159 Sentences With "trouvère" | Random Sentence Generator

Two of this year's productions, "Le Trouvère" and the original version of "Macbeth," are rarely performed incarnations of well-known works.

Alas, Robert Wilson's production in the same venue of "Le Trouvère," an 1857 adaptation of "Il Trovatore" for the Paris Opera, was a disappointment.

Gontier de Soignies was a medieval trouvère and composer who was active from around 1180 to 1220.

Rutebeuf (or Rustebuef) (fl. 1245 – 1285) was a French trouvère (poet- composers who worked in France's northern dialects).

Trouvère (, ), sometimes spelled trouveur (, ), is the Northern French (langue d'oïl) form of the langue d'oc (Occitan) word trobador. It refers to poet- composers who were roughly contemporary with and influenced by the troubadours (composers and performers of Old Occitan lyric poetry during the High Middle Ages) but who composed their works in the northern dialects of France. The first known trouvère was Chrétien de Troyes ( 1160s–1180s) and the trouvères continued to flourish until about 1300. Some 2130 trouvère poems have survived; of these, at least two-thirds have melodies.

Guillaume le Vinier (c. 1190–1245) was a cleric and trouvère, one of the most prolific composers in the genre.Theodore Karp, "Le Vinier, Guillaume", Grove Music Online, Oxford Music Online (accessed 20 September 2008). He has left compositions in all the major subgenres of trouvère poetry: chansons d'amour, jeux-partis, a lai, a descort, a chanson de mal mariée and a ballade.

Gilles le Vinier (died 1252) was a trouvère from a middle-class family of Arras. He was the younger brother of fellow trouvère Guillaume le Vinier. He entered the church and served as a canon at Arras, where he was the church's legal representative between 1225 and 1234, and at Lille. At Arras he created several benefices between 1236 and 1246.

228 (Julien de Médicis). He also sang the Count in the Paris Opera premiere of Verdi's Le trouvère (12 January 1857).Lajarte 1878, p. 222.

Robert de Castel (d'Arras) (fl. 1272) was a trouvère active in and around Arras in the late thirteenth century. He is mentioned in the Congés of Baude Fastoul, written in 1272, which place him Arras at that date. He is the addressee of the poem Robert du Chastel, biaus sire, a jeu parti by another trouvère of Arras, Jehan Bretel (died 1272), which was judged by another Artesian, Gaidifer d'Avion.

Philippe de Nanteuil was a French knight and trouvère. He inherited the seigneurie of Nanteuil-le-Haudouin from his father, also Philippe de Nanteuil. He was a vassal of Thibaut de Champagne, who was king of Navarre and also a trouvère, and became his friend. In 1239 Gautier de Brienne, the count of Jaffa, was taken prisoner by the Ayyubids during the Barons' Crusade, together with many French crusaders.

He attended the coronation of Louis IX in 1226, along with the trouvère Hue de la Ferté. Theobald I of Navarre, also a trouvère, dedicated the song De ma dame souvenir to Thibaut and also used Thibaut's Amours, que porra devenir as a model for a religious poem of his own. Gautier d'Espinal also borrowed the melody of Amours for one piece. Thibaut himself borrowed from rhythms from the polyphonic repertoire of the day.

Jocelin de Dijon (fl. 1200-25) was an Old French trouvère, presumably from Dijon. Two songs survive attributed to his full name and two further songs survive (without music) credited to an otherwise unidentifiable "Jocelin" in the Berne Chansonnier (CH-BEsu 389 = Trouvère chansonnier C) which may be the work of Jocelin de Dijon.For a modern edition of his poems, see E. Nissen (ed.), Les chansons attribuées à Guiot de Dijon et Jocelin (Paris, 1928).

Jehan Bretel (c.1210-1272) was a trouvère. Of his known oeuvre of probably 97 songs, 96 have survived. Judging by his contacts with other trouvères he was famous and popular.

Pierrekin de la Coupele (fl. 1240–60) was a north French trouvère from the Pas-de-Calais, probably the localities nowadays called Coupelle-Vieille and Coupelle-Neuve. He is regarded as a poor poet. His literary connexions and the period of his activity can be established by his song Je chant en aventure, which was directed at an unnamed Count of Soissons, probably Jehan de Nesle, whose brother and predecessor as count, Raoul, was a trouvère.

Hue de la Ferté (fl. 1220-35) was a French trouvère who wrote three serventois attacking the regency of Blanche of Castile during the minority of Louis IX. He maligns Blanche's partiality to foreigners and singles out Theobald I of Navarre, another trouvère, as unworthy of her support. Hue was a supporter of Pierre de Dreux, Duke of Brittany. His poem En talent ai que je die is modelled after En chantant m'estuet complaindré (1228-30) by Gace Brulé.

Collection: La Pochothèque. Paris: Fayard, 1992. , 1256. Of the dozen extant versions of the chanson, all are anonymous except for one, Histoire des quatre fils Aymon, attributed to Huon de Villeneuve, a 13th-century trouvère.

Colart le Boutellier (fl. 1240–60) was a well-connected trouvère from Arras. There are no references to him independent of his own and others' songs, found in the chansonniers. One of these (F-Pn fr.

Gaidifer (Gadifer) d'Avion (fl. 1230-50) was an Artesian trouvère from Avion. He entered the Church and was associated with the poets of the so-called "School of Arras". Gaidifer was well-connected to contemporary poets.

Chardon de Croisilles or de Reims (fl. 1220-45) was an Old French trouvère and possibly an Occitan troubadour. He was probably from Croisilles,Either Croisilles, Pas-de-Calais or Croisilles, Eure-et-Loir. but perhaps Reims.

Further evidence linking the trouvère with Guillaume includes a quotation of two stanzas of the Vidame's most popular song, Quant la saison du dous tens s'asseure, in the chivalric romance Guillaume de Dole, which was written probably in the 1220s. Quant la saison was, by implication, written some years prior. The rather garbled and uncertain melodies which accompany the Vidame's poems further support an early (pre-1200) date for the trouvère. One piece of evidence relating to the identity of the Vidame has not yet been adequately explained.

Ernoul Caupain was a trouvère, probably active in the mid-thirteenth century. Two pastourelles, a chanson courtoise, and a religious poem have survived of his work, although one of the pastourelles has conflicting attributions in the two sources and probably is not his. His works are only transmitted in the trouvère chansonniers M and T.M at Gallica and T at Gallica. Gustav Gröber suggested that he was the same person as the Copin who judged a jeu parti between members of the literary circle flourishing in and around Arras.

Dame Maroie or Maroie de Dregnau de Lille (fl. 13th century) was a trouvère from Arras, in Artois, France. She debates Dame Margot in a jeu parti, or debate song, "Je vous pri, dame Maroie."Doss-Quinby 27.

As a trouvère (the Northern French langue d'oïl version of troubadour), Guiot probably wrote dozens of songs, though only six survive, all from around 1180."Troubadours, Trouvères and Minnesingers". Here Of A Sunday Morning. Retrieved April 25, 2006.

Raoul de Ferrières (fl. 1200-10), originally de Ferier, was a Norman nobleman and trouvère. He was born in Ferrières in what is today the département of Eure. A total of eleven chansons courtoises have been attributed to him.

Jean Marie Cayrecastel better known as Jehan (stylized as JeHaN) (born in Montluçon in 1957) is a French songwriter and singer. He is one of the last itinerant songwriter from the Midi with uninterrupted Trouvère (i.e. French- Speaking Troubadour) tradition.

Bestiaire d'amour, XIV sec. (Biblioteca Medicea Laurenziana) Richard de Fournival or Richart de Fornival (1201 – ?1260) was a medieval philosopher and trouvère perhaps best known for the Bestiaire d'amour ("The Bestiary of Love").Master Richard's Bestiary of Love and Response, trans.

