Canso music
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There are a number of recorded variations on this French medieval troubadour’s name. He is variously referred to as Bernard de Ventadour, or Bernart de Ventadorn amongst others. This secular composer wrote lyrical poetry for the art of the troubadour and he is also known as a “Master Singer”. The typical song style of his contemporaries was the cançon and he developed this into something more formal, allowing for sudden turns in the melody or story.
Bernard de Ventadorn was born some time during the year 1150 at Ventadorn castle, where his father worked – he was a baker there. This was in the region of France now known as the Corrèze. Other accounts suggest he may have been fathered by a castle servant or perhaps a soldier. Bernard soon came under the protection of a Viscount, Eble III, and he was soon writing poems for the Viscount’s wife Marguerite. Unfortunately his relationship with this lady moved beyond writing poems and he fell for her. For this he was banished from the town and he travelled to various places, singing at Toulouse and Montluçon.
Some of his poetry
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Bernart de Ventadorn
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Bernart de Ventadorn
French troubadour (c. 1130–40 – c 1190–1200)
Bernart de Ventadorn (also Bernard de Ventadour or Bernat del Ventadorn; c. 1130–1140 – c. 1190–1200) was an Occitan poet-composer troubadour of the classical age of troubadour poetry. Generally regarded as the most important troubadour in both poetry and music, his 18 extant melodies of 45 known poems in total is the most to survive from any 12th-century troubadour. He is remembered for his mastery as well as popularization of the trobar leu style, and for his prolific cançons, which helped define the genre and establish the "classical" form of courtly love poetry, to be imitated and reproduced throughout the remaining century and a half of troubadour activity.
Now thought of as "the Master Singer," he developed the cançons into a more formalized style which allowed for sudden turns. Bernart was known for being able to portray his women as divine agents in one moment and then, in a sudden twist, as Eve – the cause of man's initial sin. This dichotomy in his work is portrayed in a "gra
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