Melanie Spiller and Coloratura Consulting
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Composer Biography: Marcabru (c1099-1150)
Melanie Spiller and Coloratura Consulting
Marcabru was one of the most famous of the older generation of troubadours. What’s a troubadour, you
ask? In the 11
th
through 14
th
century, there were four “flavors” of itinerant musician.
Troubadours (trobairitz): Poets and composers from the Occitan region of France, who made their
way to Italy, Spain, and Greece. Their songs dealt mainly with themes of chivalry and courtly love.
Most songs were intellectual and formulaic (so they could be easily adapted to the audience or
situation), and many were humorous or vulgar. The movement died out around the time of the Black
Death in 1348.
Trouvères: The North France version of troubadour, roughly contemporary with them. The first
known was Chretien de Troyes (fl.1160-1180), and they continued to flourish until about 1300. These
were usually aristocratic performers, for whom the creation and performance of music was part of
the courtly tradition. There were even kings, queens, and countesses among their number.
Minnesingers (Minnesängers): The German version of troubadours, writing of love and courtly
endeavors in Middle High German from the 12
th
through the 14
th
century. Some were aristocratic and
others were impoverished. They died out in favor of the Meistersänger, who were mostly commoners,
like minstrels (English) and jongleurs (French).
Minstrels and Jongleurs: The impoverished version of troubadours and trouvères in England and
France, respectively. Before the Norman Conquest in 1066, such a person was known as a scop
(shaper), who sang his own compositions to the accompaniment of a harp. They mostly told stories of
distant places or of imaginary historical events, and often performed for royalty and high society.
Their main unifying feature was traveling. Their popularity began to decline by the middle of the 15
th
century, although some form of itinerant musician has continued to the present day.
Marcabru was one of the earliest troubadours whose poems are known. Two biographies attached to
collections of his poems tell different stories. Both are based on elements in Marcabru’s poetry rather than
independent biographical information, so not much is known about him.
He was born in Gascony, France, probably around 1099. He wasn’t of aristocratic descent, unlike most
troubadours. One biography, written long after his death, says that he was a foundling, left at the door of a
rich man. Marcabru himself said that he was the son of a poor woman named Marcabruna. He was brought
up by Aldric del Vilar (12
th
century Lord of Vilar), which kind of gives credence to the foundling raised by a
rich man story, and he learned to write poetry from Cercamon (fl c1135-1145, an early troubadour also from
Gascony).
People called him Pan Perdut when he was a young man, and later began to call him Marcabru. When he
became famous, people said that he wrote bad poetry and worse satires, and he spoke evil of both women
and love. Despite his bad mouth, he had a great reputation among his successors.
One of Marcabru’s patrons was Guillaume X of Aquitaine (1099-1137). He was the son of Guillaume IX,
thought to be the first troubadour (11 of his poems survive, although the music didn’t). Eleanor of Aquitaine
(c1122-1204) was the daughter of Guillaume X (who wasn’t a troubadour himself) and was also a great
patron of troubadours. Guillaume X’s support of Marcabru and other troubadours contributed to Eleanor’s
becoming a patroness of troubadours by both tradition and inclination. As you know, she married Louis VII
of France (1120-1180) in 1137, the year he became King of France. Louis was not sympathetic to the game
of l’amour courtois as it was played further south, and the flirtatious habits of his wife ultimately led him to
secure an annulment of their marriage in 1152. Eleanor promptly married a younger man, Henry of Anjou
(1133-1189), who became Henry II of England two years later.
Only three important troubadour names from the period survive: Cercamon (fl 1135-1145), Jaufre Rudel (fl.
mid-12
th
century), and Marcabru. Marcabru might have been Cercamon’s student, and they seem to have
flourished at the same time. Marcabru certainly knew Jaufre, and mentions him in one of his poems. Jaufre
took part in the second Crusade (1147-49) and died while on his pilgrimage.
Over 40 of Marcabru’s poems and four of his melodies survive. There was probably lots and lots of music
and even more poetry that’s lost, although approximately 2600 poems by more than 450 authors has been
preserved. The music, sadly, didn’t survive. Music notation hadn’t been invented yet (for more on that, see
The History of Music Notation).
Biographical details in Marcabru’s works point to a period seeking work in Portugal and Barcelona that led to
employment with Alfonso VII of Castile (1105-1157). In the 1140s, he was a propagandist for the
Reconquiesta and in his famous poem with a Latin beginning Pax in nomine Domini (the rest is in
Languedoc), he called Spain a “laundry where knights could go to have their souls cleansed by fighting the
infidel.” In 1144, he returned to Provence, where he composed the song Cortazmen voill comensar
(“dedicated men begin”) inspired by preparations for the second crusade.
Marcabru and his patron William X didn’t approve of the courtly love ideal of unattainable mistresses that
would become so important in later troubadour music. Marcabru attacks it in his Dirai vos sense duptansa
(“I shall tell you without delay”). It seems that he was a bit of a misogynist, as well.
He denounces the effeminacy and depravity of the courtly life and the conventions of courtly love. From this
moral urgency and highly idiomatic style arises some of the most difficult poetry in the whole troubadour
canon, the tobar clus (“closed form”), the so-called hermetic style.
But Marcabru’s moralizing lyrics are only one mark of his range. At the other end are the songs extolling true
love, and his songs dramatizing a profoundly medieval view of “right order” are among the most civilized
utterances in Provencal poetry, according to one source.
There are 43 chansons attributed to Marcabru, remarkable for the complexity of their texts, most of which
discuss the niceties of courtly love. Only four of his melodies survive.