Jacques de Cambrai (fl. c. 1260-80), sometimes Jaque or Jaikes, was a trouvère from Cambrai. He composed four chansons courtoises, one pastourelle, six devotional chansons, and one Marian rotrouenge. The Berne manuscript preserves all his works, nine of them uniquely.

Andrieu Contredit d'Arras (c. 1200 - 1248) was a trouvère from Arras and active in the Puy d'Arras. "Contredit" is probably a nickname. He wrote mostly grand chants, but also a pastourelle, a lai, and a jeu-parti with Guillaume li Vinier.

Raoul de Soissons (1210x15 - 1270, or shortly thereafter) was a French nobleman, Crusader, and trouvère. He was the second son of Raoul le Bon, Count of Soissons, and became the Sire de Coeuvres in 1232. Raoul participated in three Crusades.

The Oliphant ensemble for medieval music has a repertoire consisting of music from the 12th century to the polyphonic ars nova. Formed in 1995, it has brought to light and recorded a wealth of previously unknown trouvère music. Its colourful performances, drawing on improvisation, have won the admiration of audiences and critics alike, and its CDs Songs from the Crusades and Gace Brulé were nominated for the title of classical Record of the Year by the leading Finnish daily Helsingin Sanomat in 2000 and 2004, respectively. Joie Fine, released in 2006, is of chansons pieuses – pious trouvère songs of the 13th century.

12615 = Trouvère chansonnier T) is divided into five- and four-line groups (i.e., in opposite order). Karp claims it was used as a model for the anonymous song Vers Dieu mes fais desirrans sui forment (RS677), found in F-Pn fr.2193, f.

Jehan de Grieviler (fl. mid- to late 13th century) was an Artesian cleric and trouvère. Jehan was probably born at Grévillers near Arras. A certain "Grieviler" is mentioned in the necrology (registre) of the Confrérie des jongleurs et des bourgeois d'Arras under 1254.

Adenet le Roi (born in Brabant c. 1240, died c. 1300), was French minstrel or trouvère. He was a favourite of Henry III, duke of Brabant, and he remained at court for some time after the death of his patron in 1261.

Contredit may therefore be a surname, c.f. Vigneras (1934). Besides the register of the Puy are Andrieu's poems themselves, since he wrote twenty and named himself as author in fourteen. He addressed ' to a "Marote", probably fellow trouvère Maroie de Diergnau de Lille.

Gace Brulé (c. 1160 – after 1213), French trouvère, was a native of Champagne. His name is simply a description of his blazonry. He owned land in Groslière and had dealings with the Knights Templar, and received a gift from the future Louis VIII.

Minnesinger and Meistersinger could be considered parallels of French troubadours and trouvère. Among the Minnesinger, Hermann, a monk from Salzburg, deserves special note. He incorporated folk styles from the Alpine regions in his compositions. He made some primitive forays into polyphony as well.

She was identified as the Maroie de Dregnau de LillePetersen Dyggve 176. from whom a single strophe of a single chanson remains, "Mout m'abelist quant je voi revenir" (in a typical trouvère form, ABABCDE), along with its music.Manuscript F-Pn f.f. 844, f.181. Coldwell.

Adam de Givenchi (fl. 1230-1268) was a trouvère, probably from Givenchy and active in and around Arras. His surname is also spelled Givenci, Gevanche, or Gievenci. Adam appears in charters of May and July 1230 as a clerk of the Bishop of Arras.

Guiot de Dijon (fl. 1215-25) was a Burgundian trouvère. The seventeen chansons ascribed to him in the standard listing of Raynaud-Spanke are found in fifteen chansonniers, some without attribution or with conflicting attributions where they occur in multiple sources.See Elisabeth Nissen, ed.

Jehan Erart (or Erars) (c.1200/10-1258/9) was a trouvère from Arras, particularly noted for his favouring the pastourelle genre. He has left behind eleven pastourelles, ten grand chants, and one serventois. Erart's presence at Arras can be deduced from his own writings.

Richart de Semilli (floruit late 12th or early 13th century) was a trouvère, probably from Paris, which he mentions three times in his extant works. These number ten in one chansonnier (with a few also copied into related manuscripts), and one anonymous song, "", which has sometimes been attributed to him by modern scholars, but of which most of the first strophe and music are missing. Unusually for a trouvère, Richart used the same poetic structure and melody for his "" and "", and also for "" and "". Even within his pieces his melodies make heavy use of repetition, another departure from what was typical of the trouvères.

Dame Margot (fl. 13th century) was a trouvère from Arras, in Picardy, France. One extant work of hers is jeu parti, a debate song, in which she debates Dame Maroie. This song, "Je vous pri, dame Maroie," survives in two manuscripts,F-AS MS 657, f.

Philippe de Rémi (Old French: Phelipe de Remi) (1210–1265) was an Old French poet and trouvère from Picardy, and the bailli of the Gâtinais from 1237 to at least 1249. He was also the father of Philippe de Beaumanoir, the famous jurist, by his wife Marie.

Sainte des Prez was a trouvère probably from Le Prés in La Ferté-sous- JouarreEglal Doss-Quinby, Joan Tasker Grimbert, Wendy Pfeffer and Elizabeth Aubrey, Songs of the Women Trouvères (Yale University Press, 2001), p. 27. and active in the 13th century.Doss-Quinby et al. (2001), p. 74.

Pierre de Molins or Molaines (fl. 1190–1220) was an early trouvère. He knew either Gace Brulé or the Chastelain de Couci, two of the first-generation trouvères. He was probably a member of a landed family of Épernay, or possibly of a family resident in and around Noyon.

Theobald I (, ; 30 May 1201 – 8 July 1253), also called the Troubadour and the Posthumous, was Count of Champagne (as Theobald IV) from birth and King of Navarre from 1234. He initiated the Barons' Crusade, was famous as a trouvère, and was the first Frenchman to rule Navarre.

Upon his return, Erard paid homage to Theobald, Count of Champagne and made a donation to the convent of Argensolles, which had been founded by Blanche of Navarre. He was a patron of the trouvère Guiot de Dijon. He was buried in the Abbey of Clairvaux, 16 June 1236.

About 45 of his works survive. Bernart is unique among secular composers of the twelfth century in the amount of music which has survived: of his forty-five poems, eighteen have music intact, an unusual circumstance for a troubador composer (music of the trouvères has a higher survival rate, usually attributed to them surviving the Albigensian Crusade, which scattered the troubadours and destroyed many sources). His work probably dates between 1147 and 1180. Bernart is often credited with being the most important influence on the development of the trouvère tradition in northern France, since he was well known there, his melodies were widely circulated, and the early composers of trouvère music seem to have imitated him.

Gillebert (Guillebert) de Berneville (fl. c. 1250–70) was a French trouvère. According to Theodore Karp, in its time, "his poetry was much appreciated", but it is "[n]either original nor profound," rather he was and is admired more for "facility, grace and mastery of form".Karp, "Gillebert de Berneville".

Chauvency-le-Château Chauvency-le-Château is a commune in the Meuse department in Grand Est in north-eastern France. The took place in 1285. The story of the tournament has been told by trouvère Jacques Bretel, and is kept in a manuscript (reference: Douce 308) at the Bodleian Library.

It is known by various sigla, depending on which of its contents are the focus of study: it is troubadour manuscript W, trouvère manuscript M, and motet manuscript R. It was first published by French musicologist Pierre Aubry in 1907 ("Les plus anciens textes de musique instrumentale au Moyen Age").

The castle at Berzé-le-Châtel, where Hugues lived and ruled. Hugues IV de Berzé (or Bregi; 1150/1155 – 1220) was a knight and trouvère from the Mâconnais. He participated in the Fourth Crusade in 1201 and the Fifth Crusade in 1220. He was the lord of Berzé-le-Châtel.

