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Renaissance, page 6

   Found CDs: 92
 

The Triumphs of Maximilian - Songs and Instrumental Music-Musica Antiqua of London

The Triumphs of Maximilian - Songs and Instrumental Music-Musica Antiqua of London
ID: SIGCD004
CDs: 1
Type: CD
Collection: Instrumental

The Triumphs of Maximillian contains songs and instrumental music associated with the German court of Holy Roman Emperor Maximillian the first.

The early sixteenth century produced European music of great power and innovation. Tthe best players and composers were increasingly mobile, and were aggressively 'head-hunted' from court to court. Nowhere was the resulting mix of styles and influences more clearly illustrated than at the German court of Holy Roman Emperor Maximilian the First. Old and new, polyphony and homophony, national and international, all blend together to produce a repertoire of great variety and richness. In music, as in the visual arts,

Maximilian was a patron of unusual discrimination: the volumes of woodcuts by Dürer and Burgmair, commissioned to ensure that the Emperor's fame outlived his reign, pay tribute to his artistic judgement, whilst the music of Isaac and Senfl, both in his employ, is in itself a great monument to him.
15.00 eur Buy

Thomas Tallis: The Complete Works - Vol. 3 - Music for Queen Mary

Thomas Tallis: The Complete Works - Vol. 3 - Music for Queen Mary
ID: SIGCD003
CDs: 1
Type: CD
Collection: Renaissance

This disc is the third in a series of nine covering the complete works of Thomas Tallis. Not for nothing is Tallis known as the "father of church music" - with his colleagues at the Chapel Royal he created most of the church music genres that we take for granted today.

In chronological terms Volume 3 follows on quickly from the Edwardine music of volume 2 with repertoire written for the Marian reversion to Catholicism in 1553. Here we meet Tallis the composer of music for the old English liturgy in both a modern “continental” style and a self-consciously old fashioned English style.

The music includes the extraordinary seven part mass Puer natus est nobis of 1554 and the similarly-scored motet Suscipe Quaeso. A speculative reconstruction Beati immaculati opens the disc and it concludes with the monumental six part votive antiphon Gaude Gloriosa.
15.00 eur Buy

Thomas Tallis: The Complete Works - Vol. 2 - Music at the Reformation

Thomas Tallis: The Complete Works - Vol. 2 - Music at the Reformation
ID: SIGCD002
CDs: 1
Type: CD
Collection: Choral Collection

This disc is the second in a series of nine covering the complete works of Thomas Tallis.
As the 1540s developed, the Reformation began to take hold and the style of music required from composers such as Tallis altered radically. The large-scale melismatic votive antiphons (for example those on disc 1) were no longer required; the emphasis moved away from Marian devotion to a more syllabic and compact style and, eventually, to settings of English rather than Latin texts. Disc two traces this development from the Jesus antiphon Sancte Deus, to the mass for four voices, the three early English anthems including If ye love me, the Te Deum for meanes and the Elizabethan Magnificat and Nunc dimittis.
15.00 eur Buy

Thomas Tallis: The Complete Works - Vol. 1 - Music for Henry VIII

Thomas Tallis: The Complete Works - Vol. 1 - Music for Henry VIII
ID: SIGCD001
CDs: 1
Type: CD
Collection: Choral Collection

This disc is the first in a series of nine covering the complete works of Thomas Tallis (c.1505-1585). Not for nothing is Tallis known as the "father of church music" - with his colleagues at the Chapel Royal he created most of the church music genres that we take for granted today.

Volume one in the series of nine contains much of the music that Tallis wrote during the reign of Henry VIII. The two early votive antiphons Ave Dei and Ave Rosa open the disc and it concludes with one of Tallis's masterpieces Salve Intemerata.

Unusually for an English composer of the time, Tallis wrote a "parody" mass based on material from Salve Intemerata. Also included are two beautiful miniatures not previously recorded Alleluia: Ora pro nobis and Euge celi porta. This was the first disc to be recorded by Chapelle du Roi and was Signum Records' debut disc in February 1997.
15.00 eur Buy

Behold, how joyful! - Music by Clemens non Papa

Behold, how joyful! - Music by Clemens non Papa
ID: SIGCD045
CDs: 1
Type: CD
Collection: Renaissance
Subcollection: Chamber Ensemble

Signum Records are pleased to present a debut recording by the Brabant Ensemble, an Oxford-based ensemble with a strong reputation for sympathetic performance of early sacred music, focussing on the repertoire of the 16th century.

Like many of even the most prolific and celebrated composers of the sixteenth century, Jacobus Clemens non Papa (‘not the Pope’) has offered the history books little factual material with which to work. In contrast to the paucity of biographical material, however, many sources of Clemens' music survive. Indeed, he is one of the most widely published musicians of the entire century with fifteen Masses, over two hundred motets, many Dutch psalms and French chansons to his name.

