Posts Tagged ‘ Stile Antico ’

500 anos da morte de Josquin DesPrez

De Josquin Desprez [por volta de 1450/1455 – 27 Agosto 1521], figura central da Escola Franco-Flamenga, considerado – na linha do tempo – um dos mais notáveis compositores do alto Renascimento entre Guillaume Dufay [1397 – 1474] e Giovanni Pierluigi da Palestrina [c. 1525 – 1594], o sublime moteto Inviolata, integra et casta es Maria.
De sublinhar ainda as duas excepcionais emissões (parte Iparte II) que o Musica Aeterna dedica à efeméride.

Álbum: The Golden Renaissance: Josquin des Prez, ℗ 2021 – Stile Antico


‘From profound centre of my heart’, de Giovanni Croce

De Giovanni Croce [1557 – 15 Maio 1609], compositor italiano da escola veneziana tardo-renascentista, discípulo de Gioseffo Zarlino, o madrigal From profound centre of my heart, extraído do álbum Tune thy Musicke to thy Hart: Tudor & Jacobean music for private devotion (2012). A excelsa interpretação do conjunto inglês Stile Antico proporciona uma visão singular da música sacra, escrita, não para apresentações na igreja mas para a corte e para ambiente doméstico.

‘Motetos’, de Giaches de Wert

Na passagem dos 425 anos sobre a morte do madrigalista Giaches de Wert [1535 – Mântua, 6 Maio 1596],  o moteto Virgo Maria hodie ad coelum, extraído da selecção de música sacra do compositor renascentista que o agrupamento inglês Stile Antico reuniu no disco Giaches de Wert: Divine Theatre, Sacred Motets (2017).

‘O splendor gloriae’, de John Taverner

Para celebrar a música de John Taverner [c. 1490 – 18 Outubro 1545],  ao lado do contemporâneo Tomas Tallis [c. 1505 -1585], indubitavelmente os mais notáveis compositores de música sacra do Renascimento inglês no seu tempo, o moteto O splendor gloriae para cinco vozes, uma das obras-primas da polifonia britânica do séc. XVI incluídas no álbum ‘The Phoenix Rising‘[2012], interpretado pelo Grupo britânico Stile Antico que tive oportunidade de ouvir em Outubro de 2011 na Sé de Évora.

Stile Antico – ‘The Phoenix Rising’

The superb British early-music choir Stile Antico offers a beautifully sung program of Tudor church music, including William Byrd’s richly polyphonic Mass for Five Voices. The disc also includes haunting renditions of music by Tallis, Thomas Morley and Orlando Gibbons. – Vivien Schweitzer, The New York Times

Extraído do mais recente trabalho – The Phoenix Rising, o Agnus Dei da Missa para cinco vozes de William Byrd [1540-1623]. O álbum pode ser ouvido no Spotify.

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

Eborae Mvsica – Os Mestres do Século de Ouro pelo Stile Antico

Integrado nas XIV Jornadas Internacionais “Escola de Música da Sé de Évora”, O Grupo inglês Stile Antico apresenta-se novamente em Portugal, amanhã dia 4 de Outubro às 21:00 na Sé de Évora, com um Programa a não perder:

Commissa mea pavesco de Filipe de Magalhães (1571 – 1652); Jubilate Deo de Cristóbal de Morales (ca. 1500 – 1553); Missa Gaudeamus: Kyrie de Tomás Luis de Victoria (1548 – 1611); Missa Gaudeamus: Gloria de Tomás Luis de Victoria; Audivi vocem de caelo de Duarte Lobo (ca. 1565 – 1646); Surge Propera de Giovanni Pierluigi da Palestrina (1525 – 1594); Missa Surge Propera: Sanctus de Tomás Luis de Victoria; Missa Surge Propera: Benedictus de Tomás Luis de Victoria; Turbae quae precedebant de Manuel Cardoso (1566 – 1650); Simile Est Regnum de Francisco Guerrero (1528 – 1599); Missa Simile Est Regnum: Agnus Dei de Tomás Luis de Victoria; Pater peccavi de Duarte Lobo e Laetatus Sum de Tomás Luis de Victoria. Via.

Stile Antico – Puer Natus Est

Tudor Music For Advent and Christmas (Stile Antico) – Harmonia Mundi HMU807517
Thomas Tallis – Puer Natus Est, Videte Miraculum | Robert White: Magnificat | John Sheppard: Verbum Caro | John Taverner: Audivi vocem de caelo | William Byrd: Gradualia

Surely the pick of the new CDs for Christmas this year, this exquisitely performed and beautifully planned disc is another winner for Stile Antico, a young, versatile and conductor-less group. They bring together Tallis’s incomplete but richly resonant mass Puer natus est with Byrd’s much tighter, shorter Advent motets from The Gradualia, a satisfying contrast. Then they add Robert White’s expansive Magnificat and Sheppard’s glorious Verbum caro to finish. Sometimes there is an emphasis on sound at the expense of the words, but what a sound: perfectly blended, carefully balanced, its sonorities reaching back effortlessly to conjure up a vanished age of devotion. Via.

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