Jaque de Dampierre, sometimes Jacques, was a thirteenth-century trouvère, possibly from Dampierre-en-Yvelines. He was of the later generation of troubadours. His two works, Cors de si gentil faiture and D'amours naist fruis vertueus, are found in a single manuscript. The both use bar form and the plagal mode.

845, 12615 and 24432; n.a.fr.1050; CH-BEsu 389; and I-Rvat Reg.1522. There are no discernible differences between such pieces and other trouvère works save that they were probably the recipients of prizes. The Occitan troubadour chansonnier called the Cançoner Gil contains eight songs which it says were coronada (crowned).

Neumes were used for notating other kinds of melody than plainchant, including troubadour and trouvère melodies, monophonic versus and conductus, and the individual lines of polyphonic songs. In some traditions, such as the Notre Dame school of polyphony, certain patterns of neumes were used to represent particular rhythmic patterns called rhythmic modes.

With the decreasing power and influence of Achaea, the Duchy of Athens became the most powerful state in Greece. William was also noted as a trouvère, and the Manuscrit du Roi, containing two of his own compositions, was written in Achaea during his reign. He was fluent in both French and Greek.

Thomas Herier, Erier, Erriers, or Erars (fl. 1240-1270) was a Picard trouvère associated with the "Arras school". Herier is not mentioned in contemporary documents and all that is known about him is derived from his works. He composed a jeu parti with Gillebert de Berneville and possibly another with Guillaume le Vinier.

Maistre Guibert Kaukesel or Hubert Chaucesel (fl. c. 1230–55) was a trouvère from Arras, where he is named as a canon in a document of the Cathédrale Notre-Dame in 1250. His title indicates he was probably a Master of Arts. He was a member of the literary circle active at Arras mid-century.

Japanese composer Jun Nagao arranged The Planets for the Trouvère Quartet in 2003, including added movements for Earth and Pluto, since the latter was considered a planet at the time. The suite was arranged for concert band and premiered in 2014. The work contains original themes, themes from The Planets, and other popular Holst melodies.

Conon de Béthune (before 1160 in the former region of Artois, today Pas-de- Calais - 17 December 1219, possibly at Adrianople) was a French crusader and "trouvère" poet who became a senior official and finally regent of the Latin Empire of Connstantinople. Alternative spellings of his name include Cono, Coesnes, Quenes, Conain, and Quenon.

The story of Theophilus formed the basis of a thirteenth-century miracle play by the trouvère Rutebeuf, Le Miracle de Théophile, one of the earliest pieces of French theatre extant. Over time, the tale acquired a number of variations. In some, Theophilus was motivated by jealousy. In another, the pact was sealed with a ring.

A translation of Cammarano's libretto was made by librettist Émilien Pacini under the title of Le trouvère and it was first performed at La Monnaie in Brussels on 20 May 1856.Pitou, p. 1333 There followed the production at the Paris Opera's Salle Le Peletier on 12 January 1857 after which Verdi returned to Italy.

Bestournés (also Bestornez, Bestorneis, le Bastorneis, Baistornez) is a name given to the thirteenth-century trouvère credited with writing five pieces (three love songs, one jeu-parti, and one pastourelle) preserved in later thirteenth and early fourteenth century song books.Spanke, Hans. G. Raynaud’s Bibliographie des altfranzösische Liedes, neu bearbeitet und ergänzt. Leiden: Brill, 1955, p.21.

This involved coordinating the productions of invited composers (Michael Jarrell,Congruences (1989) de Michael Jarrell, Elements d'analyse technique, by Nicolas Vérin, Francis Courtot, Michael Jarrell, IRCAM (Research institute : France) ed. IRCAM, 1990 (41 pages) Michaël Levinas,Levinas, Michaël and Castanet, Pierre-Albert (2002). "Le Compositeur Trouvère : écrits et entretiens (1982-2002)", pp. 94-97. L'Harmattan, Paris.

About forty different poets from the region around Arras participated in these jeux partis, either as judges or correspondents. Generally these poems are grouped with others by Bretel in the chansonniers, even if he did not initiate them, though those he initiated with the famous trouvère Adam de la Halle are usually grouped with Adam's works.

Gobin de Reims (Reins) was a thirteenth-century trouvère, probably from Reims. He (possibly) wrote two satires against women: and , both attributed to him in the Chansonnier de l'Arsenal and related manuscripts. Elsewhere, however, Jehan d'Auxerre claims authorship of the second piece. As well, the various manuscripts, which usually differ only slightly, preserve widely divergent melodies of On soloit.

Berzé-le-Châtel (Old French: Barzil) is a commune in the Saône-et-Loire department in the region of Bourgogne in eastern France. The trouvère Hugues IV de Berzé was the ruler of Berzé-le-Châtel in the early 13th century. It is said that the Berzé-le-Châtel's basement extends 1000 feet into the ground.

Eustache le Peintre de Reims or Eustache de Rains (fl. 1225-40) was a trouvère from Reims, possibly a painter (peintre), but that may just be a family name. Seven poems of his are preserved in surviving chansonniers. Eustache addressed one of his songs, Amours, coment porroie chancon faire, to Guigues IV, Count of Forez and Nevers.

Cluj-Napoca: Editura Institutului pentru Studierea Problemelor Minorităților Naționale, 2011, Instead, Zarifopol left for Germany to specialize in philology (under Hermann Suchier),Nastasă (2010), p. 295 and philosophy, as a student of Alois Riehl's objectivist worldview.Florian, p. 171 He took a doctorate at the University of Halle in 1904, with a dissertation on trouvère Richard de Fournival.

His grandfather, Jacques, was described as sergent héréditaire around the turn of the century, when there were eight such officials associated with the abbey. The trouvère and his brother were modestly wealthy property owners near Arras, where Jehan died in 1272. Bretel wrote eight known chansons courtoises,Preserved in the Vatican Library (I-Rvat Reg.lat.1490). of which seven survive.

Mahieu le Juif was an Old French trouvère. His name means "Matthew the Jew" and, if his own songs are to be believed, he was a convert from Judaism to Christianity. Only two of his songs survive, one with a melody. He has been conflated with Mahieu de Gant, but the same manuscript that contains both their works clearly distinguishes them.

Simon d'Authie or d'Autie (born 1180/90; died after 1235) was a lawyer, priest and Old French trouvère. He was from Authie, and died at Amiens. Up to eleven works are sometimes attributed to him, but only five are certain. From at least 1223 Simon served as a canon, and in 1228 as dean of the chapter, at Amiens Cathedral.

Thibaut was the seneschal of Poitou and his uncle was Maurice, Bishop of Poitiers. In 1214 Thibaut helped negotiate a truce between Philip II of France and John of England. In 1212 he was taking part in the Reconquista in Spain and he was among the Albigensian Crusaders besieging Toulouse in 1218. He appears alongside the trouvère Amauri de Craon in a document of 1219.

In his version, Ovid recast and combined many elements from these ancient sources. Because his is the most complete, lasting version of the myth, it is the basis for many later works. In the 12th century, French trouvère (troubadour) Chrétien de Troyes, adapted many of the myths recounted in Ovid's Metamorphoses into Old French. However, de Troyes was not alone in making use of Ovid's material.

Oxford University Press (Oxford), 2006. . The troubadors, travelling composers and performers of songs, began to flourish towards the end of the 11th century and were often imitated in successive centuries. Trouvères were poet-composers who were roughly contemporary with and influenced by the troubadours but who composed their works in the northern dialects of France. The first known trouvère was Chrétien de Troyes (fl. 1160s–80s).

Accessed 20 September 2008. Two of his songs, Aucunes gens m'ont mout repris and Quant voi le tens del tout renouveler, Colart dedicated to a certain "Maître Guillaume" (William the master, i.e. teacher or one with a master's degree). This Guillaume is probably identical to the trouvère Guillaume li Vinier, with whom Colart exchanged a jeu parti, his only one: Guillaume, trop est perdus.

