Posts Tagged ‘ Renascença ’

Bernardo Pisano

Nos 530 anos do nascimento de Bernardo Pisano [1490-1548), sacerdote, compositor e teórico renascentista natural de Florença, que, protegido pelo Cardeal Giovanni de’ Medici – Papa Leão X a partir de 1513, se fixou definitivamente em Roma a partir de 1520.

Vos Omnes, do álbum THE LION’S EAR – A Tribute to Leo X, Musician among Popes (2016), interpretado pelo Ensemble suíço La Morra, fundado no ano 2000 e especializado em música do período de transição entre a Idade Média e o Renascimento.

‘Nascita di Venere’, de Sandro Botticelli

Sandro Botticelli [c. 1445 – 17 Maio 1510]
“Nascimento de Vénus”, c. 1485 | Gallerie degli Uffizi, Florença

Known as the “Birth of Venus”, the composition actually shows the goddess of love and beauty arriving on land, on the island of Cyprus, born of the sea spray and blown there by the winds, Zephyr and, perhaps, Aura. The goddess is standing on a giant scallop shell, as pure and as perfect as a pearl. She is met by a young woman, who is sometimes identified as one of the Graces or as the Hora of spring, and who holds out a cloak covered in flowers. Even the roses, blown in by the wind are a reminder of spring. The subject of the painting, which celebrates Venus as symbol of love and beauty, was perhaps suggested by the poet Agnolo Poliziano.

It is highly probable that the work was commissioned by a member of the Medici family, although there is nothing written about the painting before 1550, when Giorgio Vasari describes it in the Medici’s Villa of Castello, owned by the cadet branch of the Medici family since the mid-15th century. This hypothesis would seem to be born out by the orange trees in the painting, which are considered an emblem of the Medici dynasty, on account of the assonance between the family name and the name of the orange tree, which at the time was ‘mala medica’.

Unlike the “Allegory of Spring”, which is painted on wood, the “Birth of Venus” was painted on canvas, a support that was widely used throughout the 15th century for decorative works destined to noble houses.

Botticelli takes his inspiration from classical statues for Venus’ modest pose, as she covers her nakedness with long, blond hair, which has reflections of light from the fact that it has been gilded; even the Winds, the pair flying in one another’s embrace, is based on an ancient work, a gem from the Hellenistic period, owned by Lorenzo the Magnificent.
Via Gallerie degli Uffizi.

‘Caça ao veado’, de Lucas Cranach, o Jovem

De Lucas Cranach, o Jovem [4 Outubro 1515 – 25 Janeiro 1585], ‘Caça ao veado’ (incluindo detalhes), 1557.




‘A Libertação de Andrómeda por Perseu’, de Piero di Cosimo

De Piero di Cosimo [2 Janeiro 1462 – 12 Abril 1522], pintor do Quattrocento italiano, também conhecido como Piero di Lorenzo, Liberazione di Andromeda, c. 1510–1513 – Galleria degli Uffizi, Florença.

Piero di Cosimo, Liberation of Andromeda, c. 1510–1513 – Galleria degli Uffizi, Florence

‘Weimar Altarpiece: Crucifixion’, by Lucas Cranach the Younger

Lucas Cranach the Younger [4 October 1515 – 25 January 1586]
Weimar Altarpiece: Crucifixion (central panel), 1555

The crucified Christ is in the centre of the panel. His figure is repeated on the left side conquering an evil demon and death. In the background, a scene of the Expulsion from Eden reminds viewers of the presence of sin and the subsequent need for salvation. Immediately on the right of Christ, St John the Baptist points one of his fingers at the central figure and the index finger from his other hand to the Agnus Dei, the Lamb of God. Next to the Baptist stands Lucas Cranach the Elder. A stream of blood from Christ’s side flows directly upon his forehead, implying that no priest or saint is needed for intercession. On the far right, Luther points to a passage from his German translation of the Bible concerning Christ’s redemptive blood, which frees all believers from sin. In the background, the Old Testament tale of Moses and the Brazen Serpent and the New Testament story of the Annunciation to the Shepherds are depicted as examples of God’s grace.

‘Lamento de Íole’, de Jacopo Peri

De Jacopo Peri [20 Agosto 1561 – 12 Agosto 1633], compositor pioneiro do estilo recitativo, com origem na Grécia Antiga e que se viria a transformar naquilo a que hoje chamamos ópera, o ‘Lamento de Íole’, com a voz de Montserrat Figueras e o cravo de Ton Koopman.

Héracles, que havia morto o Rei Eurytus e saqueado a cidade de Oechalia com intenção de levar a sua bela filha Iole como noiva, encarregou Filoctetes (então amante de Iole) de comunicar à Princesa a sua decisão de a desposar. Sabendo da relação entre Iole e Filoctetes, Hércules impõe o casamento como forma de poupar a vida ao desgraçado amante. Dejanira decide então ajudar Iole, oferecendo-lhe a túnica ensanguentada do centauro Nesso, trespassado por uma seta envenenadade de Héracles ao tentar violar Dejanira; Agonizante, Nesso dissera a Dejanira que a túnica com o seu sangue tinha poderes mágicos e que se Héracles a usasse,ser-lhe-ia novamente fiel. Porém, a túnica estava impregnada de um terrível veneno e, no dia do casamento, quando Iole oferece a túnica a Héracles, este, ao vesti-la, percebe que o veneno se infiltra no corpo. Desesperado, Héracles lança-se às chamas e sobe ao Monte Olimpo, onde se juntou a Zeus.

‘Mirabile Mysterium’, de Jacobus Gallus

De Jacobus Gallus, também conhecido como Jacob Handl, compositor renascentista de música sacra nascido na actual Eslovénia [3 Julho 1550 – 18 Julho 1591], o motete Mirabile Mysterium, extraído do livro Opus musicum.

Huelgas EnsembleMirabile Mysterium – A European Christmas Tale (Sony, 2014)

‘Dal vago e bel sereno a 6’, de Cristofano Malvezzi

De Cristofano Malvezzi [1547- 1599], organista e compositor italiano durante a transição do período Renascentista para o Barroco, que viveu em Florença, onde serviu os Medici, o tema Dal vago e bel sereno extraído da colectânia Intermedii para La Pellegrina– Música para o Casamento de Don Ferdinando Medici, Grão-duque da Toscana, 1589.
Skip Sempé dirige o Ensemble Capriccio Stravagante e o Agrupamento Collegium Vocale Gent.

‘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
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