This disc features the Mass Ecce quam bonum, which is based on Clemen’s own motet setting of Psalm 133, ‘Behold, how good and joyful a thing it is: brethren, to dwell together in unity!’

Apart from that on which the Mass setting is modelled, all of the motets on this disc are in five parts, although their textures are varied. Pascha nostrum sets the text of the Easter Anthem. The Song of Song’s motet Veni electa mea is highly characteristic of mid-sixteenth century spirituality, with the eroticism of the Song of Songs harnessed to provide a metaphor for the Church as bride of Christ. Accesserunt ad Jesum introduces Jesus’s admonition to the Pharisees concerning the estate of marriage. In Job tonso capite, a highly emotive narration of Job accepting his many trials, Clemen’s delivers an immediate approach to word-painting.

The final piece on this disc, Carole, Magnus eras is a secular work: a state motet addressed to the Holy Roman Emperor Charles V and his son, Philip II of Spain. Since the text celebrates the achievements of the Emperor but promises even greater things under his son, it was probably composed at the time of Philip’s investiture as Regent of the Low Countries in 1549.
15.00 eur Buy

Madame d'Amours - Music for Henry VIII's Six Wives

Madame d'Amours - Music for Henry VIII's Six Wives
ID: SIGCD044
CDs: 1
Type: CD
Collection: Renaissance

Musica Antiqua of London
Signum Classics is proud to present Musica Antiqua's seventh disc - Madame d’Amours; Songs, dances and consort music for the six wives of Henry VIII. Henry’s queens were no mere observers of the development of music at his court. Catherine of Aragon and Anne Boleyn both owned song-books which show a strong Franco-Flemish presence in Tudor music; Anne of Cleves augmented her small band of minstrels by borrowing players from Prince Edward’s household; improper relationships with musicians were cited in the cases against both executed Queens; Jane Seymour’s royal wedding was celebrated with shawms and sackbuts; and Catherine Parr danced to her own consort of viols. In chapel and chamber, whether dancing, worshipping, singing, playing or listening, music was an important counterpoint to the lives (and sometimes deaths) of all of Henry’s six wives.
15.00 eur Buy

A Songbook for Isabella: Music from the circle of Isabelle d'Este

A Songbook for Isabella: Music from the circle of Isabelle d'Este
ID: SIGCD039
CDs: 1
Type: CD
Collection: Vocal Collection

Signum Records is delighted to announce the release of A Songbook for Isabella.

Isabella d’Este was brought up in the midst of an extremely active musical court. After her marriage in 1490 to Francesco Gonzaga Duke of Mantua she began to remodel the Duke's relatively modest musical establishment in imitation of that of her father, Hercule. She was herself a gifted musician and favoured above all the viol. Not only was the viol the favourite vehicle for aristocratic instrumental performance, but it was the ideal accompaniment to the voice.

Under Isabella’s patronage the tradition of improvised song accompanied by the singer on a lira da braccio developed into the frottola, shared between two, three or even four viols. In employing Italian composers, and herself performing their music, Isabella played a key role in the development of this new music, and of the consort of viole which developed alongside it.

This disc presents a selection of music from the circle of Isabella. The repertoire is centred around the Milliare Songbook - a hand written songbook compiled in 1502 by, or for, one Ludovico Milliare. This contains a wonderfully rich cross section of the vocal and instrumental repertoire loved by the d’Este family of Mantua. An attractive feature of the collection is the inclusion of sacred pieces, mostly non-liturgical and apparently intended for private devotional use.

The instruments used for this recording have been thoroughly researched by examining documented and iconographic evidence - for example contemporary paintings of the period. The custom-made viols are cannot be called "copies"; they are recreations using the best information and scholarship available. This CD offers a rare opportunity to hear the very different sound these instruments make - rather different from their more modern counterparts from the seventeenth and eighteenth centuries.
15.00 eur Buy

Thomas Tallis - The Complete Works -Vol. 8 - The Lamentations and Contrafacta

Thomas Tallis - The Complete Works -Vol. 8 - The Lamentations and Contrafacta
ID: SIGCD036
CDs: 1
Type: CD
Collection: Renaissance
Subcollection: Choir

Signum Records are proud to present the eighth and penultimate volume of Chapelle du Roi’s recording of the Complete Works of Thomas Tallis.

This volume brings together Tallis’s two masterly settings of the Lamentations of Jeremiah and English adaptations of several of his best-known Latin motets.

Thomas Tallis was one of many continental and English composers who composed settings of texts from the Lamentations of Jeremiah, the opening five verses of which formed part of the office of Matins (or Tenebrae) during Holy Week. Tallis’s two settings could have been performed ritually but in all likelihood they are Elizabethan works intended for use at the private devotions of staunch Catholic sympathisers.

