Lassus

Editorial Reviews
Amazon.com essential recording
Many listeners today avoid Requiems, presuming that funeral masses must be depressing. Not so--many of them, like the Lassus recorded here, have lovely major-key part-writing and a sweet, tranquil air. The Hilliard Ensemble captures these qualities beautifully at the beginning of this disc: the first three tracks contain their most engaging singing in years. By track four, unfortunately, their dour streak emerges: however attractive Lassus's writing, it's difficult to stay involved with performances so aloof. Disappointment turns to serious frustration with Prophetiæ Sibyllarum (a set of verses purportedly prophesying Christ's birth). The astounding opening movement changes keys at least six times in 95 seconds; the reserved singing gives barely a hint that the music is at all unusual. For the Hilliard Ensemble at their best, try their Perotin CD; for a good example of Lassus in this mood, try the Penitential Psalms (Henry's Eight). To hear an engaging, enjoyable Renaissance Requiem, check out Manuel Cardoso or Duarte Lôbo, both by the Tallis Scholars. --Matthew Westphal

Tracks:

Miserere
Ave Maria For Double Choir
Sicut Lilium I
Praeter Rerum Seriem
Pater Peccavi
Ego Flos Campi
Tota Pulchra Es
Descendi In Hortum Meum
Alma Redemptoris Mater
Salve Regina
Ave Regina Caelorum
Gloria

Tracks:

Media Vita
In Manus Tuas
O Nata Lux
Audivi Vocem
Exaudiat Te Dominus
Ah, Robin
Salve Regina
Kyrie
Gloria
Credo
Sanctus
Agnus Dei

Customer Reviews:

Great choral music CD.......2007-01-26

This CD is excellent - a "must have" for every collection. Beautiful voices, relaxing music.

a voice teacher and early music fan.......2007-01-08

The pieces on these two discs are taken from over fifteen years of recording by the Tallis Scholars, startng with the now-famous recording of Allegri's 'Miserere' from 1980. Allegri lived well into the Baroque era, dying in 1562, Therefore, he did not write the 'Miserere' in renaissance polyphony; and his chordal structure leaned toward the Baroque.
Victoria's 8-part 'Ave Maria' and Palestrina's 'Sicut lilium' are both pieces iln a contemplative mood, the first making direct reference to the Virgin Mary, and the second indirect reference to her via the poetry of the 'Song of Songs'. The remaining selections on Disc l, maintain the consistent, intense sonority of Flemish polyphony.
Disc 2 falls into two parts. The pieces by Sheppard, Tallis,White and Cornysh come from the first half of the sixteenth century and are part of the 'English School' of writing. Here the music is made up of long lines, more notes than syllables, with the emphasis on the part-writing and not the harmonic background.
The second part of Disc 2 is Byrd's five-part Mass, which was written in the 1590's for a recusant Catholic community. Byrd's music has drawn closer to the Flemish style; that is imitative voice parts, largely syllabic in setting with the occasional examples of word-paintings, and the voice parts closer together. But the mood has a different intensity than the writing on Disc one; darker and more questioning. Never was polyphony more passionate than in Byrd's masses,of which the five-part is the crowning achievement.
The members of the Tallis Scholars vary from year to year, and the list of participating singers is included in the accompanying booklet; but it does not tell you which singers are singing each year. That bothered me somewhat because I like to know to whom I am listening specifically. It does mention, however, that the solo group in Allegi's 'Miserere' is Alison Stamp (treble), Michael Chance (countertenor) Jane Armstrong and Julian Walker.
The recording is outstanding in every way. Perfect balance between the voices, perfect emotional investment, flawless dicton and the most beautiful vocal sounds you will ever hear; just Two and One-half hours of pure pleasure!!!!!

Lovely!!!.......2006-06-02

This set of CDs is truly wonderful. I am fond of sacred choral music and purchased the CD mostly to obtain the recording of Gregorio Allegri's "Miserere Mei." This song alone is worth buying the set. I heard it live by an excellent college choir in my hometown and immediately set out to find the best recording of it. Most buyers recommended this recording over the others. (By the way "Miserere Mei: by Gregorio is hard to find.) Additionally the other songs are also so relaxing, flowing, and meditative. I will be honest . . .the Tallis Scholars sing well but not as flawlessly as the Cambridge Singers. You will note that not every consanant is hit in unison, but this is not overly disturbing. (Still that is the only reason for giving four stars instead of five.) The sound is still lovely and the songs gorgeous. In Media Vita is another gorgeous song (first on second CD). If you haven't heard it, I'm sure you'll love the flowing melody!

Beautiful, but a little cold.......2006-02-06

The Tallis Scholars are the zenith of this type of singing, but sometimes they lack the vocal warmth that they probably could achieve if they were guided to do so. Still, this is a great CD, and even better for the 2 CDs of fine and uplifting singing.

The Greatest Hits of a Pioneer Ensemble.......2005-09-27

For years, Tallis Scholars have been quietly revolutionizing our recovery of sacred music. This is their "greatest hits" collection and quite great indeed. The Miserere which begins the set is alone worth the price of the set. The only fault with it is that it is so startling, so obviously genuine, that you will still be hearing it as you play through the rest of the set. The Scholars' ongoing recovery project only proves how integral music is to the human psyche, how essential the sacred is to basic human sanity. And how the severence of the two in the public space and the popular imagination -- the sacred from music -- has severely damaged us all en masse.

Average customer rating:

Transcendant spiritual beauty
More Gardiner than "Renaissance", but nonetheless undeniably vivid...

