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Flemish Polyphonic Treasures For Charles V

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Détails sur le produit

  • Compositeur: Capilla Flamenca
  • CD (18 octobre 1999)
  • Nombre de disques: 1
  • Label: Naxos
  • ASIN : B000038I7X
  • Autres éditions : CD  |  Téléchargement MP3
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Descriptions du produit

Dai manoscritti di Alamire, composizioni di DESPREZ, DE LA RUE, WILLAERT, GASCOGNE, MOUTON, ... "The A-LA-MI-RE Manuscrips"

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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x97a145d0) étoiles sur 5 4 commentaires
21 internautes sur 22 ont trouvé ce commentaire utile 
HASH(0x9c195690) étoiles sur 5 Sensitive, Compelling, and Outstandingly Rendered! 21 février 2005
Par dw - Publié sur Amazon.com
Format: CD
I picked this CD up simply to round out an order, not thinking that it would be anything special. I was very wrong. This is one of the best Early Music CD's I own. Capilla Flamenca does an outstanding job of reproducing this early Franco-Flemish repertoire. There are some gems on this CD that you will find nowhere else. From polyphonic mass settings to lively Renaissance dance bands, this CD covers the era with grace. I would recommend it to anyone and everyone.
32 internautes sur 38 ont trouvé ce commentaire utile 
HASH(0x973721a4) étoiles sur 5 Great recording, great music. 29 avril 2001
Par Chris Massa - Publié sur Amazon.com
Format: CD
Without a doubt, early music is an acquired taste. Even though some will certainly gawk at the comparison, I find it very similar to music written in the 20th century. This similarity is not in how the music sounds, but rather how it needs to be listened to. If you purchase a CD of early music expecting to hear something that resembles Beethoven or Mozart, you are in for a real disappointment. If you want to hear something different, something that you don't hear very often, something that is beautiful in a decidedly different way, then maybe early music is right for you.
That being said, I must say that I love early music, just as I love new music. For anybody who already has a good collection of early works, this release, "The A-La-Mi-Re Manuscripts," is a superb choice. It is gorgeous music that is performed brilliantly and is recorded marvelously, revealing a full and rich tone. Or, if you are just starting to get your feet wet with early music, this is still a fantastic release to purchase, for the reasons mentioned above, as well as another one. The price. Don't let it fool you. This is great music that is as good as, if not better than, any comparable release at a much greater price. And if you purchase it and decide you don't like it,you're...(not out much money). But let me go on record saying that I doubt you'll ever regret purchasing this disc. It is a truly wonderful release that raises the bar for early music recordings, regardless of the price tag.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x97372b7c) étoiles sur 5 Flemish Fire! 27 août 2008
Par Gio - Publié sur Amazon.com
Format: CD Achat vérifié
Early Music programs are a lot like fine wines; single vintage bottlings are the fashion, but sometimes blends are easier on the palette. Likewise, most high-end recordings of Renaissance and Baroque tend to be "complete" works by a single composer. That works well enough for Baroque oratorios, but Renaissance music comes in smaller packages - motets, villancicos, carmina, usually no more tha four to six minutes long. I know from hard experience that a concert program of 15 similar motets, however finely performed, will be hard to sell.

Capilla Flamenca has taken another option, a blended program of vocal works by different composers spiced with instrumental fantasies of the same era. The risk of such a concert program is lack of focus and unity, but Capilla Flamenca has answered that challenge by the neat device of centering their program around Petrus Alamire, one of the great calligrapher and manuscript illuminators of the 16th Century, whose work was avidly collected by Charles V and Margarite of Austria. The name "Alamire" is a musical jest, A for the tonic note, la, mi, and re for the intervals of the scale. The man's real name was Imhofe.

Composers represented on this CD include Josquin Desprez, Pierre de la Rue, Heinrich Isaac, Jean Mouton, Adrian Willaert, and Anon -- all the greats of the Flemish musical mafia which conquered all of Europe in the 15th and 16th Centuries. Instrumental works are performed on "alta capella" shawms and trombones, solo lute, and "bassa capella" viola da gamba consort. In this context, 'alta' means loud, 'bassa' means soft. 'Flamenco' means Flemish, by the way; the Flemish influence on Spanish music of the Renaissance was the starting point for the later Spanish popular music we now call flamenco.

