The Testament of Tristan
View record and artist detailsRecord and Artist Details
Composer or Director: Bernart de Ventadorn
Label: Hyperion
Magazine Review Date: 6/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: A66211
Tracks:
| Composition | Artist Credit |
|---|---|
| Pos me pregatz seignor |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Non es meravilla s'eu chan |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Quan par la flor josta.l vert foill |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Quan l'erba fresc e.l foilla par |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Quan vei la flor, l'erba vert e la foilla |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| La doussa votz ai auzida |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Lanquan vei la foilla |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Ara no vei luzir soleill |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Ab joi moi lo vers e.l comens |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Tant ai mo cor ple de joya |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Amors, e que.us es vejaire? |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Be m'au perdut lai enves Ventadorn |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
Composer or Director: Bernart de Ventadorn
Label: Hyperion
Magazine Review Date: 6/1987
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: KA66211
Tracks:
| Composition | Artist Credit |
|---|---|
| Pos me pregatz seignor |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Non es meravilla s'eu chan |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Quan par la flor josta.l vert foill |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Quan l'erba fresc e.l foilla par |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Quan vei la flor, l'erba vert e la foilla |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| La doussa votz ai auzida |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Lanquan vei la foilla |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Ara no vei luzir soleill |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Ab joi moi lo vers e.l comens |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Tant ai mo cor ple de joya |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Amors, e que.us es vejaire? |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
| Be m'au perdut lai enves Ventadorn |
Bernart de Ventadorn, Composer
Bernart de Ventadorn, Composer (Anonymous) Ensemble Matthew Best, Conductor |
Author: David Fallows
Bernart de Ventadorn counts as the finest and most direct poet in that wonderful group of writers in Provencal who we call the troubadours. Repeatedly his poems are shot through with the most astonishing insights into the essence of courtly life, of love and of the natural environment that seems so much more vital in this poetry than in anything else before the nineteenth century. Other troubadours wrote more intricate verse, but few managed to communicate their passions so vividly.So it is perhaps no surprise that more music survives for his poetry than for that of any other poet from the 'classic' twelfth-century phase of the troubadour generation. We have 18 melodies, of which 12 appear here in a programme that presents them with considerable variety of sound and approach. Martin Best is a superb advocate for this music. He puts his main emphasis on the texts on their sounds, their wit, their metrical range, their imaginative colour. He also accompanies himself on plucked instruments—oud, baldozo and psaltery often with a stunning display of technical devices. But his singing also has a directness that communicates very well. His voice may not be the most beautiful or the most refined but he uses it in a way that makes each song sound like a real performance, something that is relatively rare in this age of sober studio sessions.
He has organized the 12 songs so that they add up to a kind of cumulative life-story, grouping them together in thematic units. This is an intelligent and interesting juxtaposition that does much to stress the inherent variety between one song and the next. And it solves an organizational problem: what we hear is not a 'selection' of Bernart's best works (in fact it omits the most famous of all,Can vei la lauzeta mover) but a coherent and unified whole.
Hyperion are rapidly moving into the gap vacated when L'Oiseau-Lyre Florilegium drew out of the Middle Ages. They have served Best and the music well, not only with a vivid reproduction but also with full texts and translations (including, where available, the beautiful verse translations of W. D. Snodgrass). They have produced a record that earns a place of honour in collections of medieval music.'
He has organized the 12 songs so that they add up to a kind of cumulative life-story, grouping them together in thematic units. This is an intelligent and interesting juxtaposition that does much to stress the inherent variety between one song and the next. And it solves an organizational problem: what we hear is not a 'selection' of Bernart's best works (in fact it omits the most famous of all,
Hyperion are rapidly moving into the gap vacated when L'Oiseau-Lyre Florilegium drew out of the Middle Ages. They have served Best and the music well, not only with a vivid reproduction but also with full texts and translations (including, where available, the beautiful verse translations of W. D. Snodgrass). They have produced a record that earns a place of honour in collections of medieval music.'
The Testament of Tristan
The Testament of Tristan
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