This is the second video (first video here) of the series I prepared on the intabulations for vihuela of sacred an vocal music from the Renaissance.
The composer featured in this video is Josquin des Prez (c.1450-1521), one of the finest and most widespread composers of the Renaissance. His music is particularly important to the Iberian vihuelists, who use Josquin’s music widely. (mais…)
This is a part of the first episode, entitled “Beginnings”, of BBC’s three-episode series “Opera Italia”. This series is presented by Antonio Pappano, conductor and music director at the Royal Opera House, Covent Garden. This excerpt refers to Claudio Monteverdi’s favola in musica. (mais…)
Giovanni Pierluigi da Palestrina’s Missa Hodie Christus natus est is an imitation mass based on the double-choir motet with the same name. Here Palestrina uses almost the same devices he used on the motet (cf. post on Hodie Christus natus est). This mass appears in a book of masses for eight voices printed posthumously in Venice in 1601. (mais…)
The motet for the Second Sunday in Advent takes its text from the offertorium of the mass for this Sunday.
Like the first Sunday, I use Giovanni Pierluigi da Palestrina’s motet Deus tu convertens (I am restricted to the works available at YouTube). (mais…)
In this video Hendrik Vanden Abeele talks about folio 13 recto of the 1481 Ghent antiphonary. End of the third week in Advent (feria v). In this folio there are two responsories with emended verses. The begining of Laudes with the three antiphons, again, with 16th-century emendements. (mais…)
The chanson Tant que vivray, first published in Pierre Attaignant’s first collection of Chansons Nouvelles (1528) is in some ways a perfect example of Claudin de Sermisy’s (c.1490-1562) so-called Parisian style. He actively sought the best and most refined of current French poetry to set; in this case, as in over 20 others, he chose verses by the estimable court poet Clément Marot (1496-1544). (mais…)
Last year, as an exercise for one of my master seminars, we did a transcription of the Kyrie from Mathieu Gascongne’s Missa “Mijn herte”, an imitation mass on Pierre de La Rue’s chanson. I really enjoyed the exercise: the source used was the beautiful Occo Codex. At the time I though “well this is a wonderful work, it should be recorded”. Well, it did, although at that time I didn’t know of any recordings. (mais…)