Formel (1995) Holders included Guillaume de Ferrières (grandson of the first de Ferrières vidame, c.1150 – ?April 1204), who took part in the Third (1188–92) and Fourth Crusades (1201–4), and died in Romania as part of the latter. He is assumed to be the trouvère (north French troubador poet-composer) recorded only as the "Vidame de Chartres", to whom eight songs have been attributed.

He wrote Marian songs and even an imaginary dialogue with a nightingale. His work can be dated with some precision: the poem "En tous tens" is quoted in the Roman de la violette, which was written around 1225. Guillaume was born into a wealthy bourgeois family of Arras, the son of Philippe le Vinier and Alent. His younger brother, Gilles le Vinier, was also a trouvère.

Kibler, 16-17. There is however mention (laisses 120-121) that the poem is based on a version by a noble trouvère of Laon called Bertholais, who professed to have witnessed the events he described.Kibler, 171-173. Raoul de Cambrai presents, like the other provincial geste of Garin le Loherain, a picture of the devastation caused by the private wars of the feudal chiefs.

It too is isometric, decasyllabic, and having eight-line stanzas. Though it is also attributed to Gace Brulé, the attribution to Baudouin is more likely.Theodore Karp (1962), "Borrowed Material in Trouvère Music," Acta Musicologica, 34(3), 98. It was once suggested that Baudouin des Auteus was the same Baudouin that participated in some jeux partis with Theobald I of Navarre, but this is dubious.

Johannes de Grocheio, a Parisian musical theorist of the early 14th century, believed that trouvère songs inspired kings and noblemen to do great things and to be great: "This kind of song is customarily composed by kings and nobles and sung in the presence of kings and princes of the land so that it may move their minds to boldness and fortitude, magnanimity and liberality...".

Jean II de Trie (c. 1225 – 1298×1304) was the first of his name (John I) and second of his house to be Count of Dammartin. He succeeded his father, Mathieu, in Dammartin and as lord of Trie and Mouchy, on the latter's death in 1272. He is the same person as the trouvère Jehan de Trie, to whom two surviving chansons courtoises have been attributed.

Mahieu de Gant (fl. mid–late 13th century) was a Flemish trouvère (composer) from Ghent associated with the so-called "school of Arras". He has been conflated with Mahieu le Juif, but the same manuscript containing both their works clearly distinguishes them. His career can only be dated because of those with whom he composed jeux partis, which includes Robert de la Piere, who died in 1258.

Thibaut de Blaison, Blason, or Blazon (died after March 1229) was a Poitevin nobleman, Crusader, and trouvère from a noble family with lands in Blason and Mirabeau. Eleven poems--one contested and one definitely spurious--have been ascribed to Thibaut in the chansonniers. Three further anonymous songs have also been attributed to him by Terence H. Newcombe, his modern editor.Les poésies de Thibaut de Blaison (Geneva: Droz, 1978).

Robert de Blois (fl. second third of the 13th century) was an Old French poet and trouvère, the author of narrative, lyric, didactic, and religious works. He is known only through his own writings, but one lyric poem ascribed to him, Li departis de douce contree, mentions his involvement in a failed Crusade of 1239. Robert wrote two manuals of instruction on courtly behaviour: one for noblemen and one for noblewomen.

In the late Middle Ages, a cantus coronatus (Latin for "crowned song") was a composition that had won a competition, and it or its composer been awarded a prize, often a crown. The corresponding Old French term was chanson couronnée or couronnez, which occurs is some extant chansonniers. There are twelve trouvère chansons in the manuscripts with rubrics indicating they were awarded a crown.The manuscripts are F-Pn fr.

Eugène-Charles Caron (4 November 1834 – 1903) was a French operatic baritone. He was born in Rouen and after studying at the Paris Conservatory, made his stage debut in 1862 as Count di Luna in Verdi's Le trouvère. He sang leading roles at the Paris Opera for 25 years, including the world premieres of operas by Auguste Mermet and Victorin de Joncières and an oratorio by Jules Massenet.

His face is good, too, as > regards expression.Dwight's Journal of Music (24 August 1861) p. 168 After studying singing with Paul Laget and declamation with Nicolas Levasseur, Caron graduated from the Conservatory in 1862, winning the First Prize in opera. He was engaged by the Paris Opera that same year and made his official debut on 26 September 1862 as Count di Luna in a revival of Verdi's Le trouvère.

Carasaus (fl. c. 1240-60) was a French trouvère, five of whose works survive. His career can be dated because he dedicates two grand chants (Fine amours m'envoie and Puis que j'ai chançon meüe) to Jehan de Dampierre (died 1259) and another (N'est pas sage qui me tourne a folie) to Henry III of Brabant (reigned 1248-61). Carasaus also dedicated Con amans en desesperance to a certain Berengier, yet unidentified.

He moved to Northwestern University in 1973, where he was dean of the department until 1988 and a professor until his retirement in 1996. Besides trouvère monophony, Karp wrote articles on the polyphony of the schools of Saint Martial, Santiago de Compostela, and Notre Dame. He proposed new methods for the transcription of polyphony from the manuscripts. In more recent research Karp studied the application of computers to his field.

This was translated into French about 1210 by a trouvère named Herbers as Li romans de Dolopathos. Another French version, Li Romans des sept sages, was based on a different Latin original. The German, English, French and Spanish chapbooks of the cycle are generally based on a Latin original differing from these. Three metrical romances probably based on the French, and dating from the 14th century, exist in English.

Statue of Blondel near Dürnstein Blondel de Nesle – either Jean I of Nesle (c. 1155 – 1202) or his son Jean II of Nesle (died 1241) – was a French trouvère. The name 'Blondel de Nesle' is attached to twenty-four or twenty-five courtly songs. He was identified in 1942, by Holger Dyggve, as Jean II of Nesle (near Amiens), who was nicknamed 'Blondel' for his long blond hair.

Oede de la Couroierie (died 1294), also known as Eude de Carigas and Odo de Corigiaria, was a trouvère of Artois. He is documented beginning in 1270 as a clerk in the house of Count Robert II, who often sent him on diplomatic missions. He served Robert until his death. His will, made in June 1294, providing for both a mistress with her two children and his widow with her three.

Jean Renart, also known as Jean Renaut, was a Norman trouvère from the end of the 12th century and the first half of the 13th to whom three works are firmly ascribed: two metrical chivalric romances, L'Escoufle ("The Kite") and Guillaume de Dole, and a lai, Lai de l’Ombre. Nothing else is known of him or his life. He is praised for his realism and his psychological insight."Renart, Jean".

For a more detaile description of his metres, see Mary O'Neill (2006), Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire (Oxford: Oxford University Press), 134-5, with notes 8-12. Musically, Erart is syllabic, with a preference for major modes and refrains. His chansons are composed mainly in isometre, but his pastourelles are predominantly heterometric. His music is conservative and rarely exceeds a ninth in range.

Robert de la Piere (died 1258) was a trouvère of the so-called "school" of Arras. In his time Robert's bourgeois family was prominent in Arras, though the earliest known member is only recorded in 1212. Robert served as a magistrate in 1255, as attested by one surviving document in the municipal archives. There is also a surviving notice of his death in the spring of 1258, at Arras.

Moniot de Paris (fl. post-1250) was a trouvère and probably the same person as the Monniot who wrote the Dit de fortune in 1278. He was once thought to have flourished around 1200, but his dates have been pushed back. Moniot wrote nine surviving pieces: three pastourelles, one chanson de rencontre, one chanson de la malmariée, and four enigmatic rotrouenges that are not of the grand chant variety.

Guillaume d'Amiens or Guillaume le Peigneur (floruit late 13th century) was a trouvère and painter from Amiens. All his music is contained in one chansonnier (songbook) of Arras, now manuscript "Latin 1490" in the Bibliotheca Apostolica Vaticana. In it, the rubrics which accompany the songs identify Guillaume as a paigneur, "painter". He may even be the artist who added the large illumination which precedes his songs in the manuscript.

