virelay

It lacks an index of the songs in alphabetic order; and in both volumes, the songs are ordered not by title but by poetic form, first the rondeaux quatrains, then the rondeau cinquains followed by the virelais, etc.

As Froissart's poet-narrator Flos says of one of his virelais to which his lady showed some attention, new things, even when they are perfectly still, entail movement and omnipresence.

The nobility were transferred between the palaces in Paris on a special recreational ship on the Seine, with the cruise being sweetened (according to a late account) by court singers and musicians performing virelais, chansons et autres bergerettes.

The balades were composed during the period 1399-1405; Christine de Pisan, Ballades, Rondeaux, and Virelais: An Anthology, ed.

Scholars have been slow to connect the carole's lyrical, musical, and choreographic components because the lyrics are often identified as rondeaux or virelais and the musical pieces as chansons or chansonettes rather than as caroles, since the term carole is only used to refer to the dance's choreography (at least in French).

Et les Lecons, que chanter on y ose, Ce sont Rondeaulx, Ballades, Virelais, Motz a plaisir, Rimes, et Triolletz (324-30) Art and Eros, worshiped at Cupid's temple, have their own altars.

The first section suggests grouping the selected ballades, rondeaux and virelais according to theme, not form.

The imprisoned dreamer (aka Rose) sends his lady letters and a complainte; in return, the lady sends him letters and two virelais that she has written.

There were ballades, chants royal, kyrielles, pantoums, rondeaux, rondels, rondeau redoubles, Sicilian octaves, roundels, sestinas, triolets, villanelles, and virelais to play with, and poets of varying merit had a go.

First, the selection is composed almost entirely of ballades and includes a disproportionately small number of rondeaux and virelais. More important, in choosing pieces that tend to focus on the public, political side of his poetry (and neatly fitting him into the histoire des mentalites), his editors have constructed a Deschamps more solemn, less humorous, and less idiosyncratic (dare I say personal?) than he seems to me.

The final recording to be examined here is by the Huelgas Ensemble under the direction of Paul van Nevel: Perusio: virelais, ballades, caccia (Vivarte sic 62928, rec 1996).