Pilgrimage to Santiago

Manufacturer: Soli Deo Gloria
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
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Music for Compline
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ASIN: B000IFRPUA
Release Date: 2006-11-14

Tracks:

Dum Pater Familias
Congaudeant Catholici
O Virgo Splendens
Parce Mihi Domine
Alma Perpetui
Jesu Rex Admirabilis
Rite Majorem
O Quam Gloriosum/Missa O Quam Gloriosum
Kyrie
Psallat Chorus Caelestium
Gloria
O Lux Et Decus Hispaniae
Sanctus
Benedictus
O Venerande Christi
Agnus Dei
Nesciens Mater
O Maria Vernans Rosa
Vadam Et Circuibo
Justorum Animae
Sanctus

Customer Reviews:

Transcendant spiritual beauty.......2007-05-19

After arriving at the end of this astonishing CD, any critical objectivity was swept away by the sheer transcendent quality of these performances. One need not be religious to understand something out of the ordinary is happening here. This was recorded in London in between performances in France and Spain where the choir hiked from town to town and performed the program in abbeys and churches, ending with a performance in the Cathedral of Santiago de Campostela.Surely the memories of those churches, their extraordinary spiritual qualities and acoustics, remained in the singer's ears and hearts during this recording session. So much of it is so beautiful, with the motet 'O Maria vernans rosa' by Clemens non papa being for me the highlight. It is hard to imagine anything more transcendant than the soaring treble lines and prismatic harmonies in that music.All that is missing are the candles and the incense. Glorious!

More Gardiner than "Renaissance", but nonetheless undeniably vivid..........2007-01-22

In his first non-Bach recording for the Monteverdi Choir's own 'Soli deo gloria' label, John Eliot Gardiner presents a sublime programme of works from the 12th-16th centuries inspired by the renowned Santiago pilgrim route. If the CD does not quite surpass the Monteverdi Choir's 2005 recording of similar music ('Santiago a cappella', Universal/Emarcy 0028947630104), it is still by any account a magnificent achievement. The performances exhibit both impeccable ensemble and near-faultless intonation, and are beautifully encaptured within a warm and reverberant acoustic. In addition, Gardiner frequently exploits a slow 'tactus' to great effect, resulting in readings which are spiritually charged and spacious (perhaps most obviously in Morales' ubiquitous 'Parce mihi Domine', Mouton's 'Nesciens mater' and Clemens 'O Maria vernans rosa').

If there can be any criticism of the disc, it is that, at times, the towering force of Gardiner's musical personality is perhaps a little too dominant. In his defence, Gardiner makes no pretence that this is anything but a highly idiosyncratic account, a fact as obvious from the presentation (note the CD cover and booklet notes featuring personal reflections from himself [pp.1-2] and members of the choir [pp.34-5]) as from the performances themselves. A number of the interpretations, for example, rely on a rhetorical approach to dynamics and tempo arguably more appropriate to late 16th/early 17th century secular music than 'prima prattica' (and earlier) sacred music, and whilst this musicological liberty is often effective, sometimes it is not. The declamatory 'forte' outbursts of Dufay's 'Rite majorem' are indicative of this over-emphasis on text; similarly the rather organic tempo in Victoria's motet 'O quam gloriosum' sounds a little mannered in places and seems to contradict what is known about tempo in Renaissance music (see below *). Additionally, the choice of forces (see below **) and occasional mannerisms (such as the clipped 'Hosanna' in the Sanctus and Benedictus of Victoria's Mass) are powerfully suggestive of the mixed-voice Cambridge choral tradition of Rutter, Marlow and Brown (Gardiner himself having studied there). And incidentally, why is the Credo from Victoria's Mass silently omitted...?!

If the overall result, then, is really more a personal invitation to Gardiner's insight than an accurate representation of the selected works, this does not detract from the profound and ethereal experience which is created upon listening to this marvellous release. Highly recommended.

(*) It would be dangerous to interpret sources too literally, but it surely significant that contemporary theorists almost consistently relate the tactus to mediums with a regular factor, most commonly the heartbeat (e.g. Ramis de Pareia [1482], Adam of Fulda [1490], etc...), but also breathing (Gaffurius, 1496), walking (Buchner c.1520), etc.
(**) Performance of Iberian polyphony with instruments - rather than 'a cappella' (as here) - is well documented, and Santiago Cathedral itself boasted 4 salaried ministriles from 1539. In Rome too, where Victoria's Mass was published (1583), instrumental participation was common. The English jesuit Gregory Martin, describing music in Roman churches c.1576-8, for example, notes: "...with the Organs a childes voice shriller and louder than the instrument, tuneable with every pipe: Among the quyre, Cornet or Sagbut, or such like above the voices..." (Roma Sancta, 1581, p.96)

Beyond Chant: Mysteries Of The Renaissance

Average customer rating:

Great literature... but thats about it
Essential listening.
Captivating!
Lofty music
Slow down Maestro !

Beyond Chant: Mysteries Of The Renaissance

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Voices Of Ascension: From Chant To Renaissance
The Greatest Choral Music of Palestrina: Prince of Music
Mysteries Beyond: Songs and Chants in Praise of Mary
Duruflé: Requiem Op.9/Messe Cum Jubilo,Op.11
Josquin Desprez: Motets & Chansons

ASIN: B0000006ZN
Release Date: 1994-05-23

Tracks:

Sicut Cervus
Ave Maria
Justorum Animae
Jesu Rex admirabilis
Exultate Deo
Exultate Justi
Jesu,Dulcis Memoria
Ave Verum Corpus
Psalm 90
Psalm 96
Hodie Christus Natus Est
O Maria Virgo Pia
Tu Pauperum Refugium
O Sacrum Convivium
If Ye Love Me,Keep My Commandments
Hosanna To The Son Of David
O Quam Gloriosum
Selig sind die Toten
Heu Nos Miseros
Exaltabo Te
O Sing Joyfully
O Magnum Mysterium
Laudate Nomen
Cantate Domino

Amazon.com

Go right to the first track and prepare for one of the most masterful and stylish performances of Palestrina that you'll ever hear. It's not flashy music nor is the singing especially virtuosic, but the unified phrasing, ideal balance among sections, and overall ensemble technique is impressive, and Palestrina's little motet simply opens and displays itself like a beautiful flower. The rest of the program, which includes a variety of beautiful flowers from composers such as Josquin, Sweelinck, and Tallis, maintains the same standard. Anyone looking for an introduction to Renaissance sacred choral music will find much here to encourage further exploration--standards like Byrd's "Ave verum corpus" and Victoria's "O magnum mysterium"-- and lesser known tiny masterpieces such as Victoria's "Jesu, dulcis memoria." The Voices of Ascension ranks with the world's finest choirs, and this recording reflects both the highest standard of choral singing and the highest standard of choral composition during the Renaissance. --David Vernier

Customer Reviews:

Great literature... but thats about it.......2007-06-17

This cd was mildly dissapointing, to say the least. The literature is fantastic. Some of the greats are featured on here with some of their best works. No doubt a great taste of the Renaissance, especially for someone new to it. However, I'm sorry to say that the performance is second-rate, at best. Dennis Keene apparently is either unaware, or just simply understudied when it comes to the Renaissance. He shows an incredible lack of messa di voce, which was what drove the counterpoint of the Renaissance. His interpretations rob this music of its deeply personal purpose. I would suggest the Hilliard Ensemble over any ensemble for Renaissance literature, and find it dissapointing that so many people praise such emotionless, understudied Renaissance ensembels such as the Voices of Ascension, the Tallis Scholars, and the Oxford Camerata, just to name a few. Very good literature... But always pick the Hilliard Ensemble or Anthony Rooley's Consort of Musike when you have the option. It seems like Paul Hillier and Anthony Rooley are the only two true Renaissance scholars currently conducting ensembles.

