Un Jardin Au Moyen-Age
 Notre Dame and related conductus - Opera omnia. Vol. IX, G. Anderson
 Riesenberg codex, Wiesbaden, Landesbibliotek
, , [10b] Ms Montpellier, Bibliotheque de l'Ecole de Medecine H 196
 Paris, B.N.F., Latin 776, Graduel de Gaillac
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[10a] Hs. Rom. Vaticana, Fond. Christ 1490
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 Polyphonic Music of the XIVth c., Vol. I, G.K. Greene
 Robertsbridge codex, London, Brit. Mus., add. 28550
- G. Dufay - Opera omnia, H. Besseler
 Ms Florence, Bib. Mediceo-Laurenziana, Pluteo 29.1
 Polyphonic Music of the XIVth c., Vol. IV, E.H. Sanders
Brigitte Lesne (voice, harps, bells, percussion) Helene Decarpignies (voice), Emmanuelle Gal (voice), Anne Guidet (voice), Lucie Jolivet (voice), Brigitte Le Baron (voice), Catherine Schroeder (voice), Catherine Sergent (voice), Pierre Hamon (recorders, flutes, double flutes, bagpipe, percussion, pipe & tabor), Cyrille Gerstenhaber (voice), Birgit Goris (vielle), Lucas Guimaraes-Peres (vielle), Pierre Boragno (recorder, double flute), Michael Grebil (lute), Angelique Mauillon (harp)
Recording place and date:
Eglise Evangelique Lutherienne Saint Marcel, Paris [03-04/2002]
========= from the cover ==========
On Earth As In Heaven a medieval garden
The nuptials of Heaven and Earth were celebrated in the Middle Ages as in no other period in Western history. Whether we consider the splendors of a gothic vault, Fra Angelico, the Summa Theologica or the Divine Comedy, the overwhelming effect is of matrimonial bliss. But at times one may detect a touch of ambiguity: the knight setting out on a Crusade - does he not confuse his Heavenly and Earthly kingdoms? Can one attempt to conquer what is not of this world? Can the chaff truly be separately from the wheat? And the troubadour, whose song is so pure, who is the lady he truly celebrates - the One on High or the one 'afar' ?
The parable of the 'good seed' takes on all its metaphorical power when considered in the context of marriage's preferred venue: the garden. Research on the medieval garden has demonstrated a certain evolution over the centuries from the sacred garden to the pleasure garden, passing through the garden of love.
And this evolution is all the richer for the subtle and permeable quality of its boundaries. The Eden of the lost Paradise of Genesis and the walled garden as the figure of the Soul in the Song of Songs soon give way to a garden of love, the allegorical garden of the Roman de la Rose, high seat of courtly love, but not without a certain mingling of sacred and profane. The garden of love soon takes over: as flower gardens of the Prince are organized through principles of botanical science, so is the kingdom by political science. But the garden of love or the pleasure garden, are they not attempts, inspired or desperate, to regain Paradise lost? It is just as the profane finally triumphs in the 13 th century that the powerful mystical cult of the Virgin worships Her as the Garden of gardens, the enclosed garden of the Incarnation, true seat of the true Celestial Wedding between Heaven and Earth
Such a symbolic force could only inspire a profusion of vocal and instrumental works. Medieval music celebrates the garden with a diversity of tone, form and genre which the present recording testifies. From ars antiqua to ars nova, from the school of Notre Dame to Guillaume de Machaut or Guillaume Dufay, here is a florilege (happy term) of pieces: motets, rondos, chansons, virelays, estampies and ballades harmoniously chosen as a gardener would blend scents and colors. And of course, two themes: Heaven and Earth, the sacred and the profane... with the same vaguely defined contours.
And Heaven may be so near, since Mary is its Gate, this "gracious rose, flower ever blooming" (conductus: Salve Rosa venustatis), this "flower who drives away the devil and who is the rarest beauty of all", (motet: Ave Varens).
Where are the boundaries? Sometimes nowhere: there is no lovelier flower than the Virgin Mary, yet the lady of the orchard does have her charms....
The wheat and the chaff- we know that nothing should be cast out; on Easter morning Mary Magdelene mistakes Christ for the gardener, but He is much more than that, and we are left with the wild hope that Heaven will have the last word. Heaven is where He awaits us. The last pieces on this program can only rise to exultation in praise and in love: Christ sit laus in celestibus and Alleluya moduletur.