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LASSUS, Orlande de - Komponisten

   Titels gefunden: 18
 

Komponist: LASSUS, Orlande de ((1532-1594))

The Delightful Companion - Jan Devlieger -Marcel Ketels

The Delightful Companion - Jan Devlieger -Marcel Ketels
ID: ACDBE070-2
CDs: 1
Type: CD
Kolektion: RenaissanceSubkolektion: Flute

At the end of the seventeenth century, Delightful, Genteel and Most Pleasant were used to describe the company
of the Pipe Recorder or Commen Flute in many English manuals with solo music for lovers of the recorder. What can increase musical pleasure more than playing the beloved recorder? Playing the recorder with someone very dear to you. So The Delightful Companion has a double meaning for me …
For this CD, we chose duets that were originally composed for two recorders and music that mentions the recorder as one of the possible instruments. The CD opens with a piece for only two recorders, An Italian Ground from The Delightful Companion (Londen, 1686). Its recurring bass theme was usually richly elaborated, so that, paradoxically, the abbreviation arr. (arrangement) features in the CD’s table of contents.
18.00 eur Buy

IN PRINCIPIO - Rabaskadol - Fritz Heller

IN PRINCIPIO - Rabaskadol - Fritz Heller
ID: ACDHA010-2
CDs: 1
Type: SACDH
Kolektion: RenaissanceSubkolektion: Historical Instruments

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
18.00 eur Buy

In Passione Domini - Jan Valkestijn - Rabaskadol - Fritz Heller - William Byrd Vocal Ensemble - Nico van der Meel

In Passione Domini - Jan Valkestijn - Rabaskadol - Fritz Heller - William Byrd Vocal Ensemble - Nico van der Meel
ID: ACDHJ044-2
CDs: 1
Type: SACD
Kolektion: Sacred MusicSubkolektion: Voices and Chamber Ensemble

THE SUNG PASSION STORY
The passion story according to the four evangelists was already recited in early Christendom in the liturgy of Holy Week. One of the earliest reports dates from the fourth century. Pope Leo the Great (+461) reserved Good Friday for the passion according to St John ( Joh.18.1 - 19.42). Specifi c melodic formulas for the recitation of the passion were introduced at a very early stage. Until the thirteenth century, the passion pericope was read by a single person. In order to maintain the dramatic effect, the various personages were indicated by special letters and signs in the text.
Many settings of the passion story survive from the polyphonic age; written for the Catholic liturgy and largely in the responsorial form, they originate particularly from Venice and Rome, and were composed by Ruffo, Asola, Soriano and others. The turbae are usually written in a simple polyphonic style. The four musically more elaborate passions by Orlando di Lasso (written around 1580) and da Vittoria (1585) served as models until the seventeenth century. In the sixteenth century, the so-called Lied-passion arose in the Lutheran liturgy, employing either Latin or German. The prototypes were the St. John and St. Matthew passions by Johann Walter, a friend of Luther. Walter’s example was followed in the seventeenth century by Heinrich Schütz, who cultivated and developed both forms, paving the way from about 1650 for the oratorio-passion, with its interpolated musical refl ections and contemplative episodes, both vocal and instrumental. The eighteenth century witnessed the climax of this development in the oratorio passion, with its commenting da capo arias. The grand masters of this genre were Johann Sebastian Bach and Georg Philip Telemann.

In the nineteenth and twentieth centuries, passion composition fell into decline. Independent oratorios focused on particular parts of the text, such as Christus am Ölberg by Ludwig van Beethoven (1803). In The Crucifixion by John Stainer (1887), a modest return is evident - in romantic guise - to the responsorial passion, but the achievements of a bygone age were hardly equalled. In his Choral-Passion (1933), Hugo Distler sought to connect with the polyphonic technique of the Renaissance and early Baroque.
Examples of more recent passion compositions include Proeve van een Passie in de volkstaal volgens Johannes by Bernard Huijbers (in Dutch, 1959), Passio secundum Lucam by Krzystof Penderecki (in Latin, 1965), Mattheus-Passie by Willem Vogel (in Dutch, 1994) and St.John Passion by John MacMillan (in English, 2007).