Essential listening........2007-03-05

This was my first CD of Renaissance choral music, as it undoubtably has been for a great many people. It offers the best possible introduction to the genre for 2 main reasons: 1. No other CD of Renaissance choral music contains such a varied cross-section of early to late Renaissance sacred music styles. 2. The performance and recording quality are fabulous.

Keene uses a variety of different voicings and numbers of singers according to the needs of each particular piece, sometimes with only 2 on a part. The ensemble heard on this recording is a select professional core of The Voices Of Ascension, one of the best choral groups in the country. The voices are all very rich and resonant, and the intonation through the entire CD is unquestionably on par with the best in the world. The singing is, for the most part, completelly vibratoless and extremely smooth, which creates a gorgeous purity that allows this music to shine. However, it does become strident at times, which may put off some choral conductors who are strongly against straight-tone singing.

Of particularly high quality and beauty are the Viadana "Exultate Justi", Byrd's "Ave Verum Corpus", Tallis' "O Sacrum Convivium", and the Victoria and Sweelinck pieces. Another extraordinary track is Leonardo Leo's "Heu Nos Miseros", a late Baroque piece included because of its influence from earlier styles. It is a 9 part double choir piece full of extravigant dissonances and emotion, performed breathtakingly.

Captivating!.......2006-04-12

I was christened as a choral music fan once, as a college student, I heard the music of the Cambridge Singers. Inundated with classical music for years, how could I never have heard such music?! It was as if my musical senses were born anew: for it was with the same awe as a child encountering the world for the first time, that I discovered this novel and fascinating world of a cappella choral music. There were landmark discoveries along the way: Choir of Trinity College, Cambridge; Concordia Choir; St. Olaf Choir; the Dale Warland Singers; the Kansas City Chorale; Kantorei; the West Coast Mennonite Chamber Singers...and (as you expected!) I must end with the Voices of Ascension. The clarity of their pure voices can only be paralleled by the Choir of Trinity College, Cambridge. Chant haters, do not avoid this CD - you will find no chants here! Chants hold absolutely NO intrigue for me and I cannot endure listening to them for long periods of time. By contrast, this music, aptly named "Beyond Chant," truly does uncover hidden musical treasures of the Renaissance for those who would ordinarily avoid such music. The intricately woven a cappella harmonies are captivating and satisfying. I highly recommend this CD to all choral music fans.

Lofty music.......2005-10-14

Some of the earliest pieces of Christian music are the various kinds of chant. These hearken back to synagogue singing; there were various kinds of chant, including Gregorian, Old Roman, Mozarabic, Cistercian and Anglican chant. These tend toward the monophonic, singing with a single 'tune' or lone. They are generally without regular beats or set meters. However, in the Renaissance, monophonic chant grew into a polyphonic form, and this is one of the most glorious eras of music. (My shelves at home are filled with CDs of this sort.) Composers in this era include many represented on this disc - Palestrina, Desprez, Victoria, Lassus, Byrd, Gibbons and Tallis were some of the leading lights of the time. Lesser known but still glorious include Tye, Viadana, Sweelinck, Hassler, Batten and Schutz.

One of the interesting features of this disc is that it includes three pieces by Sweelinck, two psalm settings and 'Hodie Christus Natus Est'. (Sweelinck is very under-represented in recording and performance today). Some pieces are very well known - Byrd's 'Ave Verum Corpus' is perhaps one of the most familiar pieces from this period, as is Palestrina's 'Exultate Deo'. This is a collection that draws from the breadth of the Western Christian tradition of music from this time, with composers from Britain, Italy, the Netherlands, France, Germany, and Spain.

The composers here wrote liturgical music for Masses and other worship services, as well as other pieces - motets and other kinds of new music. This disc represents music that is two or three steps removed from plainsong and basic forms of chant - some are quite a bit distant. Viadana's composition for 'Exultate Justi', for example, was actually composed later, and despite being done in a more Renaissance style, shows decided influences of the Baroque (this might also be part of the performance of the Voices of the Ascension that gives this impression).

The Voices of Ascension, under the direction of Dennis Keene, grew out of the choir of the Church of the Ascension in New York City. Many of the singers are active soloists in addition to being part of this group (whose numbers vary, but often around 40). Keene is a conductor, organist and teacher (not an uncommon combination). Trained at Juilliard, he has led the Voices of Ascension through many outstanding recordings and performances.

This is a performance that is definitely uplifting, and a good collection of music in its breadth to introduce the glories of Renaissance polyphony to those who with little exposure to it. The recording quality is very good, and the choir is quite full and well suited for the music. Some have commented upon the tempo, but this was not a concern for me, and did not stand out as unusual or a problem upon listening (indeed, there were a few points at which I might wish for it to be a bit faster, rather than slower).

A collection that soars!

Slow down Maestro !.......2004-01-04

Another reviewer writing about another album by Dennis Keene wrote:

"Yet the performance is not the slowly flowing honey usually served up by, say, the Tallis Scholars (as good as that is). Particularly in the Gloria and Credo of the Mass, Dennis Keene deliberately de-emphasizes the rise and fall of the different voices' lines in favor of a more naturally speech-like declamation of the long Latin texts. This means a surprisingly fast tempo--and some rhythmic spring and syncopation one might not expect in Palestrina. Some (not all) of the motets get a similar treatment: it works well in joyous pieces like the Pentecost motet Dum complerentur, but listeners might miss that melodic rise and fall in some of the slower works. The singers of Voices of Ascension are quite skillful, and the slight edge in their tone helps make the different melodies unusually audible. Very worthwhile, but not your father's Palestrina."

