Jouissance vous donneray

A picture comes to life
Sun 26.05.24 6.15 pm

Historical Museum Basel

Trio of Musicians, by the "Master Of The Female Half Lengths", c1530, Flamish © Ermitage, St. Peterburg


Flemish painting from around 1530 depicts a musical ensemble: transverse flute, lute and voice.

And if you look closely, you can make out the notes of the chanson “Jouissance vous donneray” by Claudin de Sermisy (c. 1490-1562), who set a poem by Clement Marot (c. 1496-1544) to music.

Sermisy is best known today for his highly refined chansons, most of which were printed in Paris by Pierre Attaignant between 1528 and 1533.

The chanson genre became extremely popular in Western Europe during the 16th century, as evidenced by numerous instrumental arrangements.

The dialogue between Sermisy’s chansons and Marot’s texts forms the core of the programme and represents a rich spectrum of human emotions.

Ivo Haun voice, renaissance lute, declamation, direction

Johanna Bartz Renaissance traverso

Ryosuke Sakamoto renaissance lute, renaissance gamba

Jean Jacques Boissard Bibliotheca sive Thesaurus virtutis Frankfurt am Mein: William Fitzer 1627


Pren de bon cuer – live

Pren de bon cuer | ReRenaissance | Livestream 25.4.2021 19:15 Chansons für Traversflötenconsort aus den Drucken von Pierre Attaingnant (1533)
Im Gepäck des Schweizer Theologen, Pädagogen und Lexikographen Johannes Fries gelangt 1536 eine kleine Kostbarkeit aus Paris nach Basel: eine Grifftabelle für die Traversflöte, persönlich von ihm notiert. Vielleicht hatte er das Instrument in Paris erlernt, vielleicht beherrschte er es aber auch schon vor seiner Reise nach Frankreich und hatte es bereits in seiner Schweizer Heimat gespielt. Auf jeden Fall aber muss er die Drucke des Parisers Pierre Attaingnant gekannt haben, denn als Liebhaber und Kenner kann ihm nicht entgangen sein, dass Attaingnant seine Chansonsammlung von 1533 explizit für Block- und Querflöten vorgesehen hatte. Der delikate und ausdrucksstarke Klang des Traversoconsorts und die melancholischen Chansons seiner Zeitgenossen scheinen auf Fries einen bleibenden Eindruck hinterlassen und ihn noch weit über seine Frankreichreise hinaus begleitet zu haben … Programmheft DE (PDF):
𝐄𝐧𝐠𝐥𝐢𝐬𝐡 𝐩𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞 𝐧𝐨𝐭𝐞𝐬 (PDF


L. Senfl – Im Meyen (Ivo Haun)

Ivo Haun, Gesang und Laute, «Teutsche Liedlein» Nürnberg: Georg Forster 1540, Intabulation von Ivo Haun; Video: Elam Rotem, Audio: Karel Valter. Basel März 2021

C. Janequin – O mal d’aymer

Ivo Haun, Gesang, Laute « Quinziesme Livre contenant XXX. Chansons Nouvelles a Quatre Parties » Attaignant : Paris 1544 Intabulation von Ivo Haun Video: Elam Rotem Audio: Karel, Basel, März 2021

Enfin la beauté – Paris 1624

E. Moulinié,  Enfin la beauté que j’adore Paris, 1624 (Ivo Haun, Gesang und Laute); Video: Elam Rotem Audio: Karel Valter, aufgenommen im Hohen Dolder, Basel März 2021


Why I’ll be there!

David Fallows

If only Franco-Flemish painting of the sixteenth century had an equivalent of Vasari, who named enormous numbers of Italian painters and described their work, as a result of which almost all Italian paintings have named authors (even if they can vary for a single painting and not everybody believes what Vasari tells us in any case). With Franco-Flemish painting we have almost no names but instead a series of absurd titles, including the absurdest of the lot, the ‘Master of the Female Half-Lengths’. This apparently because he never painted anybody’s legs. There was a television news-reader in England in the 1960s who always sat behind a desk to read the news. And it was the funniest joke of the year when a couple of comedians showed her legs.

In any case the master of the female half-lengths counts as one of the purest painters of the mid-sixteenth century. And although he was probably working in Antwerp he always counts as the painterly equivalent of the most controlled and (mostly) chaste song-composer of the century, Claudin de Sermisy, court musician to King François I, and the most controlled and (mostly) chaste poet of the century, Clément Marot, court poet to King François I.

Regular readers of my columns will know that I absolutely love concerts devoted to one composer, particularly one as restrained as Claudin. They may not know that Clément Marot was the most often set poet of the century, at least until the advent of Ronsard. Actually I don’t have the figures to hand for Ronsard, but something like a hundred and twenty poems of Clément were set to music, many of them ten or a dozen times. Their style harks back very much to the fifteenth century, so there is something super-controlled about the settings. I really can’t wait for this concert.




The Bassanos

Homage to the recorder
Sun 29.09.24


Magnum opus musicum 1604

Obituary for Orlando di Lasso
Sun 27.10.24 18:15 Concert



Du Fay 550

Music for a lifetime
Sun 24.11.24 18:15 Concert

Historisches Museum Basel


Now sing and rejoice

Sing-along Concert
Sun 29.12.24 17:45 Workshop 18:15 Concert