The Scho - French Chansons

French Chansons[1] Faute d'argent - Josquin Desprez (c. 1440-1521)[2] Mille regretz - Josquin Desprez (c. 1440-1521)[3] Le chant des oiseaux - Clement Jannequin (c. 1485-1558)[4] Je ne le croy - Pierre Sandrin (fi. 1538-61 )[5] Or vien ?�a - Clement Jannequin (c. 1485-1558)[6] Aime qui vouldra - Nicolas Gombert (c. 1500-56)[7] Quand je suis aupres - Nicolas Gombert (c. 1500-56)[8] Tant que vivrai - Claudin de Sermisy (c. 1490-1562)[9] Venez, regrets - Claudin de Sermisy (c. 1490-1562)[10] La, la, maistre Pierre - Claudin de Sermisy (c. 1490-1562)[11] En ce mois delicieux - Jacques Arcadelt (c. 1505-68)[12] Margot, labourez les vignes - Jacques Arcadelt (c. 1505-68)[13] Du temps que j'estois amoureux - Jacques Arcadelt (c. 1505-68)[14] Sa grand beaute - Jacques Arcadelt (c. 1505-68)[15] Belle qui tiens ma vie - Jehan Tabourot (1520-95)[16] Vray Dieu - Vassal[17] Pri?�re devant le repas - Jacob Clemens (c. 1515-c. 1556)[18] Action des Graces - Jacob Clemens (c. 1515-c. 1556)[19] Il est bel et bon - Pierre Passereau (fl. 1509-47)[20] Ce n'est que fiel - Claude Le Jeune (c. 1530-1600)[21] Bonjour mon coeur - Orlande de Lassus (1532-94)[22] Si je suis brun - Orlande de Lassus (1532-94)[23] Beau le cristal - Orlande de Lassus (1532-94)[24] La nuit froide - Orlande de Lassus (1532-94)[25] Un jeune moine - Orlande de Lassus (1532-94)[26] De nuit, le bien - Antoine de Bertrand (fi. 1561-82)[27] Arr?�te un peu mon coeur - Guillaume Costely (c. 1530-1606)This recording comprises a representative selection from the thousands ofFrench polyphonic songs or Chansons which were composed during the 16thcentury. This type of music, which had much in common with the Italian Madrigal- its composers included - became popular not just in France but all overEurope. The intention here is to celebrate the sheer variety within the genre,ranging from bawdy [25] to bucolic [10], from dance [15], [19] to devotion [17],[18], and from the philosophical [23], [24] to the pleasure [16], [26] and pain[11], [27] of requited or unrequited love.Chansons had already been composed in the 15th century by earlierFranco-Flemish composers such as Machaut, Dufay, Busnois and Ockeghem, to nameperhaps the four most famous, but the court I y manner of their music and itsverse remained mediaeval in feeling. With the advent of the Age of Humanismhowever, a musical transformation was brought about through the influence of theleading composer of the time, Josquin Desprez, and his innovative compositionaltechniques of voice-leading and imitation. His Faute d'argent [1] is arobust canon between alto and baritone, probably based on a scurrilous popularsong (see also [10] and [12]). Quite different is Mille regretz [2], atantalizingly short but haunting love song, later expanded by Gombert into a6-voice version, on which Morales in turn composed a Parody Mass. Suchborrowing and reworking was a common feature of composition at the time, andmany famous Chansons provided material for masses and dance mus