Jehan was also a trouvère and a Crusader. He followed Theobald I of Navarre to the Holy Land in the Barons' Crusade of 1239Sidney Painter, "The Crusade of Theobald of Champagne and Richard of Cornwall, 1239–1241", in Robert Lee Wolff and Harry W. Hazard (eds.), A History of the Crusades, Volume II: The Later Crusades, 1189–1311 (Milwaukee: University of Wisconsin Press, 1969), pp. 463–86, esp. 469. and there died a year later.

Robert de Reins (Rains, Reims) La Chievre was a trouvère from the Île de France, probably active in the thirteenth century. He is among those trouvères, like Richard de Fournival, who are associated with the early development of the motet and who may be more numerous than previously believed.See Saint-Cricq, Gaël. "Genre, Attribution and Authorship in the Thirteenth Century: Robert de Reims vs ‘Robert de Rains’." Early Music History 38 (2019): 141-213.

Costume by Ivan Bilibin Le Miracle de Théophile (The Miracle of Theophilus) is a thirteenth-century miracle play written in Langues d'oïl, circa 1261 by the trouvère Rutebeuf. The play is a religious drama, drawn from traditional accounts of the lives of the Saints and the Blessed Virgin Mary. In the play, Théophile sells his soul to the Devil. Overcome by remorse, he prays to the Virgin Mary, who delivers him from the cursed pact.

This situation began to change in the 13th century (where we find highly literate members of the French nobility like Guillaume de Lorris, Geoffrey of Villehardouin (sometimes referred to as Villehardouin, and Jean de Joinville (sometimes referred to as Joinville)Cantor, 466.). Similarly, due to the outpouring of French vernacular literature from the 12th century on (chanson de geste, chivalric romance, troubadour and trouvère poetry, etc.), French became the "international language of the aristocracy".

Machaut, "Doulz viaire gracieus", a typical Rondeau setting of the 14th-century Ars nova. Like the other formes fixes, the Rondeau (in its original form with full refrains) was frequently set to music. The earliest surviving polyphonic rondeaux are by the trouvère Adam de la Halle in the late 13th century. In the 14th and 15th centuries, Guillaume de Machaut, Guillaume Dufay, Hayne van Ghizeghem and other prominent composers were prolific in the form.

The poem was submitted to the judgement of two other women: the countess of Leiningen, Jeanne d'Aspremont, and her sister, Mahaut, dame of Commercy. These women were well known in trouvère circles and Jacques Bretel records both them at the Tournament of Chauvency in October 1285, although Jeanne was only a countess from 1282 to 1316 and Mahaut the dame of Commercy from 1305 to 1329.Doss- Quinby et al., p. 32.

Perrot (Peron, Peros, or Pierrot) de Neele (fl. mid–late 13th century) was an Artesian trouvère and littérateur. He composed four jeux partis in collaboration with Jehan Bretel (died 1272): "Amis Peron de Neele"; "Jehan Bretel, respondés"; "Pierrot de Neele, amis"; and "Pierrot, li ques vaut pis a fin amant". Perrot also composed one song in praise of the Virgin Mary, "Douce vierge, röine nete et pure", with a melody that is in bar form.

This is a partial discography of Giuseppe Verdi's opera Il trovatore (The Troubadour) and Le trouvère (the revised version in French translation). At least 83 recordings exist of the opera as a whole, made between 1912 and 2011, although not all of them are absolutely complete. Of these, 45 are live audio recordings, 22 are studio audio recordings, and 16 are videos or movies. Il trovatore was first performed at the Teatro Apollo, Rome on 19 January 1853.

The Abbey of St. Vaast The song was composed in 1235 by Moniot d'Arras (), a monk at the Abbey of St. Vaast and one of the last trouvère musicians—these were poets from northern and central France who wrote in the langue d'oïl and worked in royal courts. Moniot himself was later patronised by Érard II, Count of Brienne. He also wrote religious poems honouring the Virgin Mary, but "Ce fut en mai" is his most famous work.

Born in Troyes, he was the son of Theobald III of Champagne and Blanche of Navarre, the youngest daughter of Sancho VI of Navarre. His father died less than a week before he was born, and Blanche ruled the county as regent until Theobald turned twenty-one in 1222. He was a notable trouvère, and many of his songs have survived, including some with music. The first half of Theobald's life was plagued by a number of difficulties.

It was probably there, between 1220 and 1226, that he wrote his sirventes urging the emperor to "rescue" the Holy Land. Falquet was in communication with the trouvère Hugues IV de Berzé (N'Ugo de Bersie) who wrote a poem to Falquet (calling him Fouquet or Fouquez) asking him to join him on an imminent Crusade outra mar (overseas). Hugues's poem was sent with the jongleur Bernart (or Bernarz) d'Argentau. It is rife with information about the poets.

The apropos melody of this song survives in many variations, but all are of a simple, yet tight, structure. There is intertextual similarity between a piece of the troubadour Albertet de Sestaro and Par grant, but the direction of any influence of the one on the other cannot be ascertained: though Jeanroy thought the trouvère was influenced by the troubadour. Mahieu's other piece, Pour autrui movrai, likewise refers to his Jewishness, but it was not as widely read.

Perrin d'Angicourt (floruit 1245–70) was a trouvère associated with the group of poets active in and around Arras. His birthplace was most likely Achicourt, just south of Arras.According to Karp, some nine towns are candidates to be the "Angicourt" of his birth. His surviving oeuvre is large by the standards of the trouvères, and well-distributed in the chansonniers: thirty-five (35) of his songs survive, in some case in as many as eleven different manuscripts.

The story is similar to the legend attached to the kidnapping and rescue of Ela Longespée, heiress to the earldom of Salisbury, in 1196. 'Blondel' is a common surname in Normandy, including on the Channel Islands. It is recorded that King Richard granted a fief on the island Guernsey to a vassal named Blondel, but it remains uncertain as to whether this has any connection with the legend, or whether the legend has any connection with the known trouvère.

O'Neill, 133 and notes 3-5, contains several references to the sources for the Puy. By the nature of its activities, one of the favoured verse forms of the Puy was the jeu parti. Women could also participate in the Puy, both as contestants, audience members, and as judges. It has been suggested that the chansonnier known as trouvère manuscript R, which contains no musical notation and is rather unornamented, was compiled from oral performance at the Puy d'Arras.

Le Chastelain de Couci (modern orthography Le Châtelain de Coucy) was a French trouvère of the 12th century. He may have been the Guy de Couci who was castellan of Château de Coucy from 1186 to 1203. Some twenty-six songs, written in langue d'oïl are attributed to him, and about fifteen or sixteen are considered authentic. They are modelled very closely on Provençal originals, but are saved from the category of mere imitations by a grace and simplicity peculiar to the author.

He is not to be confused with Raoul de Ferrières (fl. 1200–10), also a trouvère. Guillaume took part in the Third (1188-92) and Fourth Crusades (1201-4), and died in Romania as part of the latter. A reference in the Vidame's song Combien que j'aie demouré to a forced sojourn in a "hated land" probably refers to Guillaume's stay in southwestern France in 1188, before the departure of the Crusade, while the leaders (Richard the Lionheart and Philip Augustus) were squabbling.

Gautier d'Arras (died c. 1185, Arras) was a Flemish or French trouvère. He is called Galterus attrebatensis or Walterus de Altrebat in many contemporary Latin documents, the first of which dates from 1160, where he is mentioned as a property owner in Arras (Atrebatum in Latin). Gautier appears to have been a knight of Arras who between 1160 and 1170 held many important fiefs of St. Vaast's Abbey and between 1166 and 1185 was an official at the court of Philip of Flanders.