The troubadours sang their own songs, but there is a peculiar lack of evidence that they accompanied their
songs on or played instruments.
Troubadour melodies, using the works of others as well as Marcabru’s, are on a par with the poems in their
ingenuity and diversity of their formal structures. Some melodies are continuous, with a different musical
phrase for each line of text. Others repeat one or more melodic phrases in a variety of patterns that often
have little to do with the structure and rhyme scheme of the poems.
The predominant influence on the melodic style was surely the music of the Church. The relationship is most
obvious in settings of the rhymed poetry of hymns and verses, but in range, melodic direction, intervallic
progressions, and cadential formulas, troubadour melodies scarcely differ from Gregorian chant in general.
A surprising number adhere to the Church’s system of eight modes (for more on that, see Musical Modes,
Part 1: Church Modes). The style is basically syllabic, with occasional ornamental figures of two to five notes.
These figures tend to come near the close of phrases, where they emphasize rhymes and strengthen the
cadential feeling. They serve a musical function rather than being associated with particular words. Variants
of the same melody in different sources most frequently involve the ornamental figures, which suggests that
the singers felt free to modify vocal ornaments or introduce new ones. They might even have varied the
ornamentation from stanza to stanza, something that became particularly popular in the Baroque period.
Ornament aside, singers were left to decide for themselves regarding the rhythms of the melodies. In
plainchant, and all other contemporary monophonic song, the notation of troubadour melodies gives no
indication of note values or durations. Musical scholars seem to be unanimous in accepting the hypothesis
that secular songs were sung in the triple meters of the rhythmic modes (for more on this, see Musical
Modes, Part 2: Rhythmic Modes), but they disagree as to how those meters should be adapted to specific
texts.
Literary scholars, on the other hand, reject the use of triple meters whether the words are in Provencal,
French, or Latin, because in none of those languages does versification depend on the regular alternation of
strong and weak syllables—there aren’t any obvious poetic meters, in other words. The number of syllables
in a line, the total number of lines, and the rhyming scheme were the only criteria for making succeeding
stanzas of a poem correspond with the first. Constant variation of metrical patterns seems to be one of the
subtlest techniques of troubadour verse.
The most frequent theme in Marcabru’s songs is the distinction between true love and false love—true love
is joyful, intense, in harmony with the welfare of a community and with divine intentions, and false love is
bitter, dissolute, self-regarding, and destructive. He denounces the courtly class for its preciousness and lust.
Courtly love in the high courts was on the way to ruin, he says, because it’s infested with its own bastards.
The women trick their husbands into raising the children of others, the men are cuckoo birds who lay their
eggs in someone else’s nest, and the troubadours pander to this cupidity, being a vile crowd of liars and
madmen who defame love and glorify lust.
In Marcabru’s songs, we meet a singer who takes a stand against the false lovers, whom he identifies as the
other poets of the court. He goes on to distinguish the other sorts in the society he addresses; they become
the characters whom future poets identify as their audience: the false lovers, the flatterers, the slanderers,
the spies, the envious, the vulgar, and the true lovers, the last of whom will be the singer’s friends.
The poets who came after Marcabru retained the same sorts of designations, although they didn’t take up
his religious values or his prophetic stance. They were concerned instead with defining the values of
courtliness in terms of fictional love relations, and they stood before their audiences as constituents and
spokesmen. The differences between their poetry and Marcabru’s reflect the differences of their poetic task
and their performing attitude.
However, these differences are not so great as they may seem. What Marcabru means by true love is a
secular experience, not a religious one. This kind of love is good, he says, because it’s involved in a larger life,
the life of a society, and one with a certain ethical and religious mandate.
His poems are erudite, often difficult, sometimes obscene, and are relentlessly critical of the lords and ladies
of his time and their morality. He experimented with pastoral themes, which he uses to point out the futility
of lust. One poem tells of how the speaker’s advances are rejected by a shepherdess on the basis of class;
another tells of a man’s attempts to seduce a woman whose husband was off at the crusades and was
rebuffed.
Marcabru was a powerful influence on later poets, not only on practitioners of the hermetic style, but also
on others who chose from the wide variety of his poetic (and presumably musical) forms, or who took up his
moral stance. But no one could recreate his irascible and exalted tone.
When he persisted in saying bad things about the lords of Gascony, they put him to death.
Sources
“The Norton/Grove Concise Encyclopedia of Music,” edited by Stanley Sadie. W.W. Norton & Co., New York,
1994.
“The Concise Oxford History of Music,” by Gerald Abraham. Oxford University Press, Oxford, 1979.
“A Dictionary of Early Music, from the Troubadours to Monteverdi,” by Jerome and Elizabeth Roche. Oxford
University Press, New York 1981.
“The Pelican History of Music, Volume 1: Ancient Forms to Polyphony,” edited by Denis Stevens and Alec
Robertson. Penguin Books, Baltimore, 1960.
“Early Medieval Music up to 1300,” edited by Dom Anselm Hughes. Oxford University Press, London, 1954.
“Medieval Music,” by Richard Hoppin. W.W. Norton & Co., New York, 1998.
“Music in the Middle Ages,” by Gustave Reese. W.W. Norton & Co., New York, 1940.
“Companion to Medieval & Renaissance Music,” edited by Tess Knighton and David Fallows. University o
California Press at Berkeley, Berkeley, 1997.
“Lyrics of the Troubadours and Trouvères, an Anthology and a History,” translations and introductions by
Frederick Goldin. Peter Smith and Doubleday, Gloucester, 1983.