Trois Chansons de Guillaume DuFay

Sometimes composing just seems to flow. Sometimes it’s arduous and meticulous work. These three pieces were of the latter type. I do remember where I was when I wrote these, I remember the piano at which I was sitting, and I remember the season of my life. I was a fourth-year doctoral student in theological studies, I was composer-in-residence for the Lauda! Chamber Singers of South Jersey, and I cared more about composing than finishing my dissertation (which I eventually did compete!). 

I have always been drawn to medieval music, and I was especially enamoured with the music of Guillaume DuFay (1397 – 1474). One of his most well-known works, Se la face ay pale, was of special interest to me. I loved the “open” sound and the plaintive and stark harmonies. I had spent quite a bit of time listening to this piece and thought, “I wonder if I could create my own setting of this text.” Which is what I commenced to do. I don’t remember the composing process; it just flowed. And, once I had set one of DuFay’s texts, I knew I needed to do two more. 

Picking the texts and setting them came in rapid succession. When I look back at my hand-written manuscripts, I wonder, “How did I do this?” When composing happens in a hypnagogic (dreamlike) state, the resulting compositions can have an other-worldly effect. These pieces evoke a far-off world of gallantry and romance, and one way in which I sought to pay homage to the 15th-century and DuFay’s music was to use ample “open” chords (especially perfect fifths) throughout these three works, recollecting the brassiness of shawms and crumhorns. I hope you enjoy stepping back 600 years in time with me.