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Composer: DUFAY, Guillaume ((1397?-1474)) |
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ID: ACDBH047-2
CDs: 1
Type: SACD
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Collection: World Music
Early Music
In order to illustrate their borderless talents, Fortuna follows Ciconia and Dufay on this recording on their journey through the Flemish and Italian musical landscape of the late medieval times: Early Music in Context.
Chansons
Just as Dutch painters in the Golden Age were attracted by the Italian light and went to work in Rome, many composers from the Low Countries also made their way over the Alps in search of inspiration. This Italian dream resulted in the creation of brilliant music by two such pioneers, Johannes Ciconia and Guillaume Dufay. Their ability to seemingly effortlessly meld the achievements of Flemish, French, English and Italian music into a new style created a new musical language whose sound crossed over many geographic borders.
Ciconia was educated in Luik, which had a rich musical culture in the late Middle Ages; and he worked in Padua from around 1402 until his death. By that time, he had become a real Italian composer, despite his Northern roots and education: in his elegant ballade Gli atti col dançar, one can hear clearly how Ciconia had mastered the melodic souplesse of the Italian Trecento composers such as Landini. His dramatic Ligiadra donna - with a contratenor line composed by his colleague composer Matteo da Perugia - is written in the typical Northern Italian style of the giustiniana. But nowhere in his work does Ciconia merely follow stylistic trends; on the contrary, his unique and characteristic style inspired a generation of composers who followed him - among them Dufay.
No single 15th Century composer has left such an extensive and varied oeuvre as Guillaume Dufay, who was considered to be the greatest composer of his time, even in his own lifetime. He was educated in Kamerijk (Cambrai). While he was still young, he began travelling extensively for his work, to the Council of Constance for example, and he began working for various Italian patrons. These facts give Dufay's career and work a decidedly "international" allure, but the musical influences of his birthplace are still very recognizable in some of his works. The typically Northern drinking and New Year's songs such as Cheulz qui volent from MS Leiden 2720 or Die mey so lieflic by Thomas Fabri, clearly inspired Dufay to create rondeaux such as Adieu ces bons vins en Ce jour de l'an. While the original songs don't aspire to be much more than a drinking song or a round dance, Dufay manages with his songs to lift the genre to a much higher artistic level, without losing the playfulness and spontaneity of the original forms. His unorthodox application of existing material and traditional compositional techniques make him one of the most inventive composers of the 15th Century - Dufay wrote music that his contemporaries wouldn't have dared to dream of. |
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ID: ACDHJ043-2
CDs: 1
Type: SACD
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Collection: Vocal Collection
Subcollection: Voices
The basse danse is a stately courtly dance who’s origin can be traced to Burgundy. It was enthusiastically taken up at numerous courts throughout Europe and flourished for a century long from the middle of the 15th century onwards. That courtly dance existed before this is clear: for example, a description of the basse danse can be found as early as ca. 1320, in a poem by the Toulousain priest, friar and troubadour Raimon de Cornet. No information however concerning its choreography can be found until the early 15th century.
The Brussels (Bibliotheque Royale de Belgique, Ms 9085, ca.1470) and Toulouze (L’art et instruction de bien danser , ca. 1496, by Michel Toulouze) manuscripts are the two most important musical sources of the French basse dance; although both manuscripts are dated to the late 15th century, stylistically their music resembles the earlier decades of the century. These manuscripts, along with a few additional sources, contain around fifty cantus firmi , varying in length between twenty-four and sixty-two notes, notated in slow semibreves without rhythmical variation. It is assumed that the cantus firmi of these basse danses notated in long semibreves provided a monophonic basis for polyphonic instrumental improvisation. Evidence for such a practice can be found in some polyphonic examples written out on the tenor-melody Re di Spagna.
Regarding performance-tempo, Daniel Heartz points towards the relation between the music and the actual choreography in his study concerning the basse danse: according to Heartz, each semi-breve of the basse danse-melody corresponds to one figure in the dance. Each figure consisted out of four movements equal in length, while the musical accompaniment took up six beats. Thus, the dancers moved fluidly on their toes in a three-to-two proportion to the music.
