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ANDRE
- 论坛博士后
- 19720110
- 6056
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- 2003-12-12
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ANDRE论坛博士后
1#
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发表于 2007-09-07 14:16
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真巧,都是古樂,却異曲而同"工(封面)"!! 1)法國AMBROISIE AM129 2)英國HYPERION CDA67640 Cat#:
| AM129
| El FUEGO Ensaladas from Aguilera de Heredia, Arauxo, Flecha and Vasques
| Artist:
| Les Sacqueboutiers
| Details:
| El FUEGO
Ensaladas from Aguilera de Heredia, Arauxo, Flecha and Vasques
1. Mateo Flecha (1481-1553): El Fuego
2. Correa de Arauxo (1575-1663): Tiento de 68tono
3. Mateo Flecha: La Justa
4. Juan Vasquez (1500-1560): Por vida de mis ojos
5. Juan Vasquez: En la fuente del Rosel
6. Sebastian Aguilera de Heredia (1570-?): Tiento de batalla de 88tono
7. Mateo Flecha: La Guerra
8. Juan Vasquez: Conqué la lavaré?
9. Mateo Flecha: La Negrina
Les Sacqueboutiers:
Adiana Fernandez - soprano
David Sagastume - alto
Luis Vilamajo - tenor
Ivan Garcia - bass
Jean-Pierre Canihac - cornett
Philippe Canguilhem - shawm
Daniel Lassalle - sackbut
Laurent le Chenadec - dulcian
Eduardo Egüez, guitar - vihuela, theorbo
Asuko Bouvard - organ
David Mayoral, Florent Tisseyre - percussion
In just over a quarter of a century, Les Sacqueboutiers (based in Toulouse) have built up a reputation on the international scene as one of the finest early music ensembles. When they decided to form Les Sacqueboutiers in 1974, Jean-Pierre Canihac and Jean-Pierre Mathieu were among the pioneers in the rediscovery of early instruments. The quality of their work very soon attracted attention and they took part in groundbreaking recordings, including Monteverdi’s Vespro della Beata Vergine with Michel Corboz. Since then, they have worked with many of the finest ensembles, including Les Arts Florissants (William Christie), La Chapelle Royale (Philippe Herreweghe), A Sei Voci (Bernard Fabre-Garrus), Elyma (Gabriel Garrido)…
By the time of the spanish conquest of America, the ensalada was already well established as a genre. A sort of quodlibet, it had its origins in the medieval practice of singing different texts simultaneously. The great master of the ensalada, who took the genre to a high level of formal perfection and used it as the ideal vehicle for the development of the Christmas song, was the very creative composer and court musician Mateo Flecha the elder (1481-1553). The ensalada, as described by Juan DÌaz Rengifo in his Arte poética Espanola (1592), is a composition with four-line stanzas in which all sorts of poetic metres are used without any predefined order, according to the poet’s fancy. Verses from other poems are often inserted into the narrative, and various languages, not only Spanish, are employed, as well as instrumental sonadas. Naturally the nature of the musical setting is dictated by the variety of the texts. Mateo Flecha the elder was, it seems, the creator of the refined ensalada as described by Rengifo. His compositions present alternations of madrigalist polyphony with purely homophonic passages, and include quotations from many well-known romances and popular songs.
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Cat#:
| CDA67640
| REGNART, JACOB Missa Super Oeniades Nymphae
| Artist:
| Cinquecento
| Details:
| JACOB REGNART (C1540–1599)
Missa Super Oeniades Nymphae
1 Quod mitis sapiens nulli virtute secundus 6vv [4'29]
Missa Super Oeniades Nymphae 6vv [27'11]
2 Kyrie [5'02] 3 Gloria [5'07]
4 Credo [8'21]
5 Sanctus and Benedictus [3'32]
6 Agnus Dei [5'10]
7 Exsultent iusti 6vv [3'05]
8 Quare tristis es, anima mea? 4vv [3'50]
9 Stetit Jesus 5vv [5'58]
10 Inviolata 5vv [4'18]
11 Lamentabatur Jacob 5vv [5'02]
12 Stella, quam viderant Magi 4vv [2'42]
13 Ut vigilum densa silvam cingente corona 6vv [3'43]
Cinquecento’s first disc for Hyperion (Music for the Court of Maximilian II CDA67579) was acclaimed as ‘a revelatory disc’ and ‘an outstanding debut recording’. Their supple, mellifluous, expressive singing was particularly praised: ‘Their voices are young, lithe, pure in intonation and warm in timbre—in short, ideal for interpreting Renaissance polyphony’ (International Record Review).
Their eagerly awaited second release presents the music of Jacob Regnart (c1540–1599) and continues their exploration of the rich repertoire which was engendered in the Hapsburg court. The centrepiece of this disc is the splendid Missa Super Oeniades Nymphae, an expansive and elaborate setting for six voices. Also included are two state motets and six sacred pieces, which demonstrate the extraordinary musical and emotional range of Regnart’s work.
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