In 1993, I founded the ensemble Fala Música, which performs music from the (late) medieval period, with a special interest in the music that originated from, or was appreciated in the Low Countries. Over the years, we have played numerous concerts and made many recordings, of which I would like to share some examples:
Anonymous (Low countries, late 14th century)
From the very beginning, Fala Música fostered a special interest in instrumental music, and experimented with various ways of instrumental participation in the repertory of the late medieval period. Here is an (ornamented) instrumental rendition of the (iso-rhythmic) motet Degentis vita / cum vix artidici / Vera pudicitia (live recording).
Philippe Royllaert
This (iso-rhythmic) Motet Rex Karole/ Leticie/ Virgo prius was composed for a peace conference that took place in Bruges in 1375 (live recording). This is clearly reflected in the five-fold repetition of a dynamic rhythmic scheme, which starts after the short introduction. The rhythm increases in complexity and culminates in a lively hocket at the end of the cycle, before the musical turmoil resolves in a peaceful long triad.
Baude Cordier
A beautiful example of the highly sophisticated Burgundian Ars Subtilior is the Rondeau Amans, amez secretement by Baude Fresnel (alias Cordier). In this live recording, the (ornamented) recorder-harp duo dialogues with the accompanied vocal rendition of the text.
The famous heart-shaped Rondeau Belle, bonne, sage by Baude Cordier was inspiration for an exuberant instrumental version of this New Year song, which features several types of canon- and drone-improvisations, as well as a virtuoso solo for the slide-trumpet (live recording).
Gruuthuuse Manuscript
A project with Fala Música that is exceptionally dear to my heart, was the research and performance of the songs of the famous Gruuthuse Manuscript (Bruges, early 15th century), realized in close cooperation with musicologist Ike de Loos and philologist Herman Brinkman. Among many other things, this project resulted in a new edition of the manuscript, a gift book (including CD) and a web exposition. The Royal Dutch Library has released a short introductory video about the Gruuthuse Manuscript, which also mentions our input in the research process.
One of the most touching poems in the entire Gruuthuse collection is the exquisite Rondeel Aloette, voghel clein. We improvised a simple counterpoint to accompany this tender melody (live recording).
Our new transcription of the most famous song in this manuscript by far, the Rondeel Egidius, waer bestu bleven? you can find here. A lesser known Rondeel, with a rather Burgundian flavor to its musical setting, is So wie bi nachte gherne vliecht. The poetry employs the metaphor of an owl flying through the night, which is nicely illustrated by the opening melisma of this song.
A third recording, originally made for the above mentioned web exposition of the manuscript, features the impressive ballade O, soete natuere, wijflich moet. The middle Dutch language is quite heavily German colored in this poem. This inspired us to perform the song in a way that is reminiscent of the German Minnesänger, with an entirely improvised accompaniment played on the fiddle.
Guillaume de Machaut
was one of, if not the, most famous poet-composers of the late medieval period in France, and the programs of Fala Música often featured his music. Right from the get go, Machaut's mesmerizing canonic ballade Sans cuer m'en vois transports us into his magical world (live recording).
We sometimes like to play Machaut's extremely condensed three-voice Rondeau Puis qu'en oubli, of only seven measures in length, as an encore (live recording).
At times, Fala Música also performs music originating from other regions and slightly later periods. The colorful music of the circle of musicians around the blind Bavarian instrumentalist Conrad Paumann (late 15th century) is a perfect example. An adventurous version of the song Elend, Du hast umbfangen mich was intavolated in the so-called Buxheim Organ book. In this live recording, Martin Erhardt accompanies me on Paumann's instrument of choice, the organetto.