As a matter of fact, I used to like this album quite much although it was certainly not my favorite. That was until I listened to Robert shaw's "O Magnum Mysterium", which is amedley of Renaissance, negro spiritual, Russian and Western contemporary religious music. I was struck by Shaw's profoundly spiritual interpretation of the pieces by Victoria and Tallis that are also recorded on "Beyond Chant".

From then on I could no longer listen to this cd without feeling feeling increasingly dissatisfied. I tried to find a precise reason and not being a music specialist I was quite at a loss until I found the review above. Maybe the quick tempo is the key to my dislike.

I definitely feel that Dennis Keene and his singers do not have the depth of the Robert Shaw Festival Singers although the booklet accompanying the cd claims that the audience was spellbound by their performance, which took place in a cathedral in New York.

Tracks:

Amor Vittorioso
Lirum Bililirum
Il Bianco E Dolce Cigno
La Bella Franceschina
Ultima Mei Sospiri
Alla Cazza
Or Si Rallegri Il Cielo
Fine Knacks For Ladies
Who Made Thee, Hob, Forsake The Plough
Of All The Birds That I Do Know
Too Much I Once Lamented
Fair Phyllis I Saw
The Silver Swan
Now Is The Month Of Maying
La Guerre
La, La, La, Je Ne L'ose Dire
Bon Jour: Et Puis, Quelles Nouvelles
Mignonne, Allons Voir Si La Rose
Il Est Bel Et Bon
Margot Labourez Les Vignes
Un Gentil Armoureux
Faulte D'Argent
La Tricotea Samartin La Vea
Triste Estaba El Rey David
Cucu, Cucu!
Tres Morillas M'enamoran
Fatal La Parte
La Bomba
Tanzen Und Springen
Vitrum Nostrum Gloriosum
Ach Elsein, Liebes Elselein
Ach, Weh Des Leiden
Das G'Laut Zu Speyer
Herzliebstes Bild

Customer Reviews:

Ever wondered what was before Bach, Lully, or Palestrina?.......2007-04-29

During the days of the Renaissance, the madrigal was one
of the most popular musical forms and outputs. The King's Singers, a modern-day all male vocal group, demonstrate the authentic sound of which these 34 chosen madrigals may have been performed. In the Renaissance, in place of sopranos and altos, there were countertenors (men who sang falsetto in a feminine range). That's what these guys do; just listen to the first few and you'll automatically be transported back to this magical and sort of other-worldly time. If you've been to Renaissance fairs, it will make you think of those, too.

The King's Singers offer 34 well-chosen madrigals from composers like John Dowland, Hans Leo Hassler, Clement Jannequin and some composers who wished to remain anonymous. They are grouped by the different languages to show that the madrigal wasn't just the rage in Italy where it had originated but at various other places all over Europe, the hub of the music world. The Italian ones come first, then in English, French, Spanish and German. The best one in the set is "La Guerre" which runs 6 minutes, and is an incredible vocal showpiece. It's even very funny at times.

If you want to hear exactly how Renaissance madrigals sound, this is the real deal.

Lassus: Masses for Five Voices; Infelix ego

Average customer rating:

It's unfortunate..
text problem
Two masses of great sensual beauty
Natural eloquence
Lush and Rich

Lassus: Masses for Five Voices; Infelix ego

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Obrecht: Missa Caput; Salve Regina
Gesualdo: Complete Sacred Music for Five Voices
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Tallis: Mass for Four Voices; Motets /Oxford Camerata * Summerly

ASIN: B0000013Z6
Release Date: 1994-06-28

Tracks:

Missa Entre Vous Filles: Kyrie
Missa Entre Vous Filles: Gloria
Missa Entre Vous Filles: Credo
Missa Entre Vous Filles: Sanctus
Missa Entre Vous Filles: Agnus Dei
Infelix Ego
Missa Susanne un jour: Kyrie
Missa Susanne un jour: Gloria
Missa Susanne un jour: Credo
Missa Susanne un jour: Sanctus
Missa Susanne un jour: Agnus Dei

Customer Reviews:

It's unfortunate.........2007-04-15

Lassus is certianly one of my favriote composers, I have loved every thing I have ever heard from him. This CD consists of wonderful literature. However, im disappointed with the performance. The Oxfor Camerata, much like the Tallis Scholars, seem... very "vanilla," I suppose. In comparison to groups like, my personal favriote, the Hilliard Ensemble, or even compared to Anthony Rooley and the Consort of Musike, or the Hueglas Ensemble, Oxford comes off rather uninspired. They sing well, they have a pleasant (although very obviously British) sound. Yet they lack the emotion, and the individuality of the top early music ensembles. They fail to convey what would have been the style of the Rennaissance.

Overall, it is a fine CD. It still is sung beautifully, it's a wonderful selection, and above all, it is cheap. However, there are much better ensembles out there.

text problem.......2007-02-18

Sorry, but I am a little disapointed.Only one part Infelix ego has translated text. It is not easy to understand polyphonic latin!

Two masses of great sensual beauty.......2005-07-13

Orlando Lassus or Roland di Lasso (c.1532 - 1594) stands as one of the most fascinating composers of the Seconda Prattica - a group of composers who stand apart from their predecessors in that their music reflects the social and political upheavels of the Reformation and Counter Reformation. The complex polyphony of the Prima Prattica came under attack as being mere artifice that obscured the meaning of the texts of sacred works and with it came a push towards an increasing dismantling of the extraordinary complexity that the previous generations had endowed music. Palestrina definitely shows such tendencies along with the refined pious delicacy of his music. Palestrina also begged humble forgiveness for writing the typically blatently erotic chansons in his youth, that were typical throughout much of the Renaissance - even the greatest composers wrote them. This seems to reflect an increasingly puritanical prudishness that was a characteristic of the Reformation and which the Counter Reformationists tried to outdo. Thereafter this sexual openess and innocence of expression was banished from composition - I can scarcely think of a single genuinely explicitly erotic text set to music by a major Western composer thereafter.

