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Composer: ISAAC, Heinrich ((c. 1450-1517)) |
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ID: RK2005
CDs: 1
Type: CD
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Subcollection: Lute
Les Flamboyants:
Michael Form - flute, artistic leader
Silvia Tecardi - fidel, viola d’arco
Irene Klein - viola d’arco
Romina Lischka - viola da gamba
Giovanna Pessi - harp
Michael Form - flute, clavicytherium
Marc Lewon - lute, vihuela, viola d´arco
Rogério Gonçalves - dulzian, perkussions |
| 18.00 eur Buy |
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ID: RK2305
CDs: 1
Type: CD
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Collection: Renaissance
Subcollection: Voices and Chamber Ensemble
At the beginning of the 16th century Nuremberg (“The spider in the web”) was a northern European centre in which many threads of international music life came together. Early on Nuremberg had established itself as a centre of book printing. The first printing-offices that occupied themselves seriously with the printing of music, however, were those of Hieronymus Formschneider and Johannes Petreius. Most of the pieces on this recording are taken from these collections of three-part music. They contain international repertoire, including old masterworks such as Caecox and Tandernaken by Alexander Agricola, but also arrangements of German folk songs and ballads, as well as French compositions and more recent Italian forms. |
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ID: RK9904
CDs: 1
Type: CD
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Collection: Baroque
Subcollection: Voices and Chamber Ensemble
»Sächsische Musiklandschaften im 16. Und 17. Jahrhundert Nr. 5«
Herausgegeben von Wolfram Steude und Norbert Schuster
„Civitas Lipsiarum“ erkundet die Musikstadt Leipzig einmal anders - die CD begibt sich auf Spurensuche in „vorbachischer“ Zeit.
Im Gegensatz zum höfischen Musikleben anderer Städte war die Musik Leipzigs immer von der Civitas Lipsiarum - der Bürgerschaft Leipzigs- geprägt. Ausgehend vom klösterlichen Musikleben an St. Thomas erwecken Norbert Schuster und sein Ensemble "Alte Musik Dresden" vor allem die Kirchenmusik des 17. Jahrhunderts zu neuem Leben. Die glanzvollen Stücke der Thomaskantoren Seth Calvius, Johann Hermann Schein, Johann Schelle und Sebastian Knüpfer repräsentieren die unterschiedlichen Facetten dieser Musik - jubelnde Weihnachtsmusik, weiche, klangvolle Trauerklagen und ein motettenartiges Choralkonzert über das Tauflied Martin Luthers. Die ausdrucksstarken Stimmen des 6-köpfigen Vokalensembles ergänzen sich dabei wunderbar mit historischen Streichinstrumenten und Dulcian zu dem authentischen Klang der frühen Barockzeit. Aufgenommen wurden alle Stücke in der Lucaskirche in Dresden.
Track Listing
1. Freut euch und jubiliert, motet - Sethus Calvisius
2. Ein Tag in deinen Vorhöfen - Jacob Weckmann
3. Barmherzig und gnädig ist der Herr - Johann Schelle
4. Christ unser Herr zum Jordan kam, hymn for 4 voices (& continuo) (Cantional...) - Johann Hermann Schein
5. Welt ade, ich bin dein müde - Johann Rosenmuller
6. Siehe der Gerechte kömpt umb - Tobias Michael
7. O nomen Jesu, nomen dulce - Johann Rosenmuller
8. Paduana 17 zu fünf Stimmen - Werner Fabricius
9. Herr, strafe mich nicht in deinem Zorn - Sebastian Knupfer
10. Paduana Nr. 43 zu fünf Stimmen - Werner Fabricius
11. Proprium-Stücke zum Epiphaniasfest (from Thomaskirche Gradual, 14th cent.) - Anonymous, German
12. Work(s) - Heinrich Isaac |
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ID: RKAP10106
CDs: 1
Type: CD
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Collection: Renaissance
Subcollection: Voices
Works by Thomas Morley, Orlande de Lassus, John Dowland, Cipriano de Rore, Ludwig Senfl, Scottish Anonymous, Thomas Weelkes, Adrian Willaert, Heinrich Isaac, Pierre Passereau, Hans [1] Leo Hassler, John [Composer] Bennet, King of England Henry VIII, Adriano Banchieri, Antonio Scandello, Juan del Encina, Josquin Desprez, Canciero de Montecassino Anonymous, Jacques Arcadelt, Giovanni Giacomo Gastoldi
Track Listing
1. Now is the month of maying, madrigal for 5 voices
2. Bon jour et puis quelles nouvelles, chanson for 5 voices, B. xi/60 (S. xvi/53)
3. Bon jour mon Coeur (Ronsard) (Christ est mon Dieu), chanson for 4 voices, B. xi/68 (S. xii/100)
4. Come away come sweet love, for 4 voices & lute (First Book of Songs)
5. Anchor che col partire, madrigal
6. Ach Elslein, liebes Elselein
7. Remember me my deir (Robert Edwards' Commonplace Book)
8. Since Robin Hood, madrigal for 3 voices
9. Strike it up tabor, madrigal for 3 voices
10. Vecchie letrose non valete niente, canzona for 4 voices
11. Innsbruck, ich muß dich lassen (ii), song for 4 voices
12. I love, alas, I love thee, madrigal for 5 voices
13. Il est bel et bon, commere, mon mary (Chansons musicales, Paris 1534)
14. Come again, sweet love doth now invite, for 4 voices & lute (First Book of Songs)
15. Mein G'müt ist mir verwirret
16. Weep, O mine Eyes (from Madrigals to four voyces)
17. Pastyme with Good Companye for 3 voices
18. Contrapunto Bestiale
19. Ein Hennlein weiss, song
20. Cucú, cucú, cucúcu, cancionero (from Cancionero de Palacio)
21. Fata la parte
22. El grillo, song for 4 parts
23. Dindirindin, canzon alla villota, CM 127
24. Il bianco e dolce cigno, madrigal for 4 voices, S. 2/18
25. La bellezza, madrigal for 5 voices
26. Triste depart
27. Mille regretz, song for 4 parts
28. Pavane, "Belle qui tiens ma vie"
29. La tricotea, madrigal
30. Gentil senora mia
31. Chi la gagliarda (All Ye Who Music Love), madrigal
32. Quand je bois du vin clairet, madrigal
33. Das Gläut zu Speyer (The Merry Bells of Speyer), for winds |
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ID: SIGCD004
CDs: 1
Type: CD
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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. |
| 18.00 eur Temporarily out of stock |
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ID: SIGCD025
CDs: 1
Type: CD
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Subcollection: Choir
Songs and Instrumental Music by Josquin des Pres, his pupils and contemporaries. |
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ID: SIGCD039
CDs: 1
Type: CD
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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. |
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