I found this CD on a shelf in my apartment in Rome. I must have bought it five or six years ago, and never got around to listening to it until now. What a stunning surprise! This relatively unknown ensemble of young Belgians can really sing, and sing this repertoire as proudly as if it were their national heritage, which it is. The instrumentalists are all part of an ensemble called La Caccia, also Belgian judging by their names. Their bright tones are as effective as ginger for cleansing the musical palette between sips of oak-barrel aged vocal polyphony.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x97372a50) étoiles sur 5 Mercy, love and death 6 mai 2015
Par Luc REYNAERT - Publié sur Amazon.com
Format: CD
As E. Schreurs states in his excellent introduction, Petrus Alamire was a pseudonym for a German music calligrapher, who lived in the Low Countries (Antwerp and Mechelen). One of his manuscripts is the ‘Chansonnier’ of Margaret of Austria held in the Royal Library in Brussels.
The excerpts of this manuscript on this CD are centered on two main topics: religion and the popular (also because of its text) Flemish love song ‘Myn hert altyt heeft verlanghen naer u’ (My heart has always longed for you) by Pierre de la Rue.

The texts
The main theme of the religious songs is a call for mercy: ‘1 – Kyrie eleison’ by M. Gascogne; ‘2 – Heaven’s favour/Our help’ by J. Mouton/A. de Févin: ‘In praying to you, we intercede for ourselves, grant that by your mercy we find swift succour’; ‘5 – Agnus Dei’ by A. Willaert: ‘have mercy on us, grant us peace’; ‘6 – Salve Regina’ (Anon.): ‘turn your eyes of mercy towards us’.
The main topic of the profane songs is death: ‘3 – Ah grief’ (attr. Josquin Desprez), a mourning song on the death of Emperor Maximilian I; ’13 – Filled with grief’ by J. Desprez, are ‘the last words of Dido’: ‘I yield to you for my remaining days’; ’14 – Within this tomb’ (attr. P. de la Rue) is a mourning song on the death of the ‘green lover’ (a parrot); ’15 – Sweet things of his’ by M. de Orto: ‘receive this soul and release me from these cares’; and, ’12 – Even further’ (Anon.): ‘come to where my fate is set’.
The main theme of the love song ‘My heart has always longed for you’ by P. de la Rue is also ‘death’, the fear for the end of a love affair : ‘therefore, my love, do not fail me’ (the translation of ‘lief’ in the accompanying leaflet should be ‘my love’, not ‘love’ (= liefde)).
The song ‘4 – May the mother flourish’ by P. Moulu is an ode on music and on many Renaissance musicians with the wish, ‘may the rhythmic melody of musicians thrive’.

The music
The main score in this recital is the intimist/melancholic love song ‘9- My heart has always longed for you’ by P. de la Rue characterized by its slow imitations, like most of the other songs on this CD. Its melody is used in 4 other compositions: ‘1 – Kyrie’ by M. Gascogne, ‘10 – Celle que j’ay (The one I have)’ by C. Rigo de Bergis, ‘6 – Salve Regina’ (Anon.) and the most ‘modern’ adaptation for lute solo by H. Newsiedler (11).
The songs of (or attr.) Josquin Desprez (‘3 – Ah grief’ and ‘13 – Filled with grief’) and the one by P. Moulu (4 – May the mother flourish) stand out by their fluent sound waves generated by the voices and the instruments.
The instrumental pieces are more lively, like ‘7 – Maudit soy’ by H. Isaac; ‘8 – Autant en emporte’ by P. de la Rue, which is a version without voices of his song ‘Gone with the wind one kiss given, if the heart is not in it’; and, ‘Jam Sauche (Joyssance vous?)’ also by P. de la Rue.
The only piece by P. Alamire is ‘17 - Tandernaken op den Rijn’, an instrumental variation on a Dutch song, which means ‘the city of Andernach on the Rhine’, where two girls speak with one another. The first one is crying because her mother forbids her to see her lover, while the other wished she had followed her mother’s advice, for she is pregnant now and her lover left her.

Excellent interpretation by the ‘Capilla Flamenca’.
Highly recommended to all lovers of Renaissance music, with one regret: translations of the texts are only in English.
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