Passion Motets
The polyphonic style is characteristic of Netherlands composers of the Renaissance, and to some extent of the Baroque, particularly with regard to vocal music. Contrapuntal techniques such as motivic and melodic imitation were employed, including various canonic forms. At the same time, increasing attention was paid to text depiction and the expression of sentiments, as is convincingly demonstrated by the mostly six-part motets on this recording.
Although new techniques and styles arose, the polyphonic style held ground, again predominantly in vocal music. German choral repertoire of the second half of the twentieth century is hardly conceivable without polyphonic writing, as in the music of Hugo Distler mentioned above.
This style was embraced in Holland, particularly in church music. The choral passages or turbae in the passion story on this recording owe their origins to this movement. Contrapuntal technique is clearly manifest in the canonic treatment of several strophic verses of this passion story, as also in the organ work by Bernard Bartelink (*1929) and the instrumental In Passione Domini by
Jan Valkestijn (*1928). Both compositions correspond to the opening hymn of the St. John passion recorded here. Most of the motet texts are taken from the Office chants for Holy Week. Alexander Utendal
Alexander Utendal, born in the Netherlands between 1530-1540, probably began his career as a member of the Brussels court chapel of Queen Mary of Hungary. In 1564, he sung countertenor in the choir of Archduke Ferdinand of Prague. When Ferdinand moved to Innsbruck in 1566, Utendal followed, dying there in 1581. The polyphonic texture of his music is rich and sonorous, and sometimes features chromaticism, as in the six-part passion motet Plangent eum.

Michel Du Buisson
Buisson, probably born in Lille, was active between 1560-1573. Like Utendal, he served at the Viennese court of Archduke Ferdinand, later emperor, between 1559-1564. In the latter year he followed the dukal chapel of Ferdinand II to Prague, and in 1566 to Innsbruck.

Johannes Flamingus
Johannes Flamingus is known to us through 32 works that he wrote down in the Leiden choirbooks between 1565-1567. He left Leiden before the Alteration, and in 1571 he became chapelmaster to the court of Duke Johann Albrecht I at Schwerin, where he served until 1573. If the name Johannes Flamingus is synonymous with Johan Vlamincx, he was employed in 1592 at the Onze Lieve Vrouwekerk in Mechlin, where he died around 1598.

Orlando di Lasso
Orlando di Lasso [Lassus] (1532-1594), born in Bergen in Henegouwen, was a choirboy in Sicily and Milan. He held various posts in Napels, Rome and Antwerp, before his appointment in 1560 as court chapelmaster in Munich. Lassus is the last and greatest representative of the composers of the Netherlands Renaissance. His oeuvre of sacred and secular music comprises more than 2000 compositions. His genius is manifest primarily in the expressivity and architecture of his compositions. The text of the motet O crux splendidior is taken from the Office of the feast of Holy Rood.
Fritz Heller & Jan Valkestijn
18.00 eur Buy

La bella Ninfa - Madrigale: Hallenser Madrigalisten - Andreas Göpfert, conductor

La bella Ninfa - Madrigale: Hallenser Madrigalisten - Andreas Göpfert, conductor
ID: AV2100203
CDs: 1
Type: CD
Subkolektion: Voices

Italian, Spanish, and English madrigals, German tenorlied, and French chansons, sung in their original languages by unacc. choir . Compact disc. Program notes in German, English, and French ([10] p.) in container. Hallenser Madrigalisten ; Andreas Göpfert, director.

Recorded in Studio Paul-Gerhardt-Kirche, Leipzig, 1987.) -- Ach Lieb, ich tu dir klagen / Hans Leo Hassler
15.00 eur Buy

Venetian Treasures - Gabrieli, Caldara, Monteverdi, Cavalli - The Sixteen, H. Christophers

Venetian Treasures - Gabrieli, Caldara, Monteverdi, Cavalli - The Sixteen, H. Christophers
ID: COR16053
CDs: 1
Type: CD
Kolektion: Sacred MusicSubkolektion: Choir

The sacred choral music of the sixteenth and seventeenth centuries from Venice, especially that written for the splendour of St Mark’s, has a unique style. From the rich and sonorous sound world of the Gabrielis to the airy zestfulness of Caldara’s contemporary Vivaldi, this was music which dazzled the rest of Europe.
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In Honour of Our Lady - Westminster Cathedral Choir - Stephen Cleobury.