The statutory introduction of the First Book of Common Prayer on Whitsunday, 9th June 1549 precipitated an urgent need for a repertory of service music in the vernacular. One straightforward solution to the predicament was to adapt existing Latin motets to English texts, a genre of composition that has come to be known as a contrafactum. Contrafacta survive of liturgical music by pre-Reformation English composers as well as by several composers whose working life spanned the period of Reformation.

During the Elizabethan and Jacobean periods contrafacta and their models assumed several forms of dual existence, and were performed not only within a liturgical setting but also in a domestic context for recreation or private devotion. Usually there is no textual relationship between the model and the contrafactum. Indeed the finale of this disc, Sing & Glorify heaven’s high majesty, an adaptation of Tallis’s celebrated eight-choir (40-part) motet Spem in alium was adapted to celebrate Prince Henry’s investiture as Prince of Wales in 1610.
15.00 eur Buy

Fire and Ice: Love Songs from 16th century Venice

Fire and Ice: Love Songs from 16th century Venice
ID: SIGCD035
CDs: 1
Type: CD
Collection: Renaissance

Signum Records is pleased to present the first of a series of three discs by Music Antiqua of London, featuring the music of three Italian cities.

In the late 15th century, Italy was divided between the independence of the mighty Venetian Republic and tiny Dukedoms such as Ferrara and Mantua. Music and literature were patronised by the ruling classes as statements of power and local identity. However the most revered European composers were from the north, and their musical style owed little to Italian culture.

In northern Italy an educated classicist, Isabella Marchioness of Mantua, devised the frottola where text was set to a simple melody following speech rhythms, and accompanied by 2 or 3 instruments. The frottola is a Cinderella of Renaissance song and has suffered in comparison with the English and Italian Madrigal and the French Chanson in the 2oth century revival of interest in Renaissance music.

On Fire and Ice we present frottole taken from a Venetian manuscript, compiled around 1520, to argue the case for a re-evaluation of this repertoire. The collection is notable for the quality of both the poetry and the music. The texts deal frequently with emotional extremes - the “fire and ice” of our title!

Modelled on the court bands of the 16th century, Musica Antiqua is the only group in Great Britain to play on specially commissioned matched sets of viols and recorders, copied from 16th century originals. This CD offers a rare opportunity to hear the very different sound these instruments make compared to their "modern" counterparts from the 17th and 18th centuries.
15.00 eur Buy

Wordplay - Instrumental versions of madrigals and chansons from 16th century Italy

Wordplay - Instrumental versions  of madrigals and chansons from 16th century Italy
ID: SIGCD031
CDs: 1
Type: CD
Collection: Renaissance
Subcollection: Historical Instruments

Words were more important than music in the Italian 16th century and song was therefore a higher art form than instrumental music. Composers such as Cipriano da Rore who observed the natural speech rhythms were afforded the highest accolades.

Wordplay presents a collection of highly decorated vocal music in purely instrumental performance. The disc explores the role of the soloist in a period of music which has come to be defined by consort playing. In the two centuries that this repertoire covers the borrowing and reworking of the music of earlier composers was regarded as creative, original and even as an act of respect or homage.

The disc is structured around instrumental divisions on five famous songs of 16th century and one bass-dance tenor. The divisions are for recorder, bass viol or lute. In total 17 different instruments are used including three types of recorder, three types of lute, seven sizes of viol, and a chamber organ. All are precise copies of early Italian instruments including wide-bore recorders and sound-postless viols.

Central to Wordplay are the writings of Slyvestro Ganassi, a recorder and viol player in early 16th century Venice. In La Fontegara (1535) and Regola Rubertina (1545) Ganassi defines the aim of the instrumentalist as being to imitate a good singer, and describes two distinct ways of doing so.

The first is naturalistic - how to replicate the singer's tonal and dynamic variety exactly (on the recorder with varied breath pressure and alternative fingerings, on the viol with bow and finger vibrato etc).

The second involves study of the text and using trills (from suave quarter-tones to vivace wide major thirds) and elaborate divisions (with notated syncopations and rubato) to express the sense of particular words and emotions. Fifty years later, Dalla Casa, Bassano and Rognoni have developed a more idiomatic instrumental style and have more polished and formulaic passaggi.

All the pieces - though instrumentalists - use exclusively vocal originals, and all would pay more than lip service to Giovanni Bardi's precept: "Words are the soul, music but the body"

WordPlay is one of the first recordings made in York's newly opened National Centre for Early Music in the church of St Margaret, Walmgate.

Musica Antiqua is one of England's most celebrated early music ensembles and they have triumphed here with their third disc for Signum Records!
15.00 eur Buy

 
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