Some of the earliest manuscripts with polyphony are organa from 10th century French cities like Chartres and Tours. The Saint Martial school is especially important, as are the 12th century Parisian composers at the Notre-Dame school from whence came the earliest motets. Secular music in medieval France was dominated by troubadours, jongleurs and trouvères, who were poets and musicians known for creating forms like the ballade (forme fixe) and lai. The most famous of the trouvère was Adam de la Halle.

Guiot de Provins, also spelled Guyot (died after 1208), was a French poet and trouvère from the town of Provins in the Champagne area. A declining number of scholars identify him with Kyot the Provençal, the alleged writer of the source material used by Wolfram von Eschenbach for his romance Parzival, but most others consider such a source to be a literary device made up by Wolfram.Hatto, p. 427. At any rate, Guiot was a popular writer in his day.

The surviving songs include one jeu-parti and one pastourelle. As the Berne songbook was designed for melodies that were never entered, the Oxford chansonnier TrouvI was not designed for musical notation at all, and no melodies were enter for either of the songs in the Saint-Germain-des-Prés chansonnier, TrouvU, the only song for which a melody can be recovered Or seroit mercis de saison (RS 1894) which has been edited by Tischler.Tischler, Hans. Trouvère Lyrics with Melodies: Complete Comparative Edition.

"Ce fut en mai", or "Ce fu en mai", is a French trouvère song, written in the 13th century by Moniot d'Arras. Its lyrics, in Old French, describe how a man sees a knight and a maiden cavorting in a garden. He follows them, and tells them of his unrequited love; they comfort him, and he cries and commends them to God. The song is a pastourelle and chanson, and was originally accompanied by dancing and medieval instruments like the vielle.

According to his vida he was a courtly man who loved high society. The author of the vida also expresses admiration for his couplets but bewails the excessive number he composed, though so few of his works survive to this day. He was also said to have composed sirventes joglarescs, or sirventes in the manner of joglars, in order to criticise "the barons" (presumably the high noblesse). He also wrote a work criticising the prolific trouvère Theobald I of Navarre.

Lambert Ferri (fl. c. 1250-1300) was a trouvère and cleric at the Benedictine monastery at Saint-Léonard, Pas-de-Calais. By 1268 he was a canon and a deacon of the monastery; he is last associated with the monastery in 1282. He was a popular partner for jeux partis, of which some twenty-seven survive between him and other composers, including Jehan Bretel, Jehan le Cuvelier d'Arras, Jehan de Grieviler, Jehan de Marli, Phelipot Verdiere, Robert Casnois, and Robert de La Pierre.

He was a transitional figure from the trouvère period to the ars nova. His lyrical style unites him with the composers of the later period. The sole source for his music is the same manuscript (Paris, Bibliothèque nationale de France, MS français 146) which preserves the interpolated version of the Roman de Fauvel. Most of his works are monophonic songs, in the style of the trouvères; only one of his 34 works is polyphonic, although he wrote other works which have not survived.

Lorete was a trouvère, one of only eight women composers of Old French lyric poetry known by name. She is known only be her given name.Eglal Doss-Quinby, Joan Tasker Grimbert, Wendy Pfeffer and Elizabeth Aubrey, Songs of the Women Trouvères (Yale University Press, 2001), pp. 26–27. Her only known work, preserved in a single manuscript, is Lorete, suer, par amor ("Lorete, sister, in the name of love"), a jeu parti (debate song) between her and an unnamed "sister".

French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. Troubadour songs of chivalry and courtly love were composed in the Occitan language between the 10th and 13th centuries, and the Trouvère poet-composers flourished in Northern France during this period. The fiddle was their instrument of choice. By the end of the 12th century, a form of song called the motet arose, accompappnied by traveling musicians called jongleurs.

Gertrude of Dagsburg (died 30 March 1225) was the daughter and heiress of Albert II,According to the Chronicle of Alberic of Trois-Fontaines. count of Metz and Dagsburg (Dabo). She was a trouvère, and was married three times. Gertrude was named after her mother, Gertrude of Baden, the daughter of Herman III, Margrave of Baden. The birth date of May 1205 (or as late as mid-1206) often assigned to her is questionable, as her mother was then 52 years old.

Walsh TJ. Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870. John Calder Ltd, London, 1981, Appendix A. Her Paris Opera debut was on 12 January 1857 in the premiere of the revised French version of Verdi's Il Trovatore, Le Trouvère (Léonore). She also created the roles of Lilia in 'Herculanum' (4 March 1859) by Félicien David, Laura in Pierre de Médicis (9 March 1860) by Prince Joseph Poniatowski, and Queen Balkis in La reine de Saba (28 February 1862) by Charles Gounod.

Meslay family arms, assigned to the Vidame de Chartres in the Chansonnier du Roi Blazon: D'or, à deux fasces de sable, accompagné de neuf merlettes du même (3, 3 et 3) Guillaume de Ferrières, Vidame de Chartres (c. 1150 ?April 1204) was a French nobleman, probably the same person as the trouvère whose works are recorded only as by the Vidame de Chartres, his title. Eight songs in total have been attributed to the Vidame, though all but one with conflicting attributions to others.

They are usually written in either the Dorian or Mixolydian modes and "cannot be rejected as tiresome pedantries [...] yet possessed of an intrinsic harmony, a singularity of purpose, a unanimity of conception and intent that may properly be termed artistic."Switten, 325. More indicative of her final evaluation of his tunes may be the reference to their "sheer enjoyableness as music". A trouvère, Guiot de Dijon, writing in Old French, probably modelled his song Chanter m'estuet, coment que me destraigne after Peirol's love song Si be.

Bertrada's nickname "Bertha Broadfoot" dates back to the 13th century, when it was used in Adenes Le Roi's trouvère Li rouman de Berte aus grands piés. The exact reason that Bertrada was given this nickname is unclear. It is possible that Bertrada was born with a clubfoot, although Adenes does not mention this in his poem. The nickname might have been a reference to an ancient legend about a Germanic goddess named Perchta, to real and mythological queens named Bertha, or to several similarly-named Christian queens.

In Eight Sabbats for Witches (1981), the Janet and Stewart Farrar provided a version of the Eko Eko chant which they received from Doreen Valiente. :Eko Eko Azarak :Eko Eko Zomelak :Zod ru koz e zod ru koo :Zod ru goz e goo ru moo :Eeo Eeo hoo hoo hoo! In private correspondence to the Farrars, Valiente explained that this was the version Gardner had given to her. The second source is a thirteenth- century French miracle play, Le Miracle de Théophile, by the trouvère Rutebeuf.

Pierre Aubry Pierre Aubry (14 February 1874 in Paris – 31 August 1910 in Dieppe) was a French musicologist (the first to use the term musicologie.Haines (2004), 155.) who specialized in secular monophony, musical palaeography and the music of the 13th century. He is particularly known for applying the modal rhythms of Franconian theory to the repertoire trouvère and troubadour songs. The Alsatian scholar Johann-Baptist (later Jean-Baptist) Beck claimed plagiarism and Aubry called for a trial, which resulted in a judgment in Beck's favor.

He worked as a lawyer for the Abbey of Saint Vaast in a lawsuit against lay assessors (1222–26) and a case involving the chapter of Arras Cathedral (1232). Simon composed a jeu-parti with Gilles le Vinier ("Maistre Simon, d'un esample nouvel") and another two with Hue le Maronnier ("Symon, le quel emploie" and "Symon, or me faites"). The latter two were judged by the trouvère Adam de Givenchi. Both Gilles and Adam appear in the same documents relating to Amiens and Saint Vaast.

Adam de la Halle Adam de la Halle, also known as Adam le Bossu (Adam the Hunchback) (1240–1287) was a French-born trouvère, poet and musician. Adam's literary and musical works include chansons and jeux-partis (poetic debates) in the style of the trouvères; polyphonic rondel and motets in the style of early liturgical polyphony; and a musical play, "Jeu de Robin et Marion" (c. 1282–83), which is considered the earliest surviving secular French play with music. He was a member of the Confrérie des jongleurs et bourgeois d'Arras.