In Honour of Our Lady - Westminster Cathedral Choir - Stephen Cleobury.
ID: GCCD4026
CDs: 1
Type: CD
Kolektion: Choral Collection

Catholic choral works by major composers
Great Cathedral and Abbey Choirs A remarkable recording by one of our most famous choirs, here under the direction of one of England’s best known choirmasters. Three sections of appropriate Gregorian Chant recorded by the same forces on a different occasion are interspersed within the programme.
8. (solo: Ian Honeyman) / 10. (solo: Neil Lunt)
"Thus we get an interesting programme sung well. Given a very good rating." Steven Whitehead - Cross Rhythms, 06/01/2004
15.00 eur Buy

When Angels Make Music - Music instruments from 1594 in Freiberg Cathedral

When Angels Make Music - Music instruments from 1594 in Freiberg Cathedral
ID: RK2404-5
CDs: 2
Type: SACD
Subkolektion: Chamber Ensemble

Thirty largely original instruments in the hands of music-making angels in Freiberg Cathedral are unique evidence of Saxon musical-instrument-making in the sixteenth century. Copies were made of the angels’ instruments - cornetts, trombones, shawms, triangle, tambourine, harps, citterns, violins and lutes - during the course of a research project. Their sound can be rediscovered on this CD of late-Renaissance instrumental and vocal works from Saxony. Musica Freybergensis is a hand-picked group of musicians chosen by Music Instrument Museum of Leipzig University and Raumklang for the purpose of practical research into the sound of the Freiberg instruments. Before making this recording a number of concerts were presented over the period of a year, including one in Freiberg Cathedral, giving the musicians time to break in the instruments, to become accustomed to them, and to discover their possibilities.
28.00 eur Buy

Orlando Di Lasso - Psalmi Poenitentialis. Kammerchor Josquin Des Prez

Orlando Di Lasso - Psalmi Poenitentialis. Kammerchor Josquin Des Prez
ID: RK9606
CDs: 1
Type: CD
Kolektion: Renaissance

Erst nach dem Tod des prunksüchtigen Herzogs Albert V. von Bayern im Jahre 1584 konnten die bereits 1559 in seinem Auftrag entstandenen Bußpsalmen-Motetten, die er zeitlebens jeder Öffentlichkeit entzog, gedruckt werden. Lasso wählte als übergreifende Idee die Ordnung nach den 8 Kirchentonarten; dafür fügte er den sieben Bußpsalmen einen weiteren Text hinzu, den 148. Psalm. Für diese CD wurden der 1., 3., 6. und 7. Bußpsalm ausgewählt. Die elf Sänger interpretieren diese überaus subtile Musik mit feiner Sensibilität, die melodischen Linien schweben gleichsam im Raum der romanischen Basilika des Klosters Lehnin. Als besonders reizvoll erweist sich die gemischt solistisch-chorische Besetzung des Ensembles. So entsteht ein Gesamtklang, in dem Individualität und Fülle verschmelzen und das Hören dieser CD zu einem meditativen Erlebnis wird.
18.00 eur Temporarily out of stock

The book of Madrigals - Secular vocal music of the European Renaissance

The book of Madrigals - Secular vocal music of the European Renaissance
ID: RKAP10106
CDs: 1
Type: CD
Kolektion: RenaissanceSubkolektion: 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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Lassus - Missa Surgens Propera and Motets. Cardinall's Musick - Carwood

Lassus - Missa Surgens Propera and Motets. Cardinall's Musick - Carwood
ID: RRC1369
CDs: 1
Type: CD

The Cardinall's Musick and Andrew Carwood, winners of the Gramophone 2010 Record of the Year for the final instalment of their Byrd Edition, sing music by Lassus, a recording which originally appeared on the Gaudeamus label.

1 Quam pulchra es, motet for 6 voices, M. xv (S. xiii/149)
2 Veni in hortum meum, motet for 5 voices, M. ii (S. v/120)
3 Surge propera amica mea et veni, motet for 6 voices, M. iv (S. xiii/158)
4 Missa Surge propera, for 6 voices, H. iv/157: Kyrie
5 Missa Surge propera, for 6 voices, H. iv/157: Gloria
6 Missa Surge propera, for 6 voices, H. iv/157: Credo
7 Missa Surge propera, for 6 voices, H. iv/157: Sanctus
8 Missa Surge propera, for 6 voices, H. iv/157: Benedictus
9 Missa Surge propera, for 6 voices, H. iv/157: Agnus Dei
10 Tota pulchra es, motet for 4 voices, M. xxi (S. i/96)
11 Osculetur me osculo, motet for 8 voices, M. xix (S. xxi/9)
12 Vulnerasti cor meum, motet for 6 voices, M. xiii (S. xiii/154)
13 Veni dilecte mi, motet for 5 voices, M. viii (S. v/124)
14 Magnificat, Quarti toni, for 8 voices, H. xv/138

The Cardinall's Musick - Andrew Carwood
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