The Latest Album Au douz tens nouvel – Songs of the Troubadoursmarks an impressive milestone for Paulin Bündgen and his ensemble Céladon. To mark the ensemble's 25th anniversary, this album concludes a trilogy exploring the theme of courtly love in the Middle Ages. Like previous releases (a review of Under der Linden can be found here) , it once again demonstrates the ensemble's deep commitment to medieval music and remarkable artistic choices.The album reflects typical troubadour themes of love and humor, with double meanings and erotic undertones. But these typical themes are not the album's standout feature. What immediately strikes you is the careful reconstruction of the chansons. The title track
"En mai au douz ten nouvel" was rebuilt by Bündgen and his team from fragments. With only a melodic line and incomplete texts, they added rhythms and even a second vocal part, sung by Clara Coutouly, to breathe new life into the piece. Their choice to give the reverdie a dance-like energy perfectly suits the theme of spring's return. Yet this project raises questions about the artistic choices and their impact on the listening experience. The ensemble has conducted thorough iconographic research to create instrumentation that aligns with medieval sources. The freedom with which they use these instruments, such as improvisations with rustling sounds and percussion, creates a lively and engaging sound. A new attempt to reach a wider audience? However, this artistic freedom doesn't add value to every song. Sometimes it seems more like an effort to make the whole thing more appealing rather than a truly necessary addition. Something that stood out less prominently in
Under der Linden (RIC447) in the ear. The interplay between Coutouly and Bündgen for the different characters in
aultrier quant je chevochoie L’creates an interesting dynamic, but also raises questions about historical authenticity. Dividing the narrative between male and female seems more like a contemporary choice than a reconstruction of the original performance. While this approach opens new possibilities—broader appeal and greater tonal variety—it sometimes feels artificial. The singing is undeniably refined, but remains somewhat distant. Clara Coutouly's narrative voice, while technically strong, often lacks the emotional urgency needed to truly move the listener. This problem is further compounded by the absence of translations of the Old French texts. Without this context, the stories and their often rich, double meanings remain inaccessible to much of the audience. This lack of translation feels like a missed opportunity, especially for an album aimed at a niche audience.
Despite the points of criticism, "Au douz tens nouvel" remains
Despite the points of criticism, it remains In the Sweet New Times Indeed a charming album. The artistic choices of the ensemble and medieval music specialist Anne Delafosse break with more conventional interpretations, such as the more austere readings from Gothic Voices. Céladon thereby sets itself apart from the rest of the medieval album landscape. For medieval music enthusiasts, this album offers a refreshingly different listening experience.
