Diabolus in Musica
Diabolus in Musica
Forum Musicum
Music in the Times of Louis the Saint
8:00 PM
Town Hall, Principal Room

Salva nos, stella maris – conduit à 1, ms Firenze Plut29.1
Gontier de Soignies Quant oi tentir – chanson, ms Paris BN fr 846
Huon de St Quentin Jerusalem se plaint – chanson, ms Paris BN fr 846
Mainte chancon ai fait – chanson, ms Paris BN na fr 1050
On doit la mère Dieu honorer – chanson, ms Paris BN na fr 1050
Lʼautrier matin – chanson attribuée à Saint Louis, ms Paris BN fr 12483
Gaude felix Francia – conduit à 2, ms Paris BN fr 1583
Thibaud de Champagne Chancon ferai – chanson, ms Paris BN fr 846, Aussi cum l’unicorne sui chanson, ms Paris BN fr 846
Pater noster – conduit à 3, ms Firenze Plut29.1
Rogeret de Cambrai Nouvelle amour – chanson, ms Paris BN fr 846
Gillebert de Berneville Je nʼeusse ja chante – chanson, ms Paris BN fr 846
Nicholai presulis – conduit à 3, ms Firenze Plut29.1
Gaudens in Domino – conduit à 3, ms Firenze Plut29.1


Diabolus in Musica (Paris):
Antoine Guerber – artistic direction
Raphaël Boulay – tenor
Emmanuel Vistorky – bass-baritone
Philippe Roche – bass
Nicolas Sansarlat – medieval fiddles

Town Hall, Principal Room
Rynek 1, 50-996 Wrocław
from 35 to 45 zł

The 13th century was the era of Saint Louis, the triumphant Gothic art that was so well represented by the beautiful smile of an angel from Reims Cathedral. At a time when France was full of churches and monasteries, the king strengthened his power at the expense of great feudal lords, and the Church tried to take over the secular bourgeois society, secular music and polyphony were born.

Following the troubadours, the first poet musicians who dared to free themselves from Latin and create love songs in their vernacular language, langue d'oc, trouveres "invented" and composed songs with texts in their native langue d'oïl – a young and energetic language, taking shape in the northern part of France. They left behind a huge, incredibly rich and fresh repertoire, which consists mainly of songs in honour of the Lady. In the same way, the creative spirit and audacity of the singers of the Notre Dame Cathedral, who were the first to create music for three or four parts, reached their contemporaries – admirers of craftsmanship and innovation, who were no different from us in this respect. Far from being clumsy and sketchy, this music allows us to see great artists in them, able to arouse the emotions of listeners and transfer them in time


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