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Jeanne d'Arc - Batailles & Prisons / Figueras, Savall, La Capella Reial de Catalunya

Figueras / La Capella Reial De Catalunya / Savall
Release Date: 08/14/2012 
Label:  Alia Vox   Catalog #: 9891   Spars Code: n/a 
Composer:  VariousGuillaume DufayJordi SavallSpoken Word,   ... 
Performer:  Armin JandaRolf LislevandFrancis BiggiLuca Guglielmi,   ... 
Orchestra/Ensemble:  Hespèrion XXI
Number of Discs: 2 
Recorded in: Multi 
Length: 2 Hours 14 Mins. 

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Notes and Editorial Reviews

This collection contains Hybrid Super Audio CDs playable on either Super Audio or Stereo players.

Thanks to numerous studies by eminent historians and researchers in France and elsewhere, the true story of Joan of Arc is nowadays accessible and, in general, quite well known throughout the world. It is a story which transcends the terms “myth”, “legend” and “folklore” that have so often been used in connection with her, for our knowledge about Joan the Maid is based on scrupulously authentic documents: chronicles, public and private letters, records of the Parliament in Paris, manuscripts signed by notaries, and the transcripts of the two trials she endured, one while she was alive and the other after her death, all of which
Read more have been meticulously sifted through using the most rigorous historical methods. Unfortunately, this has not prevented all manner of legends and false historical accounts being presented as hidden truths or even new discoveries. However, what has astonished me most during the preparation of this project is how easily even cultured people can overlook essential information, such as the signing of the Treaty of Troyes, which underlies the very origin and culmination of this long and ancient conflict in which the English and the French were violently pitted against each other. “Without the senses there is no memory, and without memory there is no intelligence,” recalls Voltaire in his Aventure de la mémoire (1773). That is why, important though it is, our individual memory often hinges on the facts, knowledge and experiences that are dear and close to us, or that have made a deep impression on us. The sum total of all these memories shapes the historical memory of a people, which in turn determines our ability to keep alive not only the memory of heroic and extraordinary feats accomplished by men and women of the past, but also the tragedy and suffering of individuals who have struggled – often alone, as in the case of the Maid of Orleans – against stifling ideologies and lethal fanaticism. Absolute evil is always the evil that man inflicts on his fellow man. Although we say nothing here that has not been said and repeated before, we echo the words of Régine Pernoud, who writes: “the past offers no example of a destiny more extra-ordinary than that of this nineteen-year-old "Maid". Whether one regards her as an emissary from God or a heroine with a mission to liberate her people, nobody remains indifferent to her: from Voltaire to Schiller, from Anatole France and Renan to Péguy and Claudel, from Chartists to amateur historians, from Japanese scholars to Russian academics… all have been fascinated by her.”

As always, our CD-books are characterised by their presentation of a selection of music and texts which bear a direct relation to certain specific moments in history, a history to which we endeavour to give a spoken voice – in this case, that of Joan and her contemporaries (witnesses and inquisitors at her trials) – and its corresponding “soundtrack”. This soundtrack includes music from the period, as well as new music composed in 1993 to illustrate Joan’s epic story as told in two films directed by Jacques Rivette (Jeanne la Pucelle: Les Batailles and Jeanne la Pucelle: Les Prisons), and music written in 2011 for the concert given on 16th November at La Cité de la Musique in Paris. The music is accompanied by up-to-date texts and commentaries by leading specialists, enabling us to comprehend and gain greater insight into the rich complexity and relevance of the outstanding events of a story without equal. It is in honour of the six-hundredth anniversary of the birth of Joan the Maid and her amazing epic that we have prepared and carried out this project - a different perspective on the life of a young girl cruelly burned at the stake when she was only nineteen years old. It takes the form of a new CD-book, which contains and combines printed texts, recited texts, vocal and instrumental pieces and reproductions of paintings and miniatures from the period, illustrating the key events in her short life and the long conflict between the French and the English.

The prominence of battles and prisons in our story of Joan’s life may come as a surprise, but the stark reality is that the Maid’s brief and dazzling epic – from her encounter with the king on 6th March, 1429, to her execution on 30th May, 1431 – can be divided in two distinct parts: a year of countless battles and a year of imprisonment. As Régine Pernoud so aptly puts it, “she is the prototype of the glorious heroine, and at the same time Joan is the prototype of the political prisoner, the victim of hostage-taking and other forms of oppression against the individual which form part of daily life in the 20th (and 21st) century.