In stark constrast to Palestrina, Lassus tenaciously refused to succumb to this new spirit of prudery. The Humanist spirit in him silently rebelled against this wave of oppression. This reflects in his refusal to systematically disinherit himself of the polyphonic riches of the Prima Prattica that had been handed down to him and continued to happily write for five or six voices as it suited him. However, even more remarkable was the brazen refusal to give up writing parody masses based on explicitly erotic chansons - in blatant violation of the decrees of the Council of Trent. Of this tendency there is no better example than the Missa Entre Vous Filles. The original chanson comes from none other than the great Clemens non Papa (can you imagine Schubert or Brahms writing a Lied like this!):

Entre vous filles de quinze ans,
Ne venez plus à la fontaine,
Car trop aves les yeulx frians
Tetin poingnant bouche riant connin mouflant
Le cueur plus gay qu'une mistaine
Entre vous filles de quinze ans,
Ne venez plus à la fontaine!

[You girls, fifteen years old,
Don't come to get water at the fountain,
Because you have darling eyes,
Pert breasts, laughing mouths, warm little cunny
Hearts gayer than a dream
You girls, fifteen years old,
Don't come to get water at the fountain!]

Even where the choir sings 'Kyrie eleison' the listeners of Lassus' time must have known perfectly well where the melody came from. Whatever the original chanson parodied here, the crucial things is how truly remarkable the final work really is. For it is a mass of refined sensuality, as well as of an exquisite and deeply felt beauty.

The second mass here is Susanne un jour.

Susanne un jour d'amour solicitée
Par deux viellardz, convoitans sa beauté,
Fust en son coeur triste et desconfortée,
Voyant l'effort fait à sa chasteté.
Elle leur dict, Si par desloyauté
De ce corps mien vous avez jouissance,
C'est fait de moy. Si ie fay resistance,
Vous me ferez mourir en deshonneur.
Mais j'aime mieux périr en innocence,
Que d'offenser par peché le Seigneur.

[Susanna faire, sometimes of love requested
By two old men whome her sweet looks allur'd
Was in her heart full sad & sore molested
Seeing the force her chastitie endur'd.
To them she said, if I by craft procur'd
Doe yield to you my body to abuse it,
I kill my soule, & if I do refuse it,
You will mee judge to death reproachfully.
But better tis in innocence to choose it,
Than by my fault t'offend my God on high.]
Translation by Nicholas Yonge from the Musica Transalpina, 1588

Renaissance paintings of the theme of Susanna take great pleasure in showing her in the nude while two dirty old men leered on and clearly Lassus is using a Biblical theme to endulge in a similar pleasure in the sensual aspects of the figure of Susanne. Yet this work too is ultimately remarkable first and foremost as a richly conceived polyphonic masterpiece. Both this and the other mass here help to explode the myth that Lassus' best music is to be found in his motets.

By way of stark contrast the one motet on this is set to the text by the demongogue preacher Savonarola. Savonarola is infamous for the 1497 Bonfire of the Vanities. They burnt items supposedly associated with moral depravity such as mirrors, cosmetics, jewelry, non-sacred books, gaming tables, fine dresses on a large fire at the Piazza della Signoria in Florence. Even Sandro Botticelli threw his own works on the pyres. A backlash against the puritanical oppression forced upon the city of Florence soon followed and during Savonarloa's Ascension Day sermon on May 4, 1497, bands of youths revolted so that taverns were soon reopened, and men gambled openly in public. Savonarola's fall from grace was completed when he was accused of falsely claiming to see visions and uttering prophecies. With Machiavelli amongst the onlookers he was hung and burnt publically. The text of this motet 'infelix ego' (misfortunate I) was written on the eve of his public execution. One only wonders what motivated Lassus to set it to music.

The only real oddity in this CD are the notes by Jeremy Summerly which contains too little information to be of any help whatsoever. Most amusingly the text of the Savonarola is included but any direct quotation from the original chansons that Lassus based his masses is strictly avoided. There is only the one fleeting and blushing reference to Susanne en jour 'celebrating in galloping rhyme the wonders of the female anatomy' - a case of 'no sex please we're British' perhaps?

Nonetheless the performances here all do Lassus great justice. The sound of the Oxford Camerata has luminosity and sensual lyricism to fully convey the warmth of the writing. Summerly seems to have a genuine feel for the music of Lassus - something you can also sense with their recording of the Missa Bell' Amfitrit' altera.

Definitely worth hearing!

Natural eloquence.......2002-03-31

Reviewers do not seem to have paid special attention to this CD, but I find it one of the most convincing recordings of late sixteenth-century polyphony. The Missa Susanne un jour and the setting of Infelix ego are among Lassus's best works, and receive here performances that are models of unforced phrasing and natural eloquence. The recorded sound (which sounds a little dull in some of the other recordings from this choir and location) is fully adequate to convey the warmth and fullness of Lassus's choral writing. It is a recording that I have listened to repeatedly for years with always renewed enjoyment.

Lush and Rich.......2000-12-30

The music here is "lush" (as the liner tells us) and rich. The voices of the Oxford Camerata never disappoint on this beautiful recording, made in the Chapel of Hertford College, Oxford. I was struck by the full harmonies of these pieces and by the Oxford Camerata's sensitive dynamics.

Average customer rating:

Philadephia Brass BAD. New England Brass GOOD.
A fine, clean performance

Glorious Sound of Brass

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ASIN: B0000029X0
Release Date: 1997-07-01

Tracks:

Two Pieces: Almand
Two Pieces: Gaillard
Toccata 'Athalanta'
Brass Suite: Intrade
Brass Suite: Sarabande
Brass Suite: Intrade
Brass Suite: Sarabande
Brass Suite: Bal
Brass Suite: Courente
Brass Suite: Bal
Brass Suite: Sarabande
Brass Suite: Gigue
Providebam Dominum
Three Sonatas: Sonate No. 21
Three Sonatas: Sonate No. 24
Three Sonatas: Sonate No. 22
Renaissance Suite: The Marie-Golde
Renaissance Suite: Night Watch
Renaissance Suite: Patiencia
Renaissance Suite: The Choise
Renaissance Suite: Honie-Suckle
Renaissance Suite: Last Will And Testament
Renaissance Suite: The New-Yeres Gift
Three Pieces: The Prince Of Denmark's March
Three Pieces: Interlude
Three Pieces: King William's March
Two Ayres: Awake The Trumpet's Lofty Sound
Two Ayres: A Trumpet Voluntary From 'Ode For St. Cecilia's Day '
Two Pieces: Trumpet Tune
Two Pieces: Voluntary For Organ And Trumpets
Six Diverse Pieces: Fanfare
Six Diverse Pieces: Trumpet Tune 'Bonduca'
Six Diverse Pieces: Ayre For Organ
Six Diverse Pieces: Trumpet Tune 'Martial Air'
Six Diverse Pieces: Trumpet 'Tune Cebell'
Six Diverse Pieces: Voluntary In C Major
Overture From 'Der Gutreue Musikmeister'
Heldenmusik (Heroic Music): Honor
Heldenmusik (Heroic Music): Charm
Heldenmusik (Heroic Music): Bravery
Heldenmusik (Heroic Music): Quietness
Heldenmusik (Heroic Music): Vigor
Heldenmusik (Heroic Music): Love
Heldenmusik (Heroic Music): Vigilance
Heldenmusik (Heroic Music): Playfulness
Heldenmusik (Heroic Music): Gentleness
Heldenmusik (Heroic Music): Generosity
Heldenmusik (Heroic Music): Hope
Heldenmusik (Heroic Music): Joy

Customer Reviews:

Philadephia Brass BAD. New England Brass GOOD........2004-01-17

This CD is a combination of two recording sessions. The 1966 recording of the Philadelphia Brass rates maybe two stars. Not only does the recording itself have a dry, studio sound to it, but the performance of the Philadelphia Brass cannot be recommended. They stomp their way through the loud parts; and the expressive parts are done in a perfunctory manner. It all has a real mechanical, connect-the-dots feel to it. There is a significant amount of imprecision in the attacks. Without checking the original scores I can't say for sure, but I'm thinking that some pieces were transposed into more comfortable keys.

The 1962 recording of the New England Brass is vastly superior. It's a good recording technically (considering the year -- certainly better than the 1966 recording) and a good performance that I'll rate four stars; so the whole CD averages out to three stars. The New England Brass deliver elegant high notes, spirit, and artistic expressiveness that are missing in the Philadelphia boys. This might explain why they are featured second on the CD: Save the best for last! If you are a real stickler for accuracy in Historically Informed Performance (based on whatever definition happens to be in style these days), you might find a few things to criticize. But hey! This was 1962. Cut 'em a little slack and enjoy the show.

Since this is a budget price, I would suggest you look at it this way: You're paying a budget price, so you can ignore in good economic conscience the mediocre part of the CD done by the Philadelphia group and enjoy the part done by the New England group without feeling like you wasted any money.

A fine, clean performance.......1999-12-08

I bought this CD for track 13. Providebam Dominum by Lassus, and, while that track is a bit of a letdown, the rest of the CD is superb.

This CD offers a range of brass music composed in the Renaissance and Baroque periods. The performance is very clean as far as intonation as well as phrasing and dynamics.

This is a remastering of a 1960's performance, although you can't tell that just by lsitening, as it is free from noise, pops, and hiss. The liner notes weren't updated since the original recording (they attribute the Trumpet Tune to Purcell and not Clark, as it has been discovered recently), but that's not much of a concern, as the recording pretty much speaks for itself.

I was very happy to find a brass recording of Providebam Dominum, but I was a little disappointed by the recording on this CD. Overall, the song is played beautifully and gracefully. However, toward the end of the song there are accented notes that I feel are unnecessarily harsh. The three or four blatted notes in this track is the only blemish on this otherwise great CD.

The rest of the tracks, however, are played very nicely and without any unusually harsh notes. The Purcell/Clark Trumpet Tunes are played especially well, and the addition of the organ for a few tracks is a nice touch.

Tracks:

Cantiam Lieti Cantiamo
E D'Un Bel Matin D'Amore
Quella Bella E Biancha Mano
Una Leggiadra Nimpha
Venite Amanti Insieme
Divini Occhi Sereni
Con L'Angelico Riso
Madonna, Il Tuo Bel Viso
Fuggi, Fuggi, Cor Mio
Si Liet' E Grata Morte
Se La Dura Durezza
Ahime, Ahime, Dov'E 'L Bel Viso
Madonna, S'Io V'Offendo
II Bianco E Dolce Cigno
Donne, Venete Al Ballo
Morir Non Puo Il Mio Cuore
Se La Mia Vita
Mia Benigna Fortuna
Ancor Che Col Partire
O Sonno
Chi La Gagliarda
Madonna Mia Fa
Medici Noi Siamo
Quando Sara Mai Quel Zorno
Matona, Mia Cara
Tre Ciechi Siamo

Tracks:

O Grief Even On The Bud
When Lo By Break Of Morning
April Is In My Mistress' Face
The First Part
The Second Part
Sweet Nymph Come To Thy Lover
The First Part
The Second Part
Miraculous Love's Wounding
Adieu Sweet Amarillis
Weep O Mine Eyes
The Silver Swan
The First Part
The Second Part
Since Robin Hood
Fire And Lightning
Strike It Up Tabor
See, See, The Shepherds' Queen
Come Sable Night
Sweet Suffolk Owl
In Nets Of Golden Wires
Draw On Sweet Night

Customer Reviews:

A "Regular People" Review.......2007-03-20

So I was on a Renaissance kick for a while and picked this up, first of all, great value. I enjoy listening to a few of these every now and then but can't take too much at once, check out the previews and if you interested, go for it!

Not stilted but powerfully alive.......2005-02-24

My idea of stilted is to sing these madrigals in the phony, glee-club RP style endured for so many years, that made precious, quaint curiosities of them. The Elizabethan pronunciation on this CD is an eye and ear-opener. We may appreciate how much of that speech actually endures in regional accents in both the US and UK. More importantly, this CD brings us the sounds of the long-forgotten English human beings of the Renaissance, people who drank, fought and screwed, who brought us Shakespeare and the King James Bible. I love this recording.

