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LASSUS, Orlande de - Composers

   Found CDs: 19
 

Composer: 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
Collection: Renaissance
Subcollection: 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.
15.00 eur Buy

IN PRINCIPIO - Rabaskadol - Fritz Heller

IN PRINCIPIO - Rabaskadol - Fritz Heller
ID: ACDHA010-2
CDs: 1
Type: SACDH
Collection: Renaissance
Subcollection: Historical Instruments

SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
15.00 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
Collection: Sacred Music
Subcollection: 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
15.00 eur Buy

Music for Brass

Music for Brass
ID: AV2100162
CDs: 1
Type: CD
Collection: Brass Collection
Subcollection: Brass

14.00 eur Temporarily out of stock

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

La bella Ninfa - Madrigale: Hallenser Madrigalisten - Andreas Göpfert, conductor
ID: AV2100203
CDs: 1
Type: CD
Subcollection: 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
14.00 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
Collection: Sacred Music
Subcollection: 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.
13.00 eur Buy

Sacred Music - A story spanning six cent. with Simon Russell Beale, featuring H. Christophers & The Sixteen

Sacred Music - A story spanning six cent. with Simon Russell Beale, featuring H. Christophers & The Sixteen
ID: COR16078
CDs: 2
Type: DVD
Collection: Sacred Music
Subcollection: Choir

Presenter: Simon Russell Beale

Series One of the BBC's groundbreaking classical music programme follows renowned actor and former chorister Simon Russell Beale as he explores the flowering of Western sacred music. This
four-part documentary series contains a rich mix of personal, political and musical stories and features some of the greatest music ever written, all performed by Harry Christophers and his award-winning choir, The Sixteen.

Region Code: ALL, NTSC, Region 0, Plays in all territories
Menu screens: English
Sound Format: AC3 5.1, PCM stereo
DVD Format: DVD 9
Screen Format: 16.9 Anamorphic
Duration: 298 mins
Color mode: Colour
Subtitles: none
DDD - 24 bit digital recording

Renowned actor and former chorister Simon Russell Beale explored the flowering of Western sacred music in this four part documentary series for BBC FOUR.

Taking the viewer on a pilgrimage spanning six centuries Simon presents a rich mix of personal, political and musical stories. Each episode features some of the greatest music ever written, all performed by the award-winning choir 'The Sixteen' conducted by Harry Christophers in appropriate architectural settings.

In the opening programme 'The Gothic Revolution' Simon begins his journey at St Paul’s Cathedral in the City of London, where he spent many years as a boy chorister. From here he travels to Paris to discover how, at the close of the twelfth century, plainsong (chant) became polyphony (music of ‘many voices’) - the birth of harmony in the west. Simon discovers how, as the vast new edifice of the Cathedral of Notre Dame began to tower over the medieval city, the most famous of all medieval music manuscripts - the 'Magnus Liber' or 'Great Book' of Notre Dame - was also taking shape. The early two part compositions it contained, such as the setting of the psalm ‘Viderunt Omnes’ by Léonin, were preserved in some of the earliest clear musical notation, and represent the birth of harmony in Western music-making.

The next stop in the series is Italy. In 'Palestrina and the Popes' Simon uncovers the links between the papal intrigues of Renaissance Rome and the music of the enigmatic Palestrina, 'The Prince of Music'. Palestrina’s work is considered by many to be unsurpassed in its spiritual perfection, but running underneath it is the turbulent story of the counter-reformation, which would have a dramatic impact on the composer’s life and music. The glorious architecture and art of the High Renaissance complete a compelling picture of this golden age of sacred music.

In episode three 'Tallis, Byrd and the Tudors' Simon discovers the effect of Henry VIII’s break with the Pope and the subsequent tumultuous history of the founding of the Protestant Church in England through the careers of two professional church musicians who were also superlative choral composers. Simon hunts through documents and manuscripts to bring to light revealing glimpses into both their craft as composers and the personal dilemmas of their faith. As members of the monarch's own personal choir - the Chapel Royal - they were both close to the heart of state politics yet both retained strong, and sometimes open, Catholic sympathies at a time when it was dangerous to do so.

Finally, Simon’s travels end in Germany where Luther’s Protestant Reformation led to a musical revolution and ultimately to the glorious works of Johann Sebastian Bach. In 'Bach and the Lutheran Legacy' Simon discovers how Martin Luther, himself a composer, had a profound effect on the development of sacred music, re-defining the role of congregational singing and the use of the organ in services as well as developing the hugely important tradition of singing in the vernacular. In the city of Leipzig Simon discovers how these reforms - and the century and a half of music that followed - shaped the world of Bach and inspired him to write some of the greatest works in the history of sacred music.

A 90-minute celebratory concert accompanies the documentaries with music from the series for Easter Sunday performed by Harry Christophers and 'The Sixteen', specially recorded at LSO St Luke’s in London.
23.00 eur Buy

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
Collection: 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
Subcollection: 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.
22.00 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
Collection: 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.
13.00 eur Buy

 
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