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Palestrina/messe Homme Arme

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Détails sur le produit

  • Interprète: Sergio Vartolo
  • Compositeur: Giovanni Pierluigi Da Palestrina
  • CD (1 janvier 2010)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B000009IMY
  • Autres versions : Téléchargement MP3
  • Classement des meilleures ventes d'Amazon: 229.344 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Missa "L'Homme arme'" (con interpolazioni tratte dai Ricercari di G.Cavazzoni)

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Seven Hundred Thirteen Results! 7 janvier 2011
Par Gio - Publié sur
Format: CD
That's what I find on amazon when I enter "Palestrina" in the search box! Not all of those results turn out to be recordings of Palestrina's masses, but nonetheless there are oodles of CDs of performances by large choirs and small choirs -- King's College Choir, Westminster Cathedral Choir -- by amateur ensembles and professional ensembles of the stature of The Tallis Scholars and the Oxford Camerata. There's a full box - complete masses - by the venerable Pro Cantione Antiqua. And to be painfully blunt, they're all dull, dull, dull. Giovanni Pierluigi da Palestrina (1525-1594) is the most revered composer in the history of 'sacred' music; his virtual deification by the pundits of the Council of Trent determined that. But that reverence had become perfunctory within a century of his death. All his flawless counterpoint and liturgical propriety became a concrete coffin of solemnity.

I've given praise when praise was due to some of those plenteous recordings, but I confess that listening to them has been more duty than pleasure. But now, what to my wondering ears should appear but a Palestrina performance that I truly relish! And it isn't even new! This recording was made in 1995. There are eight singers listed for a mass 'a 5 voci' with support on a organ. The ensemble director Sergio Vartolo, an organist by training, asserts in his program notes that it his his view that "Palestrina's sacred music developed a madrigal style" which is "only possible with a small group of professional soloists and that with a large amateur choir." My own ears agree with that manifesto 100%, and I think this CD will convince others as well.

It's the performance that matters here. The 'Missa L'homme armé' is not typical of Palestrina's famous musical chastity and clarity. In fact, it's not one of Palestrina's finest masses, though it has been enshrined by theorists since at latest 1613, and it's not one of the most electrifying polyphonic masterworks based on the odd melody of the song L'homme armé, of which there are a dazzling array. Palestrina was better at his seamless clarity, his subtle simplicity. This mass is too studiedly complex to be as exhilarating as the L'homme armé masses of Ockeghem or Josquin. It ranks closer to the densely composed L'homme armé of the great musical theorist Johannes Tinctoris. Despite all that, Vartolo and his 'Soloists of the cappella Musicale di S. Petronio di Bologna' sing it with such beauty and stylistic energy that it's instantly obvious how truly great a composer old Palestrina was.

The single verse chanson "L'homme armé" was the anthem of the Order of the Golden Fleece, the most exclusive 'old boys' club' of history, an international confraternity of potentates founded by Philip III of Burgundy in 1430. It was limited to 30 members throughout the 15th C but expanded to 50 by Palestrina's era. Eventually it split in twain, with Austrian and Spanish orders. It still exists, though ostensibly ossified. Who knows, perhaps it really wields unfathomable influence! The living members of the Spanish Order are:
Juan Carlos I, King of Spain (b. 1938) sovereign of the order
Carlos, Duke of Calabria (b. 1938)
Constantine II, King of the Hellenes (b. 1940)
Felipe, Prince of Asturias (b. 1968)
Carl XVI Gustaf, King of Sweden (b. 1946)
Jean, Prince of Luxembourg (b. 1921) Grand Duke of Luxembourg (1964-2000)
Akihito, Emperor of Japan (b. 1933)
Beatrix, Queen of the Netherlands (b. 1938)
Margrethe II, Queen of Denmark (b. 1940)
Elizabeth II, Queen of the United Kingdom and the Commonwealth Realms (b. 1926)
Albert II, King of the Belgians (b. 1934)
Harald V, King of Norway (b. 1937)
Simeon Saxe-Coburg-Gotha[6] (b. 1937) Tsar of Bulgaria (1943-1946) and Prime Minister of Bulgaria (2001-2005)
Bhumibol Adulyadej, King of Thailand (b. 1927)
Henri, Grand Duke of Luxembourg[7] (b. 1955)
Adolfo Suárez González, Duke of Suárez[8] (b.1932) Prime Minister of Spain (1976-1981)
Abdullah, King of Saudi Arabia. Custodian of the Two Holy Mosques[9] (b. 1924)
Javier Solana[10] (b. 1942)
Víctor García de la Concha[11] (b. 1934)

That's a 'fun' list, isn't it? Documentation of any linkage between the numerous L'homme armé masses and the Order of the Golden Fleece is scanty and vague, but I have an hypothesis that most of the masses, possibly all of them, were written specifically for the occasional convocations of the Order, either on commission from one of the knights or as a hopeful compliment to potential patrons in the Order. Palestrina wrote two masses using L'homme armé as a cantus firmus, one for four voices and this one for five. The last L'homme armé mass that I know of was composed by Carissimi a good century later. All the L'homme armé masses are distinguished by startling modal 'irregularities' and curious rhythmic devices. They are all challenging in extremis, both to sing and to graso as a listener. In other words, they're music for the connoisseurs of polyphony, as it's safe to assume the Knights of the Golden Fleece would have been in the 15th and 16th Centuries. I can't speak for the current membership.

On this CD, between the 'ordinaries' of the mass, Sergio Vartolo interposes four ricercares for organ, composed by the obscure Girolamo Cavazzoni (1525?-1577?). These are excellent polyphonic fantasies, very finely played by Vartolo himself. The notes don't identify the organ used, but it's obviously a mean-tone instrument, as every organ of Palestrina's world would have been. The vocalists likewise sing in mean-tone, resulting in pure thirds and exquisite consonances that resolve the plangent dissonances of Palestrina's crunchy mixolydian modality. That's a major part -- the hsitorical tuning -- of what makes this a more exciting performance of Palestrina than others. If you've never understood why Palestrina is considered the summa of polyphony, this is the CD for you.
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