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L’Ensemble vocal Aedes a pour vocation d’interpréter les œuvres majeures et les pièces moins célèbres du répertoire choral des cinq siècles passés, jusqu’à la création contemporaine. Composé, selon les programmes, de seize à trente-deux chanteurs professionnels, l’ensemble Aedes a déjà inscrit à son répertoire de nombreux cycles a cappella. Il collabore en outre régulièrement avec des ensembles tels que Le Cercle de l’Harmonie ou Les Musiciens du Louvre Grenoble. Son disque « Ludus verbalis (Vol. I) » a été récompensé d’un Diapason Découverte et d’un Prix de la deutsche Schallplattenkritik. L’ensemble est en résidence à la Fondation Singer-Polignac, au Théâtre Impérial de Compiègne ainsi qu’au Théâtre d’Auxerre. Il est également lauréat 2009 du Prix Liliane Bettencourt pour le chant choral, décerné par l’Académie des Beaux-Arts. Mathieu Romano mène une carrière de chef de chœur et de chef d’orchestre. Il est diplômé du Conservatoire National Supérieur de Musique de Paris en direction d'orchestre, flûte traversière et musique de chambre. Il fonde l'Ensemble vocal Aedes en 2005.
In this second volume devoted to secular music, the Ensemble vocal Aedes continues its exploration of the a cappella choral repertoire of the twentieth and twenty-first centuries. Continuing along the same lines as the first volume (Ludus verbalis, Eloquens EL1128) we have selected seven cycles in which musical creativity centres on the word, its sonority, its ludic aspect and its powers of evocation. The texts are eclectic, with poems by William Butler Yeats, Rainer Maria Rilke, Guillaume Apollinaire, Paul Éluard and William Shakespeare, but also anonymous medieval English pieces, traditional songs from Moravia, and one cycle with texts by the composer himself. Again, several criteria guided us in our choice: a wish to alternate classics of the vocal repertoire with lesser-known works (and a new one, a commission), to represent several different countries, each with a rich choral tradition, and to give priority to the art song. We thought it would be interesting too to show how the literary culture and tradition of a country can shape, inspire, influence and sometimes dictate a mode of composition, especially when a composer chooses pieces written in a language that is not his own. In Sacred and Profane by Benjamin Britten, which opens this recording, the sacred texts, like the secular ones, are treated in the manner of madrigals depicting human passions. This cycle looks towards the last two volumes in this series of four, which will be devoted to sacred music for a cappella choir. Written a year before his death by a composer at the height of his musical powers, Sacred and Profane is a fascinating cycle, varied in its styles and moods. Carnal love, divine love, country pleasures… The beautifully crafted music magnifies the texts (both secular and sacred, in Old English), especially in the last piece, A death, in which Benjamin Britten (1913- 1976) gives a musical account of all the stages in the death of a man, who seems little affected by what is happening to him! In 2011, wishing to make our own contribution to the continuance of the great English choral tradition, we commissioned Philip Lawson (b. 1957) to compose a work for us. Of this composition he wrote: ‘I have long been an admirer of the poetry of W. B. Yeats. So when I was approached to write a cycle of three pieces for the Ensemble vocal Aedes, I worked on putting together a trilogy of Yeats’s poems for the choir. My little sequence traces the love of a man for a young lady, starting with his seeming envy of her innocence, yet to be hurt by love. The second movement sets Yeats’s famous poem of adoration, Had I the heav’n’s embroidered cloths, and in the last the poet imagines the girl as an old woman, and hopes she will remember him, the “one man [who] loved the pilgrim soul in you”.’ When Frank Martin (1890-1974), a Swiss composer and contemporary of Britten, composed his Songs of Ariel in 1950, he did not simply set to music excerpts from William Shakespeare’s The Tempest: the arrangement of the English text and its sound seem to have fired his imagination and taken his music along the same path as the English masters, although the musical language is distinctively his own, based notably on a very expressive use of chromaticism. In this opus, which makes extensive use of word-painting,
Page 2 and 3: Ludus verbalis vol.II Benjamin Brit
Page 4 and 5: À travers ce deuxième volume de m
Page 8 and 9: Martin presents five of Ariel’s m
Page 10 and 11: Ce disque - magnifique de bout en b
Page 12 and 13: The rose raileth hire rode, The lev
Page 14 and 15: Welle was hire bowr. What was hire
Page 16 and 17: 11. When You Are Old (W. B. Yeats,
Page 18 and 19: And will not be uplifted. But, reme
Page 20 and 21: půjde do věčnosti na examen. Ten
Page 22 and 23: Three fine birds of paradise Came a
Page 24 and 25: The maidens / The boys: We'll go no
Page 26 and 27: 26. A new night (Poem by P. Éluard
Page 28 and 29: Do I know where your hair will go C
Page 30 and 31: Accompany the song Of our too-short

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