Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
24324587 | Play | Planctus David | 08:30 Tools | |
24324586 | Play | O quanta qualia | 15:02 Tools | |
24324589 | Play | Epithalamica | 11:22 Tools | |
24324588 | Play | De Profundis | 02:59 Tools | |
77203375 | Play | Abelard and Heloise, from Saint-Denis to the Paraclete Monastic Song: O quanta qualia | 03:30 Tools | |
24324591 | Play | Virgines Caste | 06:13 Tools | |
24324590 | Play | Planctus Cigne | 08:23 Tools | |
87872154 | Play | Abelard and Heloise, from Saint-Denis to the Paraclete Monastic Song: Virgines caste | 03:30 Tools | |
77203376 | Play | Abelard and Heloise, from Saint-Denis to the Paraclete Monastic Song: Planctus cigne | 03:12 Tools | |
77203371 | Play | Abelard and Heloise, from Saint-Denis to the Paraclete Monastic Song: De profundis | 01:42 Tools | |
24324594 | Play | Mater Salvatoris | 02:21 Tools | |
24324604 | Play | Dolorum solatium, "Planctus David super Saul et Jonatha" | 09:33 Tools | |
89697451 | Play | Planctus David super Saul et Jonatha | 09:33 Tools | |
24324599 | Play | Ne Derelinquas Me | 03:30 Tools | |
24324600 | Play | Magnum Salutis Gaudium | 01:42 Tools | |
87872155 | Play | Dolorium solatium | 01:42 Tools | |
77203378 | Play | Suscipe | 03:12 Tools | |
77203374 | Play | Quam pium | 03:30 Tools | |
77203373 | Play | Fulcite me floribus | 03:29 Tools | |
77203372 | Play | Dum esset rex | 03:29 Tools | |
87872156 | Play | Sponsus | 03:12 Tools | |
24324612 | Play | Planctus David super Saul et Ionatha | 04:48 Tools | |
77203377 | Play | Samson dux fortissime | 03:12 Tools | |
24324602 | Play | Da Mariae tympanum | 01:38 Tools | |
61917145 | Play | Rex Obiit | 03:40 Tools | |
61917144 | Play | Plange, Castella | 07:50 Tools | |
24324607 | Play | O Quanta Qualita, Motet | 07:50 Tools | |
61917147 | Play | O Monialis | 01:42 Tools | |
61917149 | Play | Quis Dabit | 03:12 Tools | |
24324593 | Play | Suscipe (Benedictine Ritual) | 03:30 Tools | |
24324592 | Play | Dolorum Solatium | 09:03 Tools | |
61917146 | Play | Peter Abelard - Monastic Song - 01 - O Quanta Qualia | 03:29 Tools | |
87872157 | Play | Abelard, o quanta qualia - Arr. for Guitar | 03:12 Tools | |
24324603 | Play | Planctus III: Ad festas choreas celibes (arr. A.-M. Deschamps) | 13:34 Tools | |
24324605 | Play | Peter Abelard - Monastic Song - 03 - Planctus Cigne | 03:12 Tools | |
61917148 | Play | Peter Abelard - Monastic Song - 02 - Virgines Caste | 03:12 Tools | |
61917150 | Play | Peter Abelard - Monastic Song - 04 - Quis Dabit | 03:12 Tools | |
61917151 | Play | Peter Abelard - Monastic Song - 07 - Plange, Castella | 03:12 Tools | |
61917152 | Play | Peter Abelard - Monastic Song - 05 - O Monialis | 03:12 Tools | |
61917153 | Play | Peter Abelard - Monastic Song - 06 - Rex Obiit | 03:12 Tools |
Peter Abelard (Lt: Petrus Abaelardus or Abailard; Fr: Pierre Abélard) (1079 – April 21, 1142) was a medieval French scholastic philosopher, theologian and preeminent logician. The story of his affair with and love for his student Héloïse has become legendary. Today Abelard is known largely as a philosopher who had a tragic love affair with Héloïse. However, Abelard was also long known as an important poet and composer. Abelard composed some celebrated love songs for Héloïse that are now lost, and which have not been identified in the anonymous repertoire. Héloïse praised these songs in a letter: "The great charm and sweetness in language and music, and a soft attractiveness of the melody obliged even the unlettered", Abelard later composed a hymn book for the religious community that Héloïse joined. This hymn book, written after 1130, differed from contemporary hymnals, such as that of Bernard of Clairvaux, in that Abelard used completely new and homogeneous material. They were grouped by metre, which meant that comparatively few melodies could be used. Only one melody from this hymnal survives, O quanta qualia. Abelard also left six biblical planctus (laments), which were very original and influenced the subsequent development of the lai, a song form that flourished in northern Europe in the 13th and 14th centuries. Melodies that have survived have been praised as "flexible, expressive melodies (that) show an elegance and technical adroitness that are very similar to the qualities that have been long admired in Abelard's poetry." Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.