Grand Désir - Ensemble for Late Medieval and Contemporary Music
The mezzo-soprano Anne Marieke Evers and the blockflute player Anita Orme Della Marta met at the beginning of their musical studies at the Conservatorium of Amsterdam in September 1997. They formed a duo shortly after, specializing in both contemporary music as well as medieval and renaissance music. Later in their careers, their paths led them to pursue further studies in medieval music at the Schola Cantorum Basiliensis, Switzerland, where they met the other ensemble members of Grand Désir. It was here that a common interest in the late-medieval music brought the group together in December 2004. Aside a few fixed members, Grand Désir likes to work with different musicians for each individual programme, thus creating the flexibility to obtain the perfect instrumentation for each project. Grand Désir performed their premiere in the ‘Fringe’ programme of the Utrecht Early Music Festival 2005. The ensemble has given numerous performances since in the Netherlands, Switzerland and Australia. |
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ID: BG0106
CDs: 1
Type: CD
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Subcollection: Voices
Rondeaux e Ballate contenute anche nel codice 1411 della Biblioteca dei
Duchi di Urbino (Sec. XV)
Ensemble BELLA GERIT - Ensemble LAUS VERIS - FIFFARO CONSORT
ILARIA SEVERO, voce
SIMONE SORINI, voce, liuto
DAVID MONACCHI, voce, liuto, viola da mano
ENEA SORINI, voce, salterio, naqquara, tamburo, tamburello
GIORDANO CECCOTTI, viola da gamba, ribeca, ribecone
DANIELE BERNARDINI, fl. con tamburo. fl. doppio, altobasso, fl. dritti, bombarda, cromorno
Con la partecipazione di:
ANGELIKA MOTHS, organo portativo
CRISTINA TERNOVEC, viola da gamba, ribecone
NICOLAS SANSARLAT, lira da braccio
MAURO MORINI, trombone
LUIGI GERMINI, trombone
CRISTINA BERNARDINI, cromorno, flauti dritti
GIOVANNI BRUGNAMI, cromorno, flauti dritti, flauto con tamburo
DIR. PIERCARLO FONTEMAGI, coro della Cappella Musicale SS. Sacramento |
| 15.00 eur Buy |
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ID: COR16055
CDs: 1
Type: CD
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Collection: Vocal Collection
A Franco-Flemish composer and music theorist of the early Renaissance, Dufay was the central figure in the Burgundian School and was the most famous and influential composer in Europe in the mid-15th century. His music was copied, distributed and sung across Europe and almost all composers of the succeeding generations absorbed some elements of his style.
The Hilliard Ensemble is one of the world's finest vocal chamber groups, and is probably unrivalled for its formidable reputation in the fields of both early and new music. This series was only previously available direct from the group but has never before been fully available at international retail. |
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ID: COR16064
CDs: 4
Type: CD
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Collection: Vocal Collection
The Hilliard Ensemble is one of the world's finest vocal chamber groups, and is probably unrivalled for its formidable reputation in the fields of both early and new music. This series was only previously available direct from the group but has never before been fully available at international retail. |
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ID: IMLCD163
CDs: 1
Type: CD
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Collection: Organ Collection
Subcollection: Organ
Isaiah BRAUDO on the E.F. Walcker organ of the Grand Hall of the Leningrad Philharmonic
Live archival recordings made in 1950-1960" from Anastasia Braudo's archive |
| 15.00 eur Temporarily out of stock |
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ID: KAI0012642
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
Isabel's music doesn't evade making the process of its genesis audible, if not the doubts and hesitations during composition, then the traces of ways of deciding, which in their complexity form the special identity of her world of sound. We are not dealing with constructed music, triumphant algorithms conjuring up at any cost the plummet of incontestable certainties. On the contrary this is about the constant invention of certitudes to which the music lends its ear in coming into being, which accepts that a brief-sounding space of time can convey a vaster space of time and its decisions, and bring forth just that unique music adapted to the context of history - our history.