-- JORDI SAVALL
San Juan de Puerto Rico
4th March, 2012
Translated by Jacqueline Minett

-----

CD 1

PROLOGUE
1. « Ballade de la Pucelle » (instrumental)
2. Aprez que j’ay veu et leu…
« L’Appel » : « Le Départ » & « Les Voix ». J. Savall d’après G. Dufay
3. Rondeau : « Ce jour de l’an » d’après G. Dufay
4. 21 mai 1420. Le Traité de Troyes
5. Fanfare « Dit le Burguygnon » d’après mss. anonyme (XVe s.)
6. 21 octobre 1422. Mort de Charles VI.
7. Rondeau « Fortune, par ta cruaulté » d’après J. Vincenet (ca. 1420)

I. LES VOIX
8. « Les Voix : Veni Sancte spiritus ». G. Dufay (ca. 1400-1474)
9. Quand j’eus l’âge d’environ treize ans…
10. Juillet 1428. Domrémy est pillé par les troupes des Bourguignons…
11. Janvier-février 1429. Le Voyage à Vaucouleurs.
Musique : « Saltarello » d’après mss. anonyme (XVe s.)

II. VOYAGE À CHINON ET RENCONTRE AVEC LE ROI
12. « Le départ ». J. Savall
13. Ma mie, que faites-vous ici ?
14. « Le départ ». J. Savall
15. « La Pucelle » (instrumental)
16. « Les Voix » d’après G. Dufay
17. 6 mars 1429. Rencontre avec le roi à la Cour de Chinon.
18. « Vive le Roy ». J. Desprez
19. Mars 1429. Jeanne est soumise
20. Rondeau « La Trémouille ». J. Savall
21. Musique : tambour
22. « Veni Creator Spiritus » d’après anon. VIIIe s.

III. LA DÉLIVRANCE D’ORLÉANS
23. La lettre aux Anglais
24. 29 avril 1429. La Délivrance d’Orléans.
25. 11 mai 1429. Le roi rencontre la Pucelle à Loches.
26. « L’Homme armé ». J. Savall d’après le Sanctus de la messe de G. Dufay
27. 18 juin 1429. Bataille de Patay
28. 29 juin 1429. Départ de Gien pour débuter la marche à Reims.

IV. LE SACRE DE CHARLES VII
29. « Ballade de la Pucelle » (instrumental). J. Savall
30. 17 juillet 1429. La Route du Sacre.
31. « Prière III » Fantaisie d’après anonyme XVe s. / Adoramus te
32. « Marche Royale pour le Sacre ». J. Savall
33. « Te Deum ». Jordi Savall
34. « Marche Royale pour l’Onction ». J. Savall
35. « Les Voix ». Jordi Savall d’après G. Dufay
36-37-38. « Messe de l’Homme armé ». G. Dufay
39. « Marche Royale pour l’Onction ». J. Savall
40. « Sonnerie Royale pour la fin du Sacre ». J. Savall

CD 2

V. BATAILLES ET PRISONS
1. Musique : Fanfares & tambours
2. « Bataille entre Français et Anglais ». Jordi Savall
3. 8 septembre 1429. Après quelques opérations militaires
4. « Fortuna desperata ». Josquin Desprez
5. 16 mai 1430. Le duc de Bourgogne met le siège devant Compiègne.
6. « Chiave, chiave ». Anonyme (CMM 131)
7. Le lendemain, Jeanne est capturé par les Bourguignons.
8. « Dit le Bourguignon » d’après mss. anonyme (XVe s.)
9. « Ballade de la Pucelle ». Improvisation harpe

VI. LES SOLITUDES - LE PROCÈS
10. « Fortune par ta cruauté » d’après J. Vincenet (ca. 1420)
11. 21 novembre, 1430. Jeanne est vendue…
12. « Les Solitudes Prière II » d’après Adoramus Te. Anonyme
13. 9 janvier 1431. Ouverture du Procès en condamnation de Jeanne
14. « Le départ ». Jordi Savall
15. Samedi 10 mars, 1431. Première séance du procès dans la prison.
16. « Planctus Jehanne » d’après mss. anonyme s. XV

VII. ACCUSATION, ABJURATION ET SENTENCE
17. Mercredi, 26 mars, 1431. Début du procès ordinaire
18. Prière « Fortune par ta cruauté » d’après J. Vincenet (ca. 1420)
19. Jeudi 24 mai. Abjuration de Jeanne.
20. Musique : Cloches (Inquisition) / « Adoramus te » orgue
21. « Les Voix ». Jordi Savall d’après G. Dufay

