Posts Tagged ‘ Renascença ’

‘As Profecias das Sibilas’, de Orlando de Lassus

No dia em que passam 425 anos da morte de Orlando de Lassus [1532-1594] que, a par de Giovanni Pierluigi da Palestrina [1525-1594] e Tomás Luis de Victoria [1548-1611] integra o grupo dos mais importantes compositores da música renascentista durante a segunda metade do século XVI, a série de 12 motetos intitulada Prophetiae Sibyllarum, interpretados pelo agrupamento coral De Labyrintho.


Passion & Resurrection – Stile Antico

Stile-Antico_Passion & Resurrection

Album Title: Passion & Resurrection–Music inspired by Holy Week
Stile Antico | Release Date: 11/13/2012 | Label: Harmonia Mundi
Works by William Cornysh, Orlando Gibbons, Thomas Tallis, Orlande de Lassus, Cristóbal de Morales, Tomás Luis de Victoria, John McCabe, John Taverner, Francisco Guerrero, William Byrd, Jean Lhéritier, & Thomas Crecquillon
The program concept—settings of texts inspired by the events of Holy Week and Easter—makes sense, but even if we weren’t aware of the liturgical and textual connections among these sacred motets by some of the most illustrious composers of the Renaissance, as listeners we would be immensely satisfied with the first-rate performances and uniformly gorgeous music. You could pick any one of these 13 pieces and justifiably label it a masterpiece, even though some of them are not especially well-known or oft-recorded. Stile Antico, a young British ensemble of 12 or 14 or 15 singers (it changes according to the work at hand), represents the future of serious, unhyped, technically polished, stylistically attuned, and musically affecting choral performance.
If you’re a frequent listener to Renaissance choral music, you have heard Victoria’s O vos omnes—but it’s unlikely that you’ve heard it sung so movingly, the very smallest phrases carefully shaped to capture the music’s textual meaning and emotional effect. The same is true of Tallis’ oft-performed O sacrum convivium and Guerrero’s correspondingly rare and remarkable motet Maria Magdalene. Equally rare—and musically compelling—is the opening work by William Cornysh,  a substantial seven-and-a-half-minute setting of a 16th-century poem, Woefully arrayed, that showcases all of this choir’s sectional and ensemble strengths as well as introducing most of us to a memorable choral piece that, as far as I know, has only been recorded once before, by the Tallis Scholars. That performance, on a wonderful disc devoted entirely to Cornysh (itself an an act of supreme artistic conviction and courage against obvious commercial obstacles) employs single voices on each part, a viable alternative to this current version, only because the Tallis Scholars’ singers back in 1988 were without peer in this repertoire, and without technical flaw, whatever they sang.
Although the notes thankfully provide information about performing editions, we choir directors can only be disappointed to find that several of the program’s more enticing works are not commercially available—such gems as the opening Cornysh piece and the concluding Congratulamini mihi (Rejoice with me, all who love the Lord) by Flemish composer Thomas Crecquillon. This superbly crafted, resolutely joyous piece would be a hit on any serious choral music concert, if only it were published and available to interested choirs. (Incidentally, this same work appears on a 2006 Hyperion disc by the Brabant Ensemble, devoted entirely to Crecquillon; that earlier recording not only shares with Stile Antico the same performing edition of the motet, but also three of the female singers.) And speaking of hits, there’s no more worthy contender here than Flemish composer Jean Lhéritier’s Surrexit pastor bonus. This setting of the matins respond for Easter day, “the good shepherd has arisen…,” will not only be new to almost any of this disc’s listeners, but its captivating harmonic characteristics—not to mention its virtual celebration of the cross-relation—make this piece more than memorable, and eminently repeatable.
Perhaps not so eagerly repeatable is the program’s one contemporary work, John McCabe’s rendition of the “Woefully arrayed” text so compellingly set by William Cornysh in the disc’s opening number. Written for Stile Antico, McCabe’s setting exemplifies a certain trend in modern choral music, creating a sort of faux-atonal framework beset with hard-edged dissonance and rhythmic ambiguity that obscures the continuity of both music and poetry. It’s tough singing and consequently tough listening. Aside from this interesting if not entirely welcome diversion, this program and the first-rate performances should not be missed by anyone who loves Renaissance choral music. Stile Antico continues to honor the high standard set by its illustrious early-music predecessors, ensuring that its ongoing back-to-the-future projects will be both bright and beautiful. Highly recommended.
Review by: David Vernier – ClassicsToday