(Brice Pauset)
Includes booklet with text by Isabel Mundry and Brice Pauset |
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ID: KUK98
CDs: 1
Type: CD
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Collection: Instrumental
Singer Pur · Go Guitars
New soundscapes for voices and electric guitars
A world premier with works from Perotinus (ca. 1200) · Guillaume Dufay (ca. 1400-1474) · Matthäus Pipelare (ca. 1450-1515) · Carlo Gesualdo da Venosa (ca. 1562-1613) ·
John Cage (1912-1992) · Arvo Pärt (*1935) · Michael Hirsch (*1958) · Fredrik Zeller (*1965) · Bernhard Weidner (*1965)
A live recording of a monastery concert at abbey Maulbronn. |
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ID: RK2208
CDs: 1
Type: CD
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Collection: Vocal Collection
TRISTE PLAISIR Guillaume Dufay und die Burgundische Musik Guillaume Dufay and Burgundian Music Guillaume Dufay et la musique à la cour de Bourgogne Lena Susanne Norin - Alt / alto Randall Cook - Viola d’arco, Fidel / fiddle / vielle Susanne Ansorg - Fidel, Rebec
Anonymus
La plus grant chiere
Paumgartner (Buxheimer Orgelbuch)
Gilles Binchois (c.1400-1460)
Triste plaisir
Mort en merchy
Lune tres belle
Adieu, adieu, mon joieulx souvenir
G. Dufay
Belle, veullies moy retenir
Pour l’amour de ma doulce amye
Qui latuit in virgine
Je me complains piteusement
Quel fronte signorille in paradiso
Resvelons nous, amoureux
He, compaignons
Je languis en piteux martire
J'ai grant doulour
Vergene bella
Seignor Leon
Nicolaus Grenon (c.1377-1456)
La plus belle et doulce figure
Jacobus Vide (fl.1405-1433)
Et c'est assez
Unter den Herzögen von Valois wurde Burgund im 15. Jahrhundert zu einer der mächtigsten politischen Kräfte Westeuropas und seine Hauptstadt Dijon ein Zentrum der Musik. Was hier erklang, war so innovativ und eigenständig, dass man heute von einer »Burgundischen Schule« spricht. Gleichwohl kamen die Musiker der Burgundischen Hofkapelle aus allen Himmelsrichtungen - unter ihnen Guillaume Du Fay, einer der größten Meister nicht nur seiner Zeit, sondern der Musik generell. Geehrt für seine Melodien von kunstvoller Anmut, begabt mit einem einzigartigen Instinkt für die harmonische Balance der musikalischen Phrasen, galt er als jemand, der die Sphären der Vollkommenheit der musikalischen Kunst seiner Zeit erreichte.
Die drei "Triste Plaisir"-Musiker haben sich eigens zusammengefunden für dieses Repertoire voll von Raffinesse, großzügiger Gesanglichkeit und jener süßen Melancholie, welche den Meisterwerken der spätmittelalterlichen Liedkunst eigentümlich ist. Entgegen der gängigen Praxis versuchen sie mit minimalster Besetzung - nur Stimme und zwei Streichinstrumente - der Intimität dieser Kleinodien gerecht zu werden. |
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ID: RK2301
CDs: 1
Type: CD
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Subcollection: Lute
Lieder aus französischen Handschriften des späten 15. Jahrhunderts (von Johannes Ockeghem, Guillaume Dufay, Walter Freye und anderen)
Ensemble La Morra
Giovanni Cantarini, tenor
Corina Marti, flute and harpsichord
Michal Gondko, viola da mano
Elizabeth Rumsey, viola del arco
Tore Eketorp, viola del arco
Named after Heinrich Isaac's famous instrumental piece, Ensemble La Morra performs European music of from the 14th and 15th centuries-a period often referred to as “late Medieval” or “early Renaissance.”
Mit »Jardin de Plaisance« ist die erste CD der schola cantorum basiliensis edition bei Raumklang erschienen. In dieser Reihe werden viel versprechende junge Musiker und Ensemble vorgestellt, die an der Schola Cantorum Basiliensis ihre Ausbildung erhalten haben. Gleichzeitig werden spannende Programme abseits der Hauptstraßen der Alten Musik repräsentiert. Die Musiker-Generation nach Guillaume Dufay und Gilles Binchois begann um 1450 mit neuen Kompositionstechniken zu experimentieren, die zu einem sehr fortschrittlichen und eigenständigen Repertoire von weltlichen Liedern führten. Gesammelt und überliefert wurden diese Werke nach 1460 in mehreren Handschriften aus Kreisen des französischen Hochadels. Das junge Basler Ensemble La Morra präsentiert eine Anthologie dieser höchst verfeinerten Kunst instrumentalen und vokalen Musizierens in der Frische und Unmittelbarkeit eines »Gartens der Freude«. Eine Koproduktion von Raumklang, Schweizer Radio DRS2 und der Schola Cantorum Basiliensis. |
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