VIII. PROCÈS DE RELAPSE, CONDAMNATION ET EXÉCUTION
22. Lundi 28 mai, 1431. Dans la prison.
23. Prière « Adoramus te Domine » (Anonyme – CMM 4)
24. « Fanfare de l’Inquisition ». Jordi Savall
25. 30 mai 1431. Quand la Pucelle fut « arse » à Rouen
26. « Planctus Jehanne ». Jordi Savall d’après mss. XVe siècle
27. « Sonnerie Royale pour la fin de la Guerre ». Jordi Savall

CONCLUSION
Fin de La Guerre de Cent Ans et Annulation du Proces
28. Motet-Chanson : « Rejois toy terre de France/Vivat Rex in eternam »
(Anon. Paris, XVe s.)
29. « Le départ ». Jordi Savall harpe
30. « Hymne Patres nostri peccaverunt ». Johannes Cornago, CMM2
31. 7 Juillet 1456. Sentence de Réhabilitation
32. « Les Voix : Veni Sancte Spiritus »
33. « Ballade de la Pucelle ». J. Savall d’après L’homme armé
34. Plus que la sainte, l’inspirée, je crois que Jeanne…
35. « Le départ ». Jordi Savall

R E V I E W: 3624880.zz3_JOAN_OF_ARC_Battles.html

JOAN OF ARC: Battles and Prisons Jordi Savall, dir; La Capella Reial de Catalunya; Hespèrion XXI ALIA VOX AVSA 9891 A+B (2 SACDs: 134:33 Text and Translation)


The eighth and latest hardbound book from Alia Vox comes less than a year after its predecessor. It had its origin in 1994 with a nearly six-hour film (two films, actually) directed by Jacques Rivette, for which Savall furnished the soundtrack. Additional CD tracks were recorded a year ago, but it is unclear how much is new. No matter, for the life of the Maid of Orléans unfolds beginning with her birth in 1412 (this is an anniversary issue) and the political events of 1420–22 that left the Dauphin as “king of Bourges.” About 1425, Joan heard voices, but only after her village was pillaged by the Burgundians did she set out in January 1429 to meet the Dauphin. By April she had led the army to lift the siege of Orléans, then on to take Reims for the coronation in July. But the siege of Paris fails, the next year is marked by mixed results, and Joan is captured in May 1430 and turned over to the English in November. Her trial for heresy is held before the bishop of Beauvais and on May 30, 1431, she is burned at the stake in the marketplace at Rouen. So the story, the two films, and the two CDs break down into a year of battles and a year of prisons, ending in 1456, three years after the end of the war, with a new trial annulling the condemnation. The 19th century saw a new focus on her life and trial, with the Church beatifying her in 1894 and canonizing her in 1920. That year the president of the Third Republic visited her birthplace after the National Assembly established a national holiday in her honor, a visit that the outgoing president of France repeated this year on the 600th anniversary of her birth.


Savall tells the story chiefly through readings from the published process and music to punctuate the events. Some music is chant, some is contemporary (Dufay), and some is composed by Savall. The spoken roles are filled by Louise Moaty (as Joan), René Zosso, and Manuel Weber. Zosso will be remembered for his superb interpretations as a speaker in René Clemencic’s recording of Le Roman de Fauvel (Fanfare 4:2; CD in 9:3) and a singer in The Feast of Fools (4:4; CD in 11:1).


The book has 504 pages in six languages, so the text runs 80 pages, but as usual the color illustrations are distributed throughout the book, so the total unique material is considerably higher than 80 pages. The artwork, both medieval illuminations and session photos, is gorgeous. In addition to detailed contents including the translated narration, there are eight separate essays on every aspect of the story, including a rundown of more than 20 films devoted to Joan. This anniversary tribute could hardly have been done better. Savall has set a standard for this series of books, each one a heartfelt evocation of a subject dear to him. You will flatter the taste of anyone who gets this from you as a gift.


