- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
Missa Tu Es Petrus
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Prime bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Les clients ayant consulté cet article ont également regardé
Détails sur le produit
Voulez-vous nous parler de prix plus bas?
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Liste des titres
Disque : 1
Description du produit
Description du produit
Jean Mouton was a Renaissance French composer and choirmaster, much acknowledged but more rarely recorded, who wrote a body of music thats both technically inventive and immediately appealing. Here Stephen Rice and The Brabant Ensemblerenowned exponents of sixteenth-century Franco-Flemish repertoireperform all Moutons eight-part music, two four-part motets, and his only five-part Mass setting, the Missa Tu es Petrus. The latter is characterized by light, clear textures and a soaring cantus firmus, while the double-choir Nesciens mater is rightly famous for its ingenious canon. Sheer compositional skill aside, all these works demonstrate Moutons vivid and original imaginationone that has the ability to speak directly to our time.
In each of these rich and complex works, the lucidity of both the Brabant Ensemble singing and Rice's direction is hugely impressive. --IRR, Jun'12
Measured account for Brabant portrait of Willaert's teacher. --Gramophone,Aug'12
Mouton's music is freshingly airy and transparent. Highly recommended. Performance *****Recording ***** BBC MUSIC CHORAL & SONG CHOICE --BBC Music Magazine, Sept'12
Commentaires en ligne
Meilleurs commentaires des clients
Sans bélements(!) ni defauts et sans ...reserve
Du côté britannique, l’accueil réservé à l’enregistrement de la « Missa tu es Petrus » a été fort élogieux. Le BBC Magazine en recommande fortement l’acquisition. On y écrit qu’il s’agit « … d’une musique exquise bien servie par l’interprétation élégante du Brabant Ensemble ».
Tout au long de son article pour International Record Review, Andrew O’Connor ne tarit pas d’éloges pour la musique de Jean Mouton. Au sujet des motets qui accompagnent cette messe, il note que : « Pour chacune de ces compositions fort riches et complexes, la lucidité à la fois du chant du Brabant Ensemble et de la direction de Rice est immensément impressionnante ».
Chez Gramophone, Caroline Gill parle peu de Jean Mouton et de sa contribution à la polyphonie de la Renaissance.Lire la suite ›
Commentaires client les plus utiles sur Amazon.com (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards)
In the latter half of his career, he worked for Pope Leo X.This CD contains the Missa Tu Es Petrus, his best known composition apart from Nesciens Mater,and it is magnificently presented here. Parts of this Mass are required by the Composer to sing actually higher than written, and here those roles are sung by females. As well as the Mass, the other six pieces recorded here provide a complete CD of works by Mouton, a rare commodity.The Tallis Singers on a Gimell label is the only other.
Of note about this superb Vocal Ensemble is the lack of vibrato in their singing, but it is clear, rounded and never thin.
This has the highest recommendation.
The most impressive of these is undoubtedly the Missa Tu es Petrus. This 5-voice cantus firmus mass is an extremely beautiful work in both melody and texture. The clarity of its counterpoint and the radiant, soaring lines remind me a little of Clemens non Papa, one of my own favourites; and yet somehow the result is quite different, for Mouton has a very distinctive manner of his own. Here the voices weave graceful garlands around the chant theme as the composer, far from being in any way restricted by the cantus firmus format, allows himself remarkable freedom to develop his inspired melodic ideas. Moreover this adventurous music, with its starkly prominent lines, is most beautifully delivered by the Brabant Ensemble, singing two voices to a part. This mass is altogether a splendid and inspired work, and truly there is not a single dull moment as it receives a vigorous, committed and profoundly musical interpretation from Stephen Rice and his excellent singers.
There are plenty more treasures in this fascinating and well-organised programme. In addition to "Nesciens mater" there are three other fine 8-voice motets. These include the majestic state motet "Exsultet coniubilando" - a good example of the tendency among many composers, both in renaissance times and after, to produce some of their noblest-sounding pieces when in grovel mode, that is to say when composing music in praise of some earthly potentate - in this case presumed to be Pope Leo X. Whatever the motivation, the result is lovely, as is the following sacred piece "Verbum bonum et suave".
After Mouton's beautiful Mass, the disc ends with two fascinating and characterful motets - both in four voices, but here with the usual 2VPP arrangement understandably supplemented by an extra voice to each part. I say 'understandably' in view of their subject matter; the first, "Bona vita, bona refectio" encourages listeners to eat, drink and have a jolly good time, with the help of a text conveniently providing the clerical audience with a righteous excuse for doing so. It's a joyful, enthusiastic piece, sung here with all the panache you could wish for. Finally, "Factum est silentium", despite this innocuous first line of text, is about the battle between St Michael and the dragon and the heavenly onlookers' reactions to it. It's a vivid and exciting piece, with splendid homophonic passages accentuating the drama; and once again it's superbly sung here.
