Pevernage – Je suis tellement amoureux

Standard

 

Title

Je suis tellement amoureux

Composer

André (Andries) Pevernage  (c. 1542-1591)

Source

Livre seconde des chansons d’André Pevernage, Maistre de la Chapelle de l’Eglise Cathédrale d’Anvers, Christophe Plantin, 1590

(text on Lieder.net site here)
(blog entry here)
(listen to the score here)
(recorded extract here, source: Ronsard et les Néerlandais, Egidius Kwartet)

 

Another new composer to this site – and, like Utendal, of Flemish origin. Unlike Utendal, he didn’t travel across Europe but stayed in Antwerp (at the cathedral) throughout the religious troubles that affected western Europe during this period of Reformation and Counter-Reformation. This song is, in some ways, a perfect reflection of it:  the opening is beautifully managed in the full-on polyphonic (‘Catholic’) style – you can readily detect ‘section 1’ taking the fist line for 18 bars, the ‘section 2’ developing new thematic material for the next line over the next  14 bars; and then the style becomes increasingly homophonic (‘French’ or ‘protestant’) in the remainder of the song! But that is in truth more a reflection of the approach current in the late sixteenth-century, than on this particular piece.

And what a remarkably beautiful opening it is; Pevernage was very prolific, it’s a pity he did so few Ronsard songs!  And, despite the endless repetitions of phrase-fragments in the homophonic sections, Pevernage keeps playing variations to keep his music interesting. It’s a very short setting; in his next book Pevernage took a more extended approach to another Ronsard poem, as we will see another time.

Incidentally, this is the first time we’ve had anything printed by the famous house of Plantin in Antwerp; and also the first music printed ‘portrait’ rather than ‘landscape’. Here’s the title page:

Pevernage_2and here’s a page of music. Note the very elegant C-clef signs:Pev_JSTA_t

The musical extract is another of the beautiful recordings by the Egidius Kwartet:  I’ve selected the polyphonic ‘section 2’ and the transition into the homophonic material.

 

Pev_JSTA_0001
Pev_JSTA_0002
Pev_JSTA_0003
Pev_JSTA_0004
Pev_JSTA_0005
Pev_JSTA_0006
Pev_JSTA_0007

 

 

 

 

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About fattoxxon

Who am I? Lover of all sorts of music - classical, medieval, world (anything from Africa), world-classical (Uzbek & Iraqi magam for instance), and virtually anything that won't be on the music charts... Lover of Ronsard's poetry (obviously) and of sonnets in general. Reader of English, French, Latin & other literature. And who is Fattoxxon? An allusion to an Uzbek singer - pronounce it Patahan, with a very plosive 'P' and a throaty 'h', as in 'khan')

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