part
De mon voloir, si grant que soit.]
La mousque
La mousque, la mousque!
Or y vient la moule à tout son moulier. Qui menga la mousque et tout sans maquier?
Et mousque, mousque, mousque!
Waleri la Tire
Vit encore Waleri la Tire, vit-il?
Oyl voir, il voit, il vit, il vit encore, Oïl voir, il voit, il vit, encore vit- i[l]!
Or n'est-il si bon amer, Que de ces pucelles. Il letz fait sin bon amer, Elles sont si belles.
Vit encore Waleri la Tire, vit-il?
Oyl voir, il voit, il vit, il vit encore, Oyl voir, il voit, il vit, encore vit-il!
Alas, it would be so delightful if I could speak to you alone.
No evil wish could enter into my desire, however strong it might be.
And thus my heart, emerging from grief, would become tranquil.
Alas, it would be so delightful if I could speak to you alone.
Alas, love, is there anyone to help, to speak for me to my mistress?
Since I have been pierced from limb to limb, danger stifles me and welcome overwhelms me.
Alas, it would be so delightful if I could speak to you alone.
No evil wish could enter into my desire, however strong it might be.
The mussel, the mussel!
Here comes the mussel with its fisherman. Who can eat the mussel all up without chewing?
And mussel, mussel, mussel!
Does Wally the Twanger still get it up, get it up?
Yes indeed, he does, he does, he still gets it up!
There's nothing around so good to love as these virgins.
They've been made for loving, they're so delectable.
Does Wally the Twanger still get it up, get it up?
Yes indeed, he does, he does, he still gets it up!
Anonymous 15th Century (transcribed by Maria Rika Maniates)
Karen Siegel
lumbering, with swagger f f lumbering, with swagger
lumbering, with swagger
lumbering, with swagger f f
La
La
p p molto legato, with longing molto legato, with longing
Las quel plaisir
for rehearsal only
Karen Siegel Anonymous 15th Century (transcribed by Maria Rika Maniates)
Anonymous 15th Century (transcribed by Maria Rika Maniates)
La mousque
Waleri la tire
Karen Siegel Anonymous 15th Century (transcribed by Maria Rika Maniates) for rehearsal only for rehearsal only
Karen Siegel