This programme, then, is another brilliant contribution to the renaissance discography from the Brabant Ensemble. Stephen Rice and his ensemble have brought us a programme of rare and wonderful music and, what's more, in superbly crafted and committed performances. I really must stress again the extraordinary quality of the Tu es Petrus mass. In his excellent booklet notes Dr. Rice tells us that it's just one of Mouton's fifteen surviving mass settings. As far as I know only two of these, including the present one, have ever been available on disc; so, if the others are anywhere near as fine as this, will somebody please bring us some more?
This is a fine performance, embodying the best the British choral tradition, but I'm not as thrilled by it as I hoped to be. The eight-part motets, all sung two-on-a-part, are too top-heavy and perhaps a tad too solemn. Of course they were written for performance in churches, chiefly on liturgical occasions, but they needn't sound so "churchy". Jean Mouton (1459-1522) composed a long generation before Jean Calvin (1509-1564) decomposed. Think of the paintings of Mouton's era, of the clothes people were wearing in those paintings! Think of Mouton's most ardent patron, the luxuriously decadent Pope Leo X of the Medicis! These motets need to sound prideful and bold, not sanctimonious.
To my ears, the five-part Missa Tu es Petrus has more of the proper flare. It was an "old-fashioned" composition in its own time, closer in style to the works of Ockeghem (1425-1497) than to Mouton's own norms in his motets and other masses. The impact of the music depends on the rhythmic energy and complexity of the four "contra" lines hopping and scooting around the dependably stately "tenor". [Not the tenor singers! "Tenor" here is a structural concept, a long-note firm chant against which the other voices gyrate.] Stephen Rice and the Brabants handle this sort of free-swinging polyphony far more expressively than Phillips and the Tallis Scholars. Even so, however, I wish this performance had been done one-voice-per-part, with the bass borrowed from a Dutch or German ensemble.
Jean Mouton was and is often compared to Josquin Desprez (1455-1521). Indeed, some modern musicologists have suggested that Mouton should be perceived as Josquin's heir. In fact the two composers were exact contemporaries who died just a year apart. Much of Mouton's music seems quite conservative, if one takes Josquin's as the template for the "future" of polyphony. But Josquin was an internationalist, renowned throughout Europe, who spent much of his career in Italy, while Mouton was a rare "stay-at-home" among the great 'Fiamminghi' composers of his era. His early career was provincial, centered around Amiens. His big break came when he took a post in Grenoble, where he caught the attention of royalty, becoming the principal composer of the French court for the rest of his life. As far as we know, he traveled outside France only once, to Bologna in 1515, where he was honored by Leo X. It's likely that Mouton was commissioned by Leo X to prepare the glorious musical volume known now as the Medici Codex, as a wedding gift for the dissolute Lorenzo de' Medici of Urbino. That manuscript and the Parisian printings of Mouton's music for the French court have insured the survival of an exceptional body of his work, including fifteen complete masses.
If "greatness" is to be measured in terms of influence, oddly enough Mouton's greatest impact on musical history was through his student, Adrian Willaert (1490-1562), who became maestro di capella at St. Mark's in Venice. Willaert certainly built upon Mouton's eight-part motets in the evolution of the monumental double and triple choir works for which he became famous. Willaert, in turn, could arguably be ranked as one of the most influential composers of all time.
I wonder whether this is also to do with the performance. I fully expected to be writing another unequivocally enthusiastic review of the singing because the Brabants have been fantastic on every disc they've made. Here they still sing very beautifully and are as ever technically flawless, but (and this may just be me) I don't get quite the sense of engagement with the text or the wonderful spirituality which permeates their other discs. I have other versions of Nesciens mater and particularly the one on John Eliot Gardiner's wonderful Pilgrimage to Santiago disc Gardiner: Pilgrimage to Santiago has a limpid, transporting tenderness about it which isn't quite present here.
The notes, presentation and recorded sound are all, as always, excellent and I am sorry to have gone on and to have sounded critical - this is still a five star disc for me and one which I will play with pleasure for many years, I am sure. It's just that for me it's not quite in the five-star-plus category of most of the Brabants' previous discs, but please don't let me out you off - I'd still recommend it warmly.