William of Machaut (c.1300–1377)
Lais, Ballads, Virelais, Rondeau
Adapted for violin and double bass in Pythagorean 3-limit Just Intonation [01] Lai No. 1 – Loyauté, que point ne delay 01:24
[02] ballad no 8 - De desconfort 03:46
[03] ballad no 6 – Doulz amis 01:28
[04] ballad no 24 – Tres douce dame 02:15
[05] Virelai No. 26 / 29 – Mors sui, se je ne vous voy 01:55
[06] ballad no 15 – Se je me pleing 01:42
[07] Virelai No. 13 – Quant je sui mis au retour 00:46
[08] Virelai No. 24 / 27 – En mon cuer a un escort 01:18
[09] Virelai No. 25 / 28 – Tuit mi penser 00:53
[10] ballad no 1 – S'amours ne fait par sa grace adoucir 03:15
[11] Virelai No. 30 / 36 – Se je souspir parfondement 00:39
[12] Rondeau No. 2 - Hey! 01:15
[13] ballad no 9 – Lady, regarde pas 02:00
[14] ballad no 5 - Riches d'amours 03:17
[15] ballad no 13 - Esperance qui m'assure 01:17
[16] Virelai No. 4 – Douce dame jolie 01:06
[17] ballad no 16 – Lady, comment qu'amez 03:02
[18] Virelai No. 5 – Comment qu'a moy lontaine 01:01
[19] Virelai No. 31 / 37 – Moult sui de bonne heure nee 01:39
[20] Lai No. 7 – Amours doucement me tente 07:15 Wolfgang von Schweinitz (* 1953)
[21] Plainsound Study No.I op. 61a (2015) 09: 26
The Two Diatonic Divisions of the Major Third
Presented in the Dorian Mode
World premiere recording Philippe de Vitry (1291-1361)
Motets from “Roman de Fauvel”
Adapted for violin and double bass in Pythagorean 3-limit Just Intonation [22] motet no. 31—Scrutator Alme Cordium 01:32
[23] motet no. 1—Favellandi vicium 00:58
[24] motet no. 2—Mundus a mundicia 01:03
[25] motet no. 3—Quare fremuerunt 00:54
[26] motet no. 6 – In mari miserere 01:06
[27] motet no. 7 – Ad solitum vomitum 01:38
[28] motet no. 19 – Veritas Arpie 01:30
[29] motet no. 20 – Ade costa dormientis 01:18
[30] motet no. 22 – Inter amenitatis tripudia 01:13 Total playing time: 61:47 Helge Slaatto, violin
Frank Reinecke, double bass Press: 
No. 160 | February 2019
As is well known, new music has not only existed for a hundred, but for seven hundred years. In 1322, Philippe de Vitry, bishop, composer and music theorist, published his treatise “Ars nova”, in which he promoted the secular opening of music through new notation principles and made the Pythagorean third, which was too large compared to the natural tuning, socially acceptable against the will of the Pope. The violinist Helge Slaatto and the double bassist Frank Reinecke have recorded two-part motets and chansons by Vitry and his congenial brother Guillaume de Machaut in Pythagorean tuning, and the wicked, slightly sharp-sounding third can be heard here. The instrumental reduction shows the vocal works in fine detail and timeless freshness; Intricate rhythms and a constructive inner logic that we can hardly understand make the pieces a journey of discovery. This connects it with “Plainsound Study No. 1” by Wolfgang von Schweinitz. The separating factor is the mood, because this harmonic study, worked with proven Schweinitzian meticulousness, is based on the natural scale. That sounds captivatingly beautiful, and the climb to the highest harmonic levels is breathtaking. Building a bridge over seven centuries frees the word “new” from the marketing smell. Max Nyffeler |
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