Peire de Maensac was an Auvergnat knight and troubadour. He was from Maensac (either Mauzat, Manzat or Mainsat) in the lands of Dalfi d'Alvernha. He came from the petty nobility. His brother Austor or Austors was also a troubadour, but none of his works survives. [1] According to Peire's vida the brothers agreed that one of them would "have the castle" (i.e. inherit) and the other would be the "inventor" (i.e. troubadour). Peire became the troubadour.
He wrote poems dedicated to the (unnamed) wife of Bernart de Tierci. According to his vida he sang so much to her that she eventually allowed herself to be "abducted" by him. He fled with her to the castle of Dalf d'Alvernha, but her husband waged a "great war" to bring her back. Dalfi reputedly defended the castle so well that Bernart was unable to ever reclaim her.
Peire was called a "pleasant companion" by his biographer. He wrote mostly cansos of courtly love with "pleasing melodies", but also coblas de solatz. The meaning of this last phrase is not certain. It could mean "good entertaining couplets" (bon couplets divertissants) according to Boutière-Schutz, the first of the vida's editors, but it could also mean simply tensos , as preferred by Egan, the vida's first English editor.
He was attacked by Robert of Auvergne in a sirventes .
A troubadour was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word troubadour is etymologically masculine, a female troubadour is usually called a trobairitz.
Bernart de Ventadorn was a prominent troubadour of the classical age of troubadour poetry. Now thought of as "the Master Singer" he developed the cançons into a more formalized style which allowed for sudden turns. He is remembered for his mastery as well as popularisation 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.
Peire Cardenal was a troubadour known for his satirical sirventes and his dislike of the clergy. Ninety-six pieces of his remain, a number rarely matched by other poets of the age.
Dalfi d'Alvernha was the Count of Clermont and Montferrand, a troubadour and a patron of troubadours. He was born around 1150 and died in 1234 or 1235. He is sometimes called Robert IV, but there is no solid evidence for the name Robert, and the name can cause confusion, since his first cousin once removed was Robert IV, Count of Auvergne, who died in 1194.
Bernart Marti was a troubadour, composing poems and satires in Occitan, in the mid twelfth century. They show that he was influenced by his contemporaries Marcabru and knew Peire d'Alvernha, whom, in one poem, he accused of abandoning holy orders. Along with Peire, Gavaudan, and Bernart de Venzac he is sometimes placed in a hypothetical Marcabrunian school. His work is "enigmatic, ironic, and satiric", but has no following among later troubadours, according to Gaunt and Kay.
Pons de Capduelh was a troubadour from the Auvergne, probably from Chapteuil. His songs were known for their great gaiety. He was a popular poet and 27 of his songs are preserved, some in as many as 15 manuscripts. Four of his cansos survive with musical notation.
Peirol or Peiròl was an Auvergnat troubadour who wrote mostly cansos of courtly love in the late twelfth and early thirteenth centuries. Thirty-four surviving poems written in Occitan have been attributed to him; of these, seventeen have surviving melodies. He is sometimes called Peirol d'Auvergne or Peiròl d'Auvèrnha, and erroneously Pierol.
The (Lo) Monge de Montaudon, born Pèire de Vic, was a nobleman, monk, and troubadour from the Auvergne, born at the castle of Vic-sur-Cère near Aurillac, where he became a Benedictine monk around 1180. According to his vida, he composed "couplets while he was in the monastery and sirventes on subjects that were popular in the region."
Peire d'Alvernhe or d'Alvernha was an Auvergnat troubadour with twenty-one or twenty-four surviving works. He composed in an "esoteric" and "formally complex" style known as the trobar clus. He stands out as the earliest troubadour mentioned by name in Dante's Divine Comedy.
Uc de Saint Circ or Hugues (Hugh) de Saint Circq was a troubadour from Quercy. Uc is perhaps most significant to modern historians as the probable author of several vidas and razos of other troubadours, though only one of Bernart de Ventadorn exists under his name. Forty-four of his songs, including fifteen cansos and only three canso melodies, have survived, along with a didactic manual entitled Ensenhamen d'onor. According to William E. Burgwinkle, as "poet, biographer, literary historian, and mythographer, Uc must be accorded his rightful place as the 'inventor' (trobador) of 'troubadour poetry' and the idealogical trappings with which it came to be associated."
Perdigon or Perdigo was a troubadour from Lespéron, diocese of Gévaudan. Fourteen of his works survive, including three cansos with melodies. He was respected and admired by contemporaries, judging by the widespread inclusion of his work in chansonniers and in citations by other troubadours.
Gui d'Ussel, d'Ussèl, or d'Uisel was a turn-of-the-thirteenth-century troubadour of the Limousin. Twenty of his poems survive: eight cansos, two pastorelas, two coblas, and eight tensos, several with his relatives and including a partimen with Maria de Ventadorn. Four of his cansos melodies remain.
Peire Guillemde Tolosa was a 13th-century troubadour from Toulouse. Only one sirventes he wrote, a tenso with the contemporary Italian poet Sordello, survives.
Uc Brunet, Brunec, or Brunenc was a nobleman and troubadour from Rodez in the Rouergue. Six of his works survive.
Albert Malaspina (1160/1165–1206/1212), called Alberto Moro and lo marches putanier, was a member of the illustrious Malaspina family. He was a noted troubadour and patron of troubadours. Albert disputes with Peire de la Caravana the position of earliest native Italian troubadour.
Elias de Barjols was a bourgeois Aquitainian troubadour who established himself in Provence and retired a monk. Eleven of his lyrics survive, but none of his music.
Peirede la Mula was an Italian troubadour. Of his writings a pair of couplets and one sirventes are all that survive. According to his vida, he was a joglars and trobaire (troubadour) who stayed for a long time in Montferrat, Cortemilia, and the Piedmont at the court of Ottone del Carretto. This places Peire's activity before 1209, when Ottone lost Cortemilia.
Guillem de Balaun was the castellan of Balazuc and a troubadour from the region around Montpellier. In his vida, which has the characteristics of a razo because it sets the background for the song Lo vers mou mercejan vas vos, he is described as "learned" (adretz).
Robert of Auvergne, also called Robert de la Tour, was a French nobleman, prelate and poet from the Auvergne. He served as bishop of Clermont from 1195 until 1227 and thereafter as archbishop of Lyon until his death. He was also a troubadour, composing poetry in Occitan.