Melanie Spiller and Coloratura Consulting
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Composer Biography: Adam de la Halle (c1237-c1286)
Melanie Spiller and Coloratura Consulting
Also Adam e la Hale, and Adam le Bossu (the hunchback), and Adam d’Arras.
Adam de la Halle is probably the most famous of the French trouvère composers and poets. (For more on the
difference between troubadours and trouvères, see Composer Biography: Marcabru.) He was one of the last
of the trouvères, and one of the few to use polyphony. This is exciting, because it meant that secular music
was being done in multiple parts rather than unison, finally following liturgical music’s lead—and being
documented.
Adam’s literary and musical works include chansons and jeux-partis (poetic debates), polyphonic rondels,
motets in much the same style as liturgical polyphony, and a musical play (Jeu de Robin et Marion), which is
considered the earliest surviving secular French musical play. He was the first vernacular poet-composer
whose works were collected into a single manuscript, which shows the great esteem in which he was held
then and now.
Adam was born in Arras, in northern France along the Scarpe river. The nickname of “hunchback” was
probably a family name, as Adam explains that he wasn’t a hunchback. It was a common name (as people
didn’t have family names yet, and it was usual to take the name of your hometown as a disambiguator. His
father, Henri de la Halle (dates unavailable), was a well-known citizen of Arras, and the nickname Li Bossu
distinguished his family from other La Halle families.
Adam studied grammar, theology, and music at the nearby Cistercian abbey. He was destined for the
priesthood, but renounced his intention and, in 1262, married a woman named Marie (dates unavailable),
who appears in many of his songs. Sadly, the marriage didn’t last, and Adam went off to be educated at the
University of Paris.
He returned to Arras in about 1270, but Adam and his father soon had a public argument with other citizens
of Arras and had to go live in Douai, about a day’s ride away, for a short while. They returned, and Adam
became a prominent member of the Confrerie des jongleurs et bourgeois d’Arras, the guild of performers,
and the puy, Arras’ literary fraternity.
In 1271, Adam entered the service of Robert II, Count of Artois (1250-1302), and accompanied him when he
went to Naples in 1283. Robert II was bringing troops to reinforce the efforts of his uncle, Charles of Anjou
(1226-1285), after the disaster of the Sicilian Vespers (a rebellion that broke out at Easter in 1282 and
unseated Charles’ family from ruling there).
Charles of Anjou had become Charles I, King of France when his brother (Louis IX) died in 1270. He’d set up a
proper court in Naples with musicians and the like, so he hired Adam away from Robert II. Adam stayed in
Naples until 1288, when some think that Adam died (more on that at the end of this post).
Some of Adam’s more important works were written and performed at the Naples court, including Jeu de
Robin et Marion, the earliest known French musical play. There will be more about that in a moment.
Adam wasn’t particularly distinguished as a musician, but he was a lyric and epic poet and a dramatist.
The total of Adam’s known works include 36 chansons, 46 rondels de carole (somewhat like a round), 18
jeux-partis (political debate), 14 polyphonic rondeaux (most in three parts), seven motets (five in three
parts), one virelai, one ballette, one dit d’amour (a love ditty), and one congè (a song of departure). Most of
his works are in the conductus style (for more on conductus, see Composer Biography: Leonin) and he was
the only Frenchman of his time to use the polyphonic settings for the rondeau, virelai, and the ballade. His
work spans the forms fixes used by polyphonic secular music for the next two centuries.
Adam’s early work wasn’t musical. He wrote a nice piece of theater, Le jeu Adan, also called Le jeu de la
Feuillee (the Play of the Greensward) sometime around 1262. In this satirical drama, he introduces himself,
his father, and the citizens of Arras with all their various peculiarities; it was intended to amuse his friends as
he was leaving for Paris to pursue his studies.
Later, he wrote Le conge (The Departure), expressing his sorrow at leaving his wife and Arras, and there’s an
unfinished chanson de geste called Le roi de Sicile in honor of Charles I, which he began writing in 1282,
three years before Charles died. Another short piece, Le jeu du pelerin, is sometimes attributed to him. This
one mocks his friends for forgetting him after he left Arras.
His shorter poetic works are meant to be accompanied by music. Both his music and literary works
encompass virtually all genres of the time, and he is one of the few medieval musicians credited with both
monophonic (chant) and polyphonic music. There are monophonic chansons and jeux partis, polyphonic
motets and rondeaux, and three plays with musical inserts. The monophonic works continue the older
tradition of the courtly lyrics and chanson de geste, and the three-voice rondeaux and the dramatic works
are more progressive.
Adam was among the few 13
th
century composers to apply polyphonic techniques to the various
contemporary types of secular music: ballade, rondeau, and virelai. The pieces are very appealing and, in
some ways, anticipate 14
th
century developments.
Like his contemporaries and fellow trouvères Colin Muset (c1210-c1270) and Rutebeuf (c1245-1285), Adam
wrote numerous polyphonic rondeaux, ballades, and virelais. He wrote a set of three-part rondeaux in the
latter part of the 13
th
century, but apart from their isolation, these charming works had little in common with
most 14
th
century rondeaux. They were all written in conductus style, note against note, with all three voices
singing the same text, none of which held true for the 14
th
century rondeaux.
The manuscript copy of his works gives the title of “Li Rondel Adan” to a group of 16 pieces that are among
the first polyphonic settings of dance songs. Most are rondeaux, although the forms and rhyme schemes are
not completely standardized. One of the pieces has the form of a virelai and another is a ballade with an
opening refrain.
Adam wrote his most famous piece, Jeu de Robin et Marion, in 1284 or thereabout, and it’s the earliest
known French musical play on a secular subject.
The pastoral tale tells, with a great deal of earthy humor, how the maiden Marion resisted a charming knight
and remained faithful to her beloved, Robin the shepherd. It’s based on an old chanson, Robin m’aime, Robin
m’a and consists of dialog interspersed with refrains from popular songs. The melodies are probably local
folk music, and are more fun and melodious than the more elaborate music of Adam’s songs and motets.
Robin et Marion is thought by some historians to be the predecessor of the genre of comic opera.
Nearly all of the music in the play is sung by the characters of Robin and Marion, although a little is given to
the knight who vainly pursues Marion and to Robin’s cousin Gautier. The music is simple, as befits a bawdy
country comedy. Modal rhythms, particularly the first mode (for more on this, see Musical Modes, Part 2:
Rhythmic Modes), had been deeply rooted in the Western musical consciousness for centuries already, and
so you’ll hear them predominating here too.
Jeu de Robin et Marion was likely welcome entertainment for Charles I and the dispirited French court.
Charles died in 1285 and Adam’s dedicated his final work, Le Roi de Secile, to his memory.
A tribute written in 1288 refers to Adam’s death, but he was also reported in England in 1306, among
musicians at the knighting of Edward, Prince of Wales (later Edward II, 1284-1327). It’s probable that Adam
died in 1306 or thereabout, back in Naples, which is now part of Italy.
Rnewed interest in medieval music in the 19
th
century led Edmond de Coussemaker (1805-1876), a pioneer
in the study of medieval music, to publish Adam’s complete known works in 1872. Editions of other
manuscripts and medieval song repertories followed in the 20
th
century. Recently, there’s been even more
interest in medieval music, and the technology to disseminate it is incredibly efficient.
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