Guillaume de Machaut (c1300-1377): La Messe de Nostre-Dame

La Messe de Nostre-Dame avec les Propres grégoriens pour la fête de l’Assomption
00:00 Introit: Gaudeamus omnes in Domino
03:49 Kyrie
09:30 Gloria
14:26 Graduale: Propter veritatem - Alleluia
20:03 Credo
26:19 Offertorium: Assumpta est Maria
28:22 Sanctus-Benedictus
32:11 Agnus Dei
35:00 Communio: Optimam partem elegit sibi Maria
35:48 Ite Missa est

The London Ambrosian Singers & Les Ménestrels de Vienne - John McCarthy, conductor

Enregistré en la Cathédrale de Reims

ARS NOVA IN FRANCE

With the dawning of the 14th century а new order began in France : the feudal system was on the decline and the bourgeoisie, grown rich through the flourishing trade of the previous century, increased in strength and acquired political rights. The church, undermined by grievous strife (Тhе Templars’ affair ; the exile of the Papacy іп Avignon), became exposed to the criticism of this new bourgeois elite which was little inclined to pious feeling; all this contributed to turn the arts towards profane sources of inspiration. This new spirit was embodied in the curious Roman de Fauvel - a bitter satire against the Church, written between 1310 and 1314 by a notary of the royal Сhапсегу, Gervais du Bus. Most clerically minded, hence quite hostile to his master's politics, albeit independent enough to denounce bitterly the ill practices of the Church, he used in this work a then fairly common symbol: a tawny she-ass expressing wickedness and treason. At the end of the 13th century, this animal under the name of Fauvel is to be found in numerous paintings commented in that novel and representing the various classes of society either astride on, or combing it. The very word is made up of the first letters of the following vices: Flattery, Avarice, Vanity (u then was written v), Villainy, Envy, and Cowardice (Lácheté in French).

In the field of music, nobody was more acutely aware of the dawn of the new age than the theorist Philippe de Vitry. He proudly entitled one of his treatises, written in Paris around 1320, Ars nova: this term serves now to designate all the music of that period as opposed to that of the previous century which goes under the name of Ars antiqua. Almost at the same time, another theorist, Johannes de Muris (also from Paris), used a similar title for one of his works: Ars novae musicae. Further proof of the undeniable innovation in the art of music can be found elsewhere, if only in the severe criticism of a conservative theorist like Jacques de Liége, who reproached the «modern» musicians (moderni) with excessive innovation in rhythm and notation. Pope John ХХІІ, in his well-known Bill promulgated in 1324-1325, also condemned the abuses of those he called «the disciples of the new school», Scholae novae discipuli.

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