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Medieval Carols - Medieval Carols - COMPACT DISCS [CD]

SKU: 10729538

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In 15th-century England a tradition grew up for the composition of polyphonic carols. None of them is ascribed to a specific composer or poet, neither is their function completely understood. The form is that of alternating verses and burdens (refrains), the language generally being a mixture of Latin and English. The majority of the carols have sacred texts and it is possible that these were designed for liturgical use. Others are moralistic or celebratory and were possibly used to enliven feasts and banquets in aristocratic households or for recreational purposes at educational establishments. The most common type of carol is that relating to Christmas. The examples offered here are 'What tidings bringest thou?', 'Now may we singen', and 'Nowell sing we'. Not so overtly joyful but equally optimistic is 'Alma redemptoris mater' whose verses poetically paint the scenes of the Annunciation, Nativity, Crucifixion, and Resurrection respectively. After the Christmas carol the next in order of popularity was the Marian carol as represented here by 'Ave Maria', 'There is no rose', and 'Hail Mary full of grace'. In these settings the melodies are fluid and the harmonies subtle in order to portray the Virgin Mary as tender and graceful. Additionally the lives of the saints were frequently the subject of carols, none more robust than 'Eya mater Stephane' in honor of the martyrdom of St Stephen. By contrast the carol 'Be merry be merry' rejects specific subject matter altogether in favor of allusions to the many glories of Christian life as a means to universal happiness. Most memorable of all is 'Deo gracias Anglia' which recounts the defeat of the French by the English at the battle of Agincourt. King Henry sails to Normandy, takes the town of Harfleur by siege, wins the day at Agincourt, and drags the surviving French noblemen back to London; all this, of course, in the name

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  • Genre
    Classical
    Description
    In 15th-century England a tradition grew up for the composition of polyphonic carols. None of them is ascribed to a specific composer or poet, neither is their function completely understood. The form is that of alternating verses and burdens (refrains), the language generally being a mixture of Latin and English. The majority of the carols have sacred texts and it is possible that these were designed for liturgical use. Others are moralistic or celebratory and were possibly used to enliven feasts and banquets in aristocratic households or for recreational purposes at educational establishments. The most common type of carol is that relating to Christmas. The examples offered here are 'What tidings bringest thou?', 'Now may we singen', and 'Nowell sing we'. Not so overtly joyful but equally optimistic is 'Alma redemptoris mater' whose verses poetically paint the scenes of the Annunciation, Nativity, Crucifixion, and Resurrection respectively. After the Christmas carol the next in order of popularity was the Marian carol as represented here by 'Ave Maria', 'There is no rose', and 'Hail Mary full of grace'. In these settings the melodies are fluid and the harmonies subtle in order to portray the Virgin Mary as tender and graceful. Additionally the lives of the saints were frequently the subject of carols, none more robust than 'Eya mater Stephane' in honor of the martyrdom of St Stephen. By contrast the carol 'Be merry be merry' rejects specific subject matter altogether in favor of allusions to the many glories of Christian life as a means to universal happiness. Most memorable of all is 'Deo gracias Anglia' which recounts the defeat of the French by the English at the battle of Agincourt. King Henry sails to Normandy, takes the town of Harfleur by siege, wins the day at Agincourt, and drags the surviving French noblemen back to London; all this, of course, in the name
    Artist
    Medieval Carols
    Title
    Medieval Carols
    Format
    CD
    Label
    Naxos
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