Castle Classics de la Halle, Adam (French C.1240-C.1286)

A de la Halle: d'amoureus cuer voel chanter - Les Jardins de Courtoisie; Anne Delafosse

Label - Zig-Zag Territoires

Cat. No. - ZZT070401

Price: £12.98 (Including VAT at 17.5%)

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A de la Halle: Le Jeu de Robin et Marion - Tonus Peregrinus

Label - Naxos

Cat. No. - 8557337

Born in Northern France, Adam de la Halle "the Hunchback" - also known as Adam d'Arras and Adam le Bossu - is justly the most famous composer of the late 13th century. He was both a composer and poet. His play Le Jeu de Robin et de Marion is perhaps the earliest surviving combination of music and secular drama: the first known opera coming a century after Hildegard of Bingen's sacred music-drama Ordo virtutum.

Le Jeu de Robin et de Marion is a pastoral romp brimming with delightful songs that so easily stand the test of over seven centuries. In this authentic yet innovative performance, the narrator (stage-right) tells the story in the original French dialect with his many voices - from coarse to courtly - while the singers move between a contemporary English interpretation (stage-left) and the timeless mediaeval lyrics and melodies of the super-troubadour himself.
Price: £5.99 (Including VAT at 17.5%)

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A de la Halle: Le Chant de Robin & Marion - Ensemble Anonymus

Label - Analekta

Cat. No. - AN29816

Including Mout me fut grief; Robin m'aime; Portare, Mo 265; Jeu de Robin et Marion: Robins m'aime; Je me repairoie France; He! Robins se tu m'aimes; Li maus amourous me tient; Dieus, par quoi; Portare, Mo 96; Jeu de Robin et Marion: Vous perdez vos paine Sire Aubert France; Ne sai, que je die; Johanne, Mo 274; Bergeronnète sui; Trairi deluriau; He! Robechon; Au douz tans; Biau dous amis; Manere, Mo 119; Vous l'orés bien dire France; Saltarello, Lo 29987, fol. 62r; Bergeronnete; Robin, par l'ame ten père!; Hé, Marotele, alons au bois; En la praerie; Aptatur, Mo 75; Li maus d'amer; L'autre jour; Au tens pascour; In seculum, Ms. Bamberg; Par un matinet; Lés un bosket; Portare, Mo 259; Jeu de Robin et Marion: J'oi Robin flajoler; En mai quant rosier; L'autre jour; He, resveille toi, Robin, Mo 269; Encontre le tans de Pascour; Quant fuellent; In odorem, Mo 95; Quant florist la violete; El mois de mai; et gaudebit, Mo 135; En non Diu; Quant voi la rose espanie; Eius oriente, Mo 104; Jeu de Robin et Marion: Avœc telle compaignie; Quiconque rira; Parodie, Quant voi la fleur; et tenuerunt, Mo 241; Je voi douleur avenir; Fauvel nous a fait present; Autant m'est si poise; Emi, emi, Marotele, n'ociés; Emi, emi, Marotele sage; Portare, Mo 159; Quant froidure trait a fin; Domino quoniam, Mo 221; Ronde: Le Sentelle; J'ai encore un tel pasté; Audigier dist Raimberge; Quant voi le douz tans venir; En mai quant rose; Immolatus, Mo 121; Venes apres moi; Nota: Domino quoniam; Robin m'aime; Portare, Mo 265; L'autre jour par un matinet; Hier matinet; Ite missa est, Mo 261

Adam de la Halle, one of the last French trouveres, was introduced to polyphony at the Notre-Dame school in Paris and is gifted with outstanding creative talent. He is credited with some sixty musical compositions, including songs, rondeaux, motets and jeux-partis (in which two singers debate a given topic), as well as two theatrical works, one of which is the Jeu de Robin et Marion. In many of his works, rather than abandoning tradition, he gave it new life by combining elements of lyric poetry (in which the text determines musical form) with the erudite techniques of church music, whose adaptation to the secular vocal arts he helped pioneer
Price: £13.99 (Including VAT at 17.5%)

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A de la Halle: The play of Robin & Marion - Ensemble Micrologus

Label - Zig-Zag Territories

Cat. No. - ZZT040602

First performed at the court of Charles of Anjou in Naples in 1285, the 'play' tells of the eternal lovers' triangle between the shepherd Robin, the shepherdess Marion and the Knight who wants to 'hunt' the shepherdess - who resists his advances...

The manuscript, held by the Bibliothèque Nationale de France, has been skilfully interwoven with polyphonic rondeaux, motets and monophonic chansons by Adam de la Halle. He was a 'learned' trouvère who drew on the tradition of wandering minstrels and his contribution to the transition from Ars Antiqua to Ars Nova is considerable. The text is in the Picard dialect of Old

French dating from the eleventh century
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