Better at Italian than English.......2003-07-25

A stilted style and even more stilted attempts at Renaissance-English pronunciation make the English Madrigal disk a terrible disappointment. All emotional content -- the mellow, lumimous melancholy with flashes of fire that characterizes English music at its best -- has been drained in this attempt to kill, skin, and stuff these madrigals in order to present them as museum pieces. The pronunciation problem is particularly galling -- if these songs are going to be made incomprehensible to modern English speakers, where, then, is their cultural home?

Tracks:

Missa Hodie Christus Natus Est: Kyrie
Missa Hodie Christus Natus Est: Gloria
Missa Hodie Christus Natus Est: Credo
Missa Hodie Christus Natus Est: Sanctus
Missa Hodie Christus Natus Est: Agnus Dei
Hodie Christus Natus Est (Motet)
Stabat Mater
Missa Bell' Amfitrit' Altera: Kyrie
Missa Bell' Amfitrit' Altera: Gloria
Missa Bell' Amfitrit' Altera: Credo
Missa Bell' Amfitrit' Altera: Sanctus
Missa Bell' Amfitrit' Altera: Agnus Dei

Customer Reviews:

An excellent CD at any price.......2005-06-12

The coupling of the three works on this recordings does an excellent job of further helping to explode the old myth that Palestrina is more notable for his masses, whereas Lassus' is more notable for his motets.

The motet, Stabat Mater, is widely admired as one of Palestrinas finest works. It is a superb example of Renaissance polyphony, massive yet flowing, and always fitting the meaning of the words. The setting builds to a marvellous conclusion on the words to "the glory of Paradise."

Palestrina used some of his motets to provide the cantus firmus of his masses. Such a motet and mass, derived from the Magnificat antiphon of Christmas, are sung on this disc in a performance, which is possibly the finest version currently on record, making this an essential Palestrina recording. Tempi and phrasing are superlative throughout making it a great pleasure to listen to.

Wonderful though the Palestrina is, the second mass here may be even more strikingly beautiful - although that is entirely a matter of taste. Coupled here is one of Orlando Lassus's finest masses. A composition of exquisite beauty, the Lassus Missa Bell' Amfitrit Altera makes for revelatory listening. Dedicated to Venice (the title's "other Amphitrite" refers to the Greek goddess of the sea), it is one of three great masses for double choir composed by Lassus in succession around 1580. Summerly has a genuine feel for the music of Lassus and this and his other all-Lassus recording on Naxos are some of the finest recordings of this composer's music currently available.

The early music magazine Goldberg generously praised this CD saying: 'While all of this music has been recorded several times recently, this disc is competitive with the best.' I wholly agree, for this recording easily surpasses many full-priced competition from far better known rivals. Goldberg further awards this their prestigious five star rating - something that few recording achieve, and to be able to obtain this from Naxos makes it a ridiculous bargain.

This has to be one of the hidden gems of the Naxos catalogue.

HOW LUCKY WE ARE.......2004-01-23

It must happen fairly frequently, I suppose, that we gain familiarity with European music starting with the 18th or 19th century. It would be more logical surely to start at one end or the other - either backwards from the present day or forwards from some reasonably early stage in the culture. This latter was the way I came to know it myself. My real awakening to classical music came in my early teens, but for years before that I had a close familiarity not only with the 16th century polyphonists but with the mediaeval plainsong. This was not a purely passive familiarity gained as a listener because I had helped (if that was any word for it) in actual performances as a boy treble in my school choir.

I certainly remember singing in the Palestrina mass here and in the Stabat Mater: I can't be sure about the Lassus Mass. To me, these two contemporaries are as distinct in their musical personalities as Bach and Handel or as Haydn and Mozart. Interested music lovers without a lifelong background in music of this type may or may not derive some enlightenment from Jeremy Summerly's short liner note, which obviously commands respect as the statement of so distinguished a specialist in the period, but which is still perhaps a little too concerned with telling us how we should evaluate these masters. He makes a good point, if not terribly clearly, when he says `Palestrina's contrapuntal lines are seamless whereas Lassus's voice-leading is frequently disjunct'. For me, that comes down to `Lassus breaks up the vocal line more often', and very strikingly too with antiphonal responses between the parts of a kind that almost anticipate Handel. As a generalisation, inevitably a bit superficial but maybe helpful nevertheless, Lassus is rather more emotional in his idiom than Palestrina. Emotion in Palestrina runs deep but his perfect self-control never fails, even in the profound and depthlessly melancholy Stabat Mater.

For me Summerly is more attuned by temperament to Lassus. His renderings have an intense feel to them, and he does not let the music simply drift into our consciousness as Willcocks does in his celestial reading of the great Missa Papae Marcelli, happily still available in a couple of unlikely combinations with other works. I see very little point in elaborate analysis of these great pieces as if they were as familiar as Beethoven's Fifth. The real point to make is that these are distinguished and eloquent performances by distinguished and expert specialists, and that we are still being given the opportunity to educate and edify ourselves by the admirable Naxos organisation, whatever the current economics (reportedly dire) of the classical music business.

Summerly is better at the music than at the note-writing, but obviously I am glad of any glimpses into his mind as an interpreter. I'm not quite sure how to take what he says about the harmonies in the Stabat Mater, viz that they are `overtly modal'. This stuff is all modal surely? I can never either remember which mode is mixodorian, hypophrygian or whatever, or even be bothered to remind myself. Harmony is one of the most powerful tools of expression whatever you call it. The text of the Mass is not provided but the Stabat Mater is there with translation. It now seems to me a really powerful piece of degenerate Latin, but be advised that stanzas 7 and 9 as printed here are slightly mispunctuated, the error being carried over into the translation. The difference is only minor, but the full stop should come at the end of the third line in both, as in all the other stanzas. Do the same with the English in both places, and strike out the words `I am' at the start of line 4 of stanza 9.

The recording is excellent. I have no wish to hawk Palestrina, Lassus and the divine liturgy in any market place, but I don't know how long we are going to go on getting treasures like this, so I have at least bought the record.

Wonderful performances but texts only for Stabat Mater.......2003-02-28

Even though I am new to early music, I understand that masses have the same texts but my newness requires that I have texts in front of me and this is the only disappointment of the CD.
The two masses are united in their joyful exultation. Palestrina's celebrtaed the birth of Christ which is for Christians is tinged with joy and also a knowledge that Christ will die. The Agnus Dei is tinged with appropriate sadness.
Lassus lived during the same time period but in another country. This mass brought tme to tears by the exuberance of the eight voices of the Schola Cantorum of Oxford.
Highly recommended performance.