When the bishop left the castles, the count retook the fortresses. In 1285, the trouvère from Lorraine, Jacques Bretel, spent several days at the castle where he met Count Henry IV. He recounted his stay in his work le Tournoi de Chauvency. The area was the site of an important occupation throughout the 14th and 15th centuries (with foundry, metallurgy and pottery activities), without a doubt the after-effects of the acquisition by Jean de Salm of the lower valley of Bruche in 1366, from Mutzig to Schirmeck.

Most of the more than two thousand surviving trouvère songs include music, and show a sophistication as great as that of the poetry it accompanies. The Minnesinger tradition was the Germanic counterpart to the activity of the troubadours and trouvères to the west. Unfortunately, few sources survive from the time; the sources of Minnesang are mostly from two or three centuries after the peak of the movement, leading to some controversy over the accuracy of these sources. Among the Minnesingers with surviving music are Wolfram von Eschenbach, Walther von der Vogelweide, and Niedhart von Reuenthal.

The Battle of Taillebourg won by Saint Louis, by Eugène Delacroix (Galerie des Batailles, 1837, Palace of Versailles) The battle is the subject of an anonymous trouvère song, Molt lieement dirai mon serventois (RS 1835); it was written in support of Louis and his allies and mentions several historical figures by name. Eugène Delacroix represented the battle in his tableau The Battle of Taillebourg won by Saint Louis, which was presented to the ‘Salon’ in 1837. In it he depicted all the spirit and ardour of the charge of the French knights.

In addition to giving concerts of its own and performing on other occasions, it was one of the architects of the production of the medieval liturgical drama Ludis Danielis and has premiered new Finnish music. Its repertoire consists of trouvère songs of various kinds (chansons de croisades, chansons pieuses, chansons de femme), German medieval music and items from such collections as Carmina burana and Cantigas de Santa Maria. Representing polyphonic music are works by Guillaume de Machaut, Francesco Landini and Oswald Wolkenstein, and ars antiqua. The members of Oliphant play a variety of historical instruments, each in their own distinctive way.

"Li congié" by Jean Bodel, a trouvère that lived in Arras in the 12th century Arras: tapestry representing God's conversation with Noah In 1025, a Catholic council was held at Arras against certain Manichaean (dualistic) heretics who rejected the sacraments of the Church. In 1093, the bishopric of Arras was refounded on territory split from the Diocese of Cambrai. In 1097 two councils, presided over by Lambert d'Arras, dealt with questions concerning monasteries and persons consecrated to God. In this time, Arras became an important cultural center, especially for the group of poets who came to be known as trouvères.

Bloch was born in Paris, the daughter of a merchant. She studied at the Conservatoire de Paris with Nicolas Levasseur and Charles-Amable Battaille and in 1865 won the Conservatoire's first prize for singing and the first prize for opera.Kutsch and Riemens 2003, p. 454.Jewish Encyclopedia biography of Rosine Bloch She made her professional opera debut on 13 November 1865 at the Opéra's Salle Le Peletier as Azucena in Giuseppe Verdi's Le trouvère, and continued singing in that theatre, where her most notable roles included Lelia in Félicien David's Herculanum and Léonore in Gaetano Donizetti's La favorite.

Jacques de Cysoing was a late thirteenth-century Franco-Flemish trouvère. He wrote nine songs that survive, all of them with their melodies. Probably born into a noble Flemish family in Cysoing, "messire" Jacques probably flourished during the reign of Guy of Dampierre as Count of Flanders (1251-1305), for he addresses his serventois Li nouviaus tans to the count. Other events that date Jacques are a reference to the Battle of Mansurah in 1250 in one of his songs and a reference in an envoi of Thomas Herier to "Jakemon" at "Cyson", probably in the third quarter of the century.

His fascination for medieval music was first aroused while reading the Belgian musicologist François-Joseph Fétis’s Revue Musicale (musical revue). The first musicological work by de Coussemaker dates back to 1835. Even today his works remain a reference for matters relating to medieval musicology through their punctuality and precision: Mémoire sur Hucbald et ses traités de musique (1841), Histoire de I'harmonie au Moyen Âge (1852), Les harmonistes des XIIe- XIIIe (1864), Œuvres complètes du trouvère Adam de la Halle (1872). His compilations Scriptorum de Musica Medii aevi, 1864–1876, continue those by Prince Abbot Martin Gerbert.

The Puy was under the nominal patronage of the Virgin Mary, referred to as "Notre Dame du Puy d'Arras". Other puys under her patronage were founded at Amiens, Boulogne-sur-Mer, Caen, Évreux, and Rouen. The Puy is less well- documented than the contemporary Confrérie des jongleurs et bourgeois d'Arras, and the two are sometimes conflated.Mary O'Neill (2006), Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire (Oxford: Oxford University Press), 133, and Christine Jacob-Hugon (1998), L'œuvre jongleresque de Jean Bodel: L'art de séduire un public (De Boeck Université), 27, distinguish them.

The coat of arms with which the trouvère is depicted in his miniature portrait in the Chansonnier du Roi belonged mid-century to the Meslay family, who became vidames of Chartres only in 1224. Only one of the eight songs variously attributed to the Vidame is not also ascribed to another. Only three, however, are regularly doubted to be his, and only one of these--Quant foillissent li boscage--is almost certainly not his. One of the remaining two, Desconsilliez plus que nus hom qui soit, which survives without music, is attributed in one manuscript to Li viscuens de Chartres (the viscount of Chartres), probably an error for vidame.

A poet named Chardo (or Cardo) wrote a partimen (the Occitan version of a jeu parti) with an otherwise unidentified poet named Uc. The rubric La tenzo del chardo e den ugo ("The tenso of [the] Chardo and of Lord Hugh") appears in the manuscript. While Chardo's portion of the exchange, N'Ugo, cauzetz, avans que respondatz, survives, Uc's part does not. Oskar Schultz-Gora (1884) first proposed to identify the troubadour with the trouvère, an identification accepted by Hermann Suchier in his edition (1907), followed by G. Huet (1908), Adolphe Guesnon (1909) and István Frank (1966). The identification was disputed by Vincenzo De Bartholomaeis (1906) and John H. Marshall.

Fernandez, M.-H., « Le génie ondoyant et divers du trouvère Guillaume le Vinier », Marche Romane, Vol. xxx, nos. 3–4 (1980), . Gally, Michèle, Parler d'amour au puy d'Arras: rhétorique en jeu, Orléans, Paradigme (Medievalia, 46), 2003, 178 pages. Ménard, Philippe, « L'édition des textes lyriques du Moyen Âge: réflexions sur la tradition manuscrite de Guillaume le Vinier », in Actes du XIIIe congrès international de linguistique et philologie romane tenu à l'Université Laval (Québec, Canada) du 29 août au 5 septembre 1971, Québec, Presses de l'Université Laval, 1976, t. 2, . Les poésies de Guillaume le Vinier, Philippe Ménard, éd., Genève, Droz; Paris, Minard (Textes littéraires français, 166), 1970, [iv] + 285 pages.

The period of the troubadours wound down after the Albigensian Crusade, the fierce campaign by Pope Innocent III to eliminate the Cathar heresy (and northern barons' desire to appropriate the wealth of the south). Surviving troubadours went either to Portugal, Spain, northern Italy or northern France (where the trouvère tradition lived on), where their skills and techniques contributed to the later developments of secular musical culture in those places. The trouvères and troubadours shared similar musical styes, but the trouvères were generally noblemen. The music of the trouvères was similar to that of the troubadours, but was able to survive into the thirteenth century unaffected by the Albigensian Crusade.