FANFARE: J. F. Weber
Read less

Works on This Recording

1. Ballade de la Pucelle, for vocal ensemble (or instruments) by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Period: Modern 
Length: 0 Minutes 59 Secs. 
2. Jeanne d'Arc: Batailles et Prisons (Joan of Arc: Battles and Prisons), musical narrative by Spoken Word
Length: 2 Minutes 1 Secs. 
3. Ce jour de l'an, rondeau for 3 lutes (after Guillaume Dufay) by Jordi Savall
Performer:  Armin Janda (Lute), Rolf Lislevand (Lute), Francis Biggi (Lute)
Length: 1 Minutes 19 Secs. 
4. Fanfare "dit le Burguygnon", for ensemble (after an anonymous melody) by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 2 Minutes 5 Secs. 
5. Fortune, par ta cruaulte, rondeau (after Johannes Vincenet) by Jordi Savall
Performer:  Luca Guglielmi (Organ)
Length: 1 Minutes 38 Secs. 
6. Le départ, for flute & 2 lutes by Jordi Savall
Performer:  Armin Janda (Lute), Francis Biggi (Lute), Pedro Memelsdorff (Flute)
Period: Modern 
Length: 1 Minutes 44 Secs. 
7. La Pucelle, for flute, 2 lutes & viola da gamba (after the anonymous melody "L'Homme armé") by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 54 Secs. 
8. Les voix, for 3 voices (after Guillaume Dufay) by Jordi Savall
Performer:  Maria Cristina [Soprano Vocal] Kiehr (), Montserrat Figueras (), Kai Wessel ()
Length: 0 Minutes 40 Secs. 
9. Vive le Roi by Josquin Des Préz
Orchestra/Ensemble:  Hespèrion XXI
Period: Renaissance 
Length: 1 Minutes 15 Secs. 
10. La trémouille, rondeau for flute, viol & 3 lutes by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 2 Minutes 9 Secs. 
11. L'Homme armé, for ensemble (after the Sanctus from the Mass by Guillaume Dufay) by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 59 Secs. 
12. Fanfare du Sacre, for ensemble by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 0 Minutes 56 Secs. 
13. D'Orléans à Reims, for ensemble by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 57 Secs. 
14. Marche royale pour le Sacre, for wind instruments & drums by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 0 Minutes 39 Secs. 
15. Te Deum, for chorus by Jordi Savall
Length: 2 Minutes 33 Secs. 
16. Marche royale pour l'Onction, for organ by Jordi Savall
Performer:  Michael Behringer (Organ)
Length: 0 Minutes 40 Secs. 
17. Messe de l'Homme armé: Sanctus by Guillaume Dufay
Orchestra/Ensemble:  Hespèrion XXI
Period: Renaissance 
Written: circa 1460; France 
Length: 2 Minutes 1 Secs. 
18. Messe de l'Homme armé: Osanna by Guillaume Dufay
Orchestra/Ensemble:  Hespèrion XXI
Period: Renaissance 
Written: circa 1460; France 
Length: 0 Minutes 47 Secs. 
19. Messe de l'Homme armé: Osanna II by Guillaume Dufay
Orchestra/Ensemble:  Hespèrion XXI
Period: Renaissance 
Written: circa 1460; France 
Length: 1 Minutes 10 Secs. 
20. Sonnerie royale pour la fin du Sacre, for wind instruments & drums by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 26 Secs. 
21. Bataille entre Français et Anglais, for wind instruments & drums by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 2 Minutes 12 Secs. 
22. Fortuna disperata by Josquin Des Préz
Orchestra/Ensemble:  Hespèrion XXI
Period: Renaissance 
Written: France 
Length: 1 Minutes 42 Secs. 
23. Chiave, chiave, instrumental toccata, CM 131 by Canciero de Mo Anonymous
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 26 Secs. 
24. Dit le Bourgignon by Anonymous
Performer:  Andrew Lawrence-King (Harp)
Period: Renaissance 
Length: 2 Minutes 6 Secs. 
25. Les solitudes (prière II), for organ (after the anonymous "Adoramus te") by Jordi Savall
Performer:  Michael Behringer (Organ)
Length: 0 Minutes 55 Secs. 
26. Planctus Jehanne, for 4 voices or instruments (after an anonymous melody) by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 21 Secs. 
27. Adoramus te Domine, for 4 voices, CM 4 by Canciero de Mo Anonymous
Orchestra/Ensemble:  Hespèrion XXI
Length: 7 Minutes 52 Secs. 
28. Sonnerie royale pour la fin de la Guerre, for wind instruments & drums by Jordi Savall
Orchestra/Ensemble:  Hespèrion XXI
Length: 1 Minutes 18 Secs. 
29. Rejois toy terre de France / Vivat Rex in eternam by Anonymous
Orchestra/Ensemble:  Hespèrion XXI
Written: 14th Century; France 
Length: 2 Minutes 46 Secs. 
30. Patres nostri peccaverunt, for 4 voices by Johannes Cornago
Orchestra/Ensemble:  Hespèrion XXI
Period: Renaissance 
Length: 2 Minutes 15 Secs. 
31. Veni Sancte Spiritus by Guillaume Dufay
Performer:  Montserrat Figueras (), Maria Cristina [Soprano Vocal] Kiehr (), Kai Wessel ()
Period: Renaissance 
Written: 15th Century; France 
Length: 5 Minutes 11 Secs. 

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