Average customer rating:

Heavenly
The Holy Grail of Choral Recordings
One Small Correction
Gorgeous music, gorgeous performances
Stunning collection suitable for music nuts or newbies alike

Choral Moods

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DFKO
Release Date: 1998-10-13

Tracks:

Miserere Mei, Deus
Deutsche Messe D.872: Sanctus
Hear My Prayer, Oh Lord
Timor Et Tremor
Videntes Stellam
Psalm 13, OP.27
O Salutaris Hostia
Salvette Flores
Evening Hymn
L'enfance du Christ: Shepherd's Farewell
Ave Maria
Advent Responsory
Ave Maria OP.93
Edi Beo Thu, Hevene Quene
Missa Cum Iubilo (Gregorian Chant): Kyrie
Missa Cum Iubilo (Gregorian Chant): Gloria
Missa Cum Iubilo (Gregorian Chant): Sanctus & Benedictus
Missa Cum Iubilo (Gregorian Chant): Agnus Dei
Requiem: In Paradisum
Agnus Dei

Tracks:

Nunc Dimittis
Mass In G: Agnus Dei
Ave Verum Corpus Op. 65 No. 1
O Ignis Spiritus Paracliti
Hear My Prayer
Ave Maria
Panis Angelicus
Eternal Father
Vom Himmel Hoch
Ave Maria
Messe basse: Kyrie
Messe basse: Sanctus
Messe basse: Benedictus
Messe basse: Agnus Dei
Rejoice, Rejoice
Salve Regina, Op. 67 No. 1
Ave, Verum Corpus
Laudi Alla Vergine Maria
Tenebrae Facta Sunt
O Sacrum Convivium

Customer Reviews:

Heavenly.......2007-03-29

This is the most uplifting music I have encountered. The angelic sounds of this choral group help me stay sane on California highways!

The Holy Grail of Choral Recordings.......2006-07-03

This was the first choral CD I've ever purchased when I started becomming involved with choir during my senior year of high school five years ago. My director was telling the choir that he had finally found his copy at a music store and referred to it as the "Holy Grail" of choral recordings. So, I went out to find my own copy and I'm still blown away by it today. I've even given copies as gifts. The music is certainly relaxing and such, but what I most value from it is the spiritual magic. The Choir of Trinity College, Cambridge (then and now my favorite choir in the world) brings every composition to life in such a way that's pure, elegant, and deep. Listening to this music and enjoying this choir has allowed me to set my own standard of singing and compositional excellence.

One Small Correction.......2004-03-06

I keep finding new things to love on this CD, including the fact that it has the first recording I found of Gabriel Faure's beautiful Soprano (or Soprano/Alto) duet Ave Maria., Opus 93. The same recording appears on another CD where the singers are named. The above description of this selection unaccountably adds a baritone. Incidentally, Faure also composed a shorter SATB Ave Maria, which John Rutter has recorded.

I only wish the recording included the complete text of Psalm 50/51 from Gregorio Allegri's Miserere Mei Deus. This might come from John Rutter's recently edited score, published by Oxford Press, if I'm not mistaken. I, for one, do not find this selection (or indeed the entire recording) too long and I believe that the embellishments at the end (mentioned in another review) are probably correct when considering performance conventions of the time of its composition.

Gorgeous music, gorgeous performances.......2003-06-19

I am a semi-professional singer with a BA in Music, and I bought this CD with some trepidation because it looked like one of those dreadful "pop classical" compilations that are everywhere lately. But it had lots of great repertoire all in on place, so I decided to risk it, and I was not disappointed! In fact, this is now one of my favorite choral CDs.

As usual, the Choir of Trinity College delivers stunning performances, and the music itself is just gorgeous. Lots of "church" favorites from a wide range of musical periods. The mood of the CD is definitely on the mellow side, but it's perfect for those quiet moods. I love this CD -- highly recommended!

Stunning collection suitable for music nuts or newbies alike.......2002-03-18

Even as an avid fan of classical music with very picky tastes, there was just so much good music packed on these two (cheap!) discs for me to take in at once!
The perfectly balanced and locked chords can really give you chills.

Tracks:

Antiphona Post Evangelium - In Dulci Jubilo
Versus Alleluiatici: Adorabo - Nova Schola Gregoriana
Ordo Virtutum: Procession - Oxford Camerata
Viderunt Omnes - Tonus Peregrinus
Fines Terre Salutare Dei Nostri Jubilate Deo Omnis Terra (Plainchant) - Tonus Peregrinus
Notum Fecit - Tonus Peregrinus
Dominus - Tonus Peregrinus
Salutare Suum Ante Conspectum Gentium Revelavit - Tonus Peregrinus
Justitiam Suam (Plainchant) - Tonus Peregrinus
Gaudete Christus Est Natus - Oxford Camerata
Cantiga De Santa Maria - Michael Posch
Exiit Diluculo - Unicorn Ensemble
Humils Forfaitz - Michael Posch
Adieu Ces Bons Vins De Lannoys - Michael Posch
Non Avra Ma'Pieta Questa Mia Donna - Michael Posch
Non Ara May Pieta Questa Mia Dona - Michael Posch
Veni Creator - Tonus Peregrinus
D'Ung Aultre Amer - Capilla Flamenca
Alleluya - Capilla Flamenca
El Grillo - Shirley Rumsey
El Grillo - Capilla Flamenca
Missa 'La Sol Fa Re Mi': Kyrie - Capilla Flamenca
Le Chant Des Oiseaux - The Scholars Of London
Passe & Medio/Den Iersten Gaillarde - Capilla Flamenca
Den III Ronde, Den VI Ronde-Les Quatre Branles - Convivium Musicum Gothenburgense
Gaillarde I, II, III - Convivium Musicum Gothenburgense

Tracks:

In Nomine - Rose Consort Of Viols
In Nomine No.20 - Rose Consort Of Viols
Spem In Alium - Oxford Camerata
Sanctus - Oxford Camerata
Du Fond De Ma Pensee - Christine Morel
The King Of Denmark's Galiard - Rose Consort Of