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World music CD DVD shop and Classic distribution
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ID: SIGCD071
CDs: 1
Type: SACD
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Collection:
Renaissance
Subcollection: Choir'The King's Singers, the superlative vocal sextet that has retained immaculate blend, perfect tuning and crystal diction...' (The London Times, October 05) have combined one of the greatest vocal compositions of all time with modern recording technology and customary style to produce a truly stunning recording of Thomas Tallis' Spem in alium. This is a unique opportunity to hear every part in Spem sung and recorded to perfection, with the six King's Singers dividing the forty parts of Spem in alium between them, in this multi-track recording the disc is in full surround sound, and is a CD/SACD hybrid.
This disc can be played on any standard CD or SACD player. In addition, there is a 4.0 surround-sound mix on the SACD layer. |
| 12.00 eur Buy |
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ID: LIR007
CDs: 1
Type: CD
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Collection:
Chamber Music
Nancy Long with Tragicomedia |
| 15.00 eur Buy |
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ID: LIR005
CDs: 1
Type: CD
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Collection:
Instrumental
150 years of English virginals music
Classical Periods: Baroque, Medieval, Renaissance
For this CD David has chosen a programme which reflects the social and political changes taking place in Britain through the 16th and 17th centuries, and which explores the different influences on the repertoire of the virginal, an instrument which was a major part of musical life at that time. Through a chronological survey, he also focuses our attention on the development of the instrument itself and how it adapted to the demands of the changing repertoire.
David makes particular use of the Arpichordium, or ‘bray’ stop: a batten parallel with the bridge, in which are fixed a set of metal hooks that touch the strings when the stop is engaged, resulting in a colourful ‘buzzing’ sound.
The instrument used in this recording was made by Ian Tucker, and is a Muselar virginal, an exact replica of one made in Antwerp in 1620, by Andreas Ruckers.
(English repertoire played on a Ruckers reproduction). |
| 15.00 eur Buy |
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ID: SN8812
CDs: 1
Type: CD
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Subcollection: Voices |
| 15.00 eur Buy |
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ID: ACDHL005-2
CDs: 1
Type: SACDH
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Collection:
Renaissance
SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
On historical instruments |
| 18.00 eur Buy |
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ID: ACDHN016-2
CDs: 1
Type: SACDH
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Collection:
Renaissance
SACD Hybrid Disc (SACDH) = CD Digital Audio + Super Audio CD
* instrumental
Music Music at the Court of Duke Wilhelm V of Jülich-Kleve-Berg
More than 400 years ago, the musician and composer Martin Peudargent (ca. 1510 - before 1594) was employed at the ducal court of Jülich-Kleve. He left an extensive oeuvre, which has only recently become widely accessible. His first collection of motets, the »Liber Primus sacrarum cantionum quinque vocum, quae vulgo Moteta vocantur«, was printed in Düsseldorf in 1555. On the title page, Peudargent is described as »Illustrißimi Ducis Iuliae, Cliviae, Bergiae etc. Musicus«. From a later source it appears that he originated from Huy in the Netherlands, in the prince-bishopric of Liège. He may therefore have been educated in the city of Liège. In later years he maintained close relations with Liège musicians such as Adamus de Ponta. The motet collection is the earliest proof of Peudargent’s employment at the court of Jülich-Kleve. In an earlier record, dating from 1532, he is described as »magister Martin Peudargent« and owner of a house in the ducal seat of Kleve. Peudargent was probably employed at the local convent school, whose choir sung frequently at court.
The present recording focuses on the »State or Homage motets« from Peudargent’s second collection (1555), in which reference is made to the ducal house. The recording also includes works from the first and second motet books, as they would have been performed in the day-to-day routine of a court »Kapelle«: settings of biblical texts, especially psalms, and free texts according to the church year. |
| 18.00 eur Buy |
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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. |
| 18.00 eur Buy |
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ID: RRC1025
CDs: 1
Type: CD
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Collection:
Renaissance
Subcollection: ChoirPro Cantione Antiqua /(inc T.Penrose, J.Griffett, N.Jenkins, I.Partridge,
M.George, C.Keyte) / dir: Mark Brown.
Charles Brett, Timothy Penrose, Ashley Stafford (countertenors) Wynford Evans, James Griffett, Neil Jenkins, Ian Partridge (tenors) David Beavan, Michael George, Gordon Jones, Christopher Keyte (basses) |
| 20.00 eur Buy |
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