“Musicus Famosissimus” – Tributo de La Morra a Johannes Ciconia

“Musicus Famosissimus”, um tributo a Johannes Ciconia, no 600º aniversário da morte do compositor, será o concerto interpretado por La Morra, que actua pela primeira vez em Portugal, no Festival Internacional de Música da Póvoa de Varzim. O espectáculo será no dia 18 de Julho, quarta-feira, às 21h45, na Igreja Românica de S. Pedro de Rates. Via.
Johannes Ciconia é considerado como uma das mais intrigantes personalidades musicais do seu tempo, assim como o primeiro grande “oltramontano” (músico do Norte da Europa) a ter feito uma carreira de sucesso na Itália no despontar da Renascença. O concerto de estreia do agrupamento La Morra em Portugal iniciar-se-á com um anónimo ‘adieu’, que poderá ser entendido como um retorno à época da aprendizagem musical em Liège. A música de Ciconia guiará o ouvinte através das diversas fases da sua vida (tal como as conhecemos ou presumimos) até acabar numa oração dirigida à Virgem Maria.

400 anos da morte de Hans Leo Hassler

Compositor e organista alemão da alta Renascença e início do Barroco, Hassler era sobretudo conhecido como organista, e foi um dos primeiros a trazer as inovações do estilo veneziano através dos Alpes.
Em 1584, Hassler tornou-se o primeiro de muitos compositores alemães a viajar para a Itália para continuar os seus estudos. Devido às exigências dos patrocinadores católicos, e as suas próprias crenças protestantes, as composições de Hassler representaram uma habilidosa combinação de ambos os estilos musicais religiosos, que permitiram que as suas composições funcionassem em ambos os contextos.
Hassler não era apenas um compositor, mas também um organista activo e consultor de fabricantes de órgãos. Era continuamente reconhecido e era requisitado para experimentar novos instrumentos. Usando o seu vasto conhecimento em órgão, Hassler entrou no mundo da construção mecânica de instrumentos e desenvolveu um órgão de corda (como num relógio de cordas) que foi depois vendido ao imperador Rodolfo II.
Texto de Luis Ramos, Antena Dois.

Música, levai-me!

Música, levai-me:

Onde estão as barcas?
Onde são as ilhas?

‎[Eugénio de Andrade]

Alessandro Striggio`s Missa “Ecco si Beato Giorno” in 40 and 60 parts

‎[…] Striggio’s mass is scored for 40 voices for most of its length, but goes into 60 for the final ‘Agnus dei’. This makes it by far the biggest piece written up to that time (around 1566) and it probably gave the cue for Tallis to write his 40-part motet Spem in alium: either the mass itself or Striggio’s own 40-part motet Ecce beatam lucem on which the mass seems to be based. Both the mass and this motet were performed together on a European tour Striggio undertook in 1567, bringing them to London as well as to Paris and Vienna. It is thought that Tallis (and the Duke of Norfolk) heard the London performance and decided to rival the scale of it.

The music for the mass disappeared soon after Striggio’s tour, after which it was only known from contemporary written descriptions, and from the survival of Ecce beatam lucem. The hero of its recent rediscovery is Davitt Moroney, the English harpsichordist, who was acute enough to question a miswritten entry in a library catalogue, thereby stumbling upon the missing music. How one conceals the existence of a piece that at its largest requires 60 separate hand-written parts for more than 400 years is a mystery to me, but that is what happened and I have often wondered how Davitt felt when he realised what he had found. Discoveries like that don’t even come once a lifetime. By his own account he then spent a year writing it out and scoring it up. ‎[…]

Leitura relacionada:
– O artigo completo de Peter Phillips pode ser lido na Spectator.

Alessandro Striggio`s Missa “Ecco si Beato Giorno” in 40 and 60 parts

The BBC Singers; The Tallis Scholars | Peter Phillips, Chorus master | His Majestys Sagbutts & Cornetts | Davitt Moroney, conductor.

Parte IIParte IIIParte IV

Antífona para o Natal

Existem três iniciais identificadas neste manuscrito de data indeterminada e que foi executado por um miniaturista italiano, referido como Maestro Daddesco. No folio 32R, a Natividade com H inicial alude a uma antífona para o Natal.

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