F

ew women in history attained the level of power and influence, both political and artistic, that was known to Eleanor of Aquitaine.  Eleanor was born to William X, Count of Poitiers and Duke of Aquitaine and Aenor de Chatellerault.  Her grandfather, William IX, is considered to be the first troubadour, a composer of lyric poetry who dealt mainly with themes of love and chivalry.  Often, the subject of a verse would be a most wholesome (and utterly fictitious) woman whose breathtaking beauty was surpassed only by her virtue, wisdom, and temperance.  Here we see an example of William IX’s troubadour verse from the 12th century:

 Joyous in love, I make my aim

forever deeper in Joy to be.

The perfect Joy's the goal for me:

so the most perfect lady I claim.

I've caught her eyes. All must exclaim:

the loveliest heard or seen is she.

 

You know I'd never base my fame

on brags. If ever we're to see

a flowering Joy, this Joy, burst free,

should bear such fruit no man can name,

lifting among the others a flame

that brightens in obscurity.

 

Whereas the minstrel or the jongleur (juggler) were known as minor servants and performers of other’s works, the title of troubadour was only given to those of noble birth who exercised their poetic and musical talents throughout the land without thought of compensation.  These traveling poet-musicians were the primary source of news to towns, bringing word of the goings on in the country via verse and song.  They were the elite and educated stars of their time, promulgating a new style of art, while simultaneously acting as a modern-day reporter.  While the subject matter of many of their earlier verses focused on Platonic love, their personal conduct frequently fell short of their literary and musical ideals.  An oft-quoted anonymous biographer from the 13th century stated the following concerning Eleanor’s grandfather:  [He] was one of the most courtly men in the world and one of the greatest deceivers of women. He was a fine knight at arms, liberal in his womanizing, and a fine composer and singer of songs. He traveled much through the world, seducing women.While Eleanor did not continue her grandfather’s lyrical pursuits herself, her court was consistently full of visiting troubadours.  Her patronage of this new secular art form, entirely in the vernacular rather than the traditional Latin or Greek, allowed the works of the troubadours to flourish first in Southern France, and then to spread northwards, eventually crossing the channel and having a lasting impact on the trouveres of England (northern variation of the troubadour with less religious influence), in Italy through the writings of Dante, and in Germany with the Minnesingers. Other notable troubadours throughout Europe at this time included Bernard de Ventadour, Folquet de Marseilles, and the master of the political verse, Bertrand de Born.  De Born is most widely remembered from his depiction in Dante’s Divine Comedy, where he is made to dwell in the 8th circle of Hell, wandering around while carrying his severed head. This illustration is largely due to de Born’s political verses, or sirventes,

 

 

dealing with Henry the Young’s unsuccessful rebellion against his father, and his mocking of King Richard’s later hesitation in participating in the Third Crusade.  He is portrayed as an agitator, and one who endlessly sows discord and schism. 

Eleanor of Aquitaine may be more readily known for her vast political influence over France and England during the High Middle Ages, her role in the Second Crusade, her torrid marriage to Henry II, and the indelible mark she left on the future of England’s monarchy, most notably via her son John I.  However, the breadth of her patronage of both literature and music in France, and later, England, had a profound and lasting effect that shaped the musical history of the entire continent for centuries.

 

AlfonsoX_pic

A 13th century illustration from the

E Codex of the Cantigas de Santa Maria

during the reign of Alfonso X, King of Castile

 

 

Michael Eglin holds degrees in piano and composition from the State University of New York-Fredonia School of Music and from the University of California at Santa Barbara. In 2008 he was awarded a PhD in Composition.  He has studied with such composers as Donald Bohlen, Joel Feigin, and Bill Kraft, and Early music with Alejandro Planchart. Active as a conductor, organist, singer and composer. Eglin presently teaches at Santa Barbara City College, serves as Director of Music and Organist at El Montecito Presbyterian Church and is the former Artistic Director of the men’s vocal octet, Adelfos Ensemble. He resides in Santa Barbara with his wife Sarah and three children. His choral works are published through Santa Barbara Music Publishing. He is currently the Composer in Residence and Assistant Director for the Santa Barbara Quire of Voyces. Please visit Michael at www.michaeleglin.com.

 

Click here to return to Village News>>