The etymology of the word troubadour and its cognates in other languages is disputed, but may be related to trobar "to compose, to discuss, to invent", cognative with Old French trover "to compose something in verses". (For a discussion of the etymology of the word troubadour and its cognates, see troubadour: etymology.) The popular image of the troubadour or trouvère is that of the itinerant musician wandering from town to town, lute on his back. Such people existed, but they were called jongleurs and minstrels—poor musicians, male and female, on the fringes of society. The troubadours and trouvères, on the other hand, represent aristocratic music making.

Emperor Napoleon III and Empress Eugénie attended the latter performance. For the French premiere, Verdi made some changes to the score of Le trouvère including the addition of music for the ballet in act 3 which followed the soldiers' chorus, where gypsies danced to entertain them. The quality of Verdi's ballet music has been noted by scholar Charles Osborne: "He could have been the Tchaikovsky of Italian ballet" he states, continuing to praise it as "perfect ballet music". In addition, he describes the unusual practice of Verdi having woven in themes from the gypsy chorus of act 2, ballet music for opera rarely connecting with the themes of the work.

Ernoul le Vielle (also corrected as le Viel and le Vieux) de Gastinois was a trouvère of the late thirteenth century. His name may indicate that he was from the Gâtinais, but vielle could mean either "the old" or "the vielle- player".Gaston Raynaud Recueil de motets français: des XIIe et XIIIe siècles 1972 - Page xxxiii "CCXXVI, i°— CCXXXV, i° — CCXLVI, 2°, ne sont- elles pas de Folquet de Marseille, de Gadifer, de Thomas Erier, de Moniot d'Arras, d'Ernoul le Viel, de Gautier d'Espinau, de Blondel de Neeles, de Moniot de Paris, de Jean de Neuville, bien ..." Two lais have been attributed to Ernoul. Both are found only in the Noailles Chansonnier (BnF fr.12615).

Jacques Bretel or Jacques Bretex (dates of birth and death unknown) was a French language trouvère, best known for having written le Tournoi de Chauvency. His only known work, signed and dated in 1285, le Tournoi de Chauvency is a long poem of about 4,500 verses recounting the events of a tournament held during six days of feasting given by Louis V, Count of Chiny, in October 1285 at Chauvency-le-Château. It is without doubt a masterpiece of French Middle Ages literature and, in any case, one of the best digests of courtly art of the period. His origin is unknown, but Tournoi de Chauvency is written in Old French combined with words in the western Lorraine dialect.

This prominence would eventually shift towards areas north of Arras, and cities such as Lille, Douai and Saint- Omer, followed by Ypres and eventually Bruges would become the centres of the wool industry and trade. However, by the 14th century Arras still was renowned and drew considerable wealth from the cloth and wool industry, and was particularly well known for its production of fine tapestries—so much so that in English and Italian the word Arras (Arazzi in Italian) was adopted to refer to tapestries in general. The patronage of wealthy cloth merchants ensured that the town became an important cultural center, with major figures such as the poet Jean Bodel and the trouvère Adam de la Halle making their homes in Arras.

As a philologist, he made contributions in the fields of Romance philology and Italian philology, mainly on texts by Dante Alighieri, Giacomo Leopardi and Pier Vittorio Tondelli. His many scholarly works include the book Dante Alighieri traduttore (Le Lettere, 1995), where Dante's Latin, French, and Provençal sources are investigated, and articles on Dante's character Jacopo Rusticucci ("Lingua Nostra", 1997), and the attribution to Dante of the trilingual poem "Ai faus ris" ("Dante Studies", 1998, "L'Alighieri", 2009). He collaborated with the on-line Early Italian Vocabulary for the Accademia della Crusca. Chiamenti provided the critical editions of Pietro Alighieri's Comentum on The Divine Comedy (University of Arizona Press, 2002) and of the Chansons of the French trouvère Colin Muset (Carocci, 2005).

From the 12th and 13th centuries on, France was at the center (and often originator) of a vibrant cultural production that extended across much of western Europe, including the transition from Romanesque architecture to Gothic architecture (originating in 12th-century France) and Gothic art; the foundation of medieval universities (such as the universities of Paris (recognized in 1150), Montpellier (1220), Toulouse (1229), and Orleans (1235)) and the so-called "Renaissance of the 12th century"; a growing body of secular vernacular literature (including the chanson de geste, chivalric romance, troubadour and trouvère poetry, etc.) and medieval music (such as the flowering of the Notre Dame school of polyphony from around 1150 to 1250 which represents the beginning of what is conventionally known as Ars antiqua).

He commemorated Geoffrey's death in the planh, A totz dic que ja mais non voil. He had contact with a number of other troubadours and also with the Northern French trouvère, Conon de Béthune, whom he addressed as Mon Ysombart. Although he composed a few cansos (love songs), Bertran de Born was predominantly a master of the sirventes. Be.m platz lo gais temps de pascor, which revels in warfare, was translated by Ezra Pound: When Richard (by then King) and Philip delayed setting out on the Third Crusade, he chided them in songs praising the heroic defence of Tyre by Conrad of Montferrat (Folheta, vos mi prejatz que eu chan and Ara sai eu de pretz quals l'a plus gran).

Only 14 works of poetry attributed to Conon de Béthune have survived; one of these, only attributed in Trouvère MS C (Bern 389) is a jeu-parti in which Conon is neither of the named participants. A total of 17 manuscripts contain at least one of the remaining thirteen attributed works, but three of these have alternative attributions in more reliable sources, resulting in an accepted number of 10 songs. Conon's poetry was written to be sung and many of his poems survive with musical notation. The majority of his poems are courtly love songs, but two of them are chansons de croisade or crusade songs in which the poet-lover deplores his approaching departure from his beloved but nevertheless accepts the "noble calling" of crusader.

The earliest representation of what scholars name the "courtly" branch of the Tristan legend is in the work of Thomas of Britain, dating from 1173. Only ten fragments of his Tristan poem, representing six manuscripts, have ever been located: the manuscripts in Turin and Strassburg are now lost, leaving two in Oxford, one in Cambridge and one in Carlisle. In his text, Thomas names another trouvère who also sang of Tristan, though no manuscripts of this earlier version have been discovered. There is also a passage telling how Iseult wrote a short lai out of grief that sheds light on the development of an unrelated legend concerning the death of a prominent troubadour, as well as the composition of lais by noblewomen of the 12th century.

Overall, Guiot's melodies are usually identified as those appearing in bar form, which all end on the same pitch class. Guiot probably modelled Chanter m'estuet, coment que me destraigne (RS117) after the Occitan song Si be·m sui loing et entre gent estraigna by the troubadour Peirol, although this is based on assumptions from shared versification and cannot be confirmed, since no melody survives for RS117. The song Penser ne doit vilanie (RS1240), sometimes attributed to him, served as a model for the anonymous Marian song De penser a vilanie (RS1239), which survives uniquely in the Chansonnier Clairambault, i.e. TrouvX.The sigla used here are the standard trouvère sigla given in Edouard Schwan, Die altfranzösische Liederhandschriften: ihr Verhältnis, ihre Entstehung und ihre Bestimmung (Berlin: Weidmann, 1886).

Today, almost all performances use the Italian version and it is one of the world's most frequently performed operas. In French as Le trouvère After the successful presentation of the opera in Italian in Paris, François-Louis Crosnier, director of l'Opéra de Paris, proposed that Verdi revise his opera for the Paris audience as a grand opera, which would include a ballet, to be presented on the stage of the major Paris house. While Verdi was in Paris with Giuseppina Strepponi from late July 1855, working on the completion of Aroldo and beginning to prepare a libretto with Piave for what would become Simon Boccanegra, he encountered some legal difficulties in dealing with Toribio Calzado, the impresario of the Théâtre des Italiens, and, with his contacts with the Opėra, agreed to prepare a French version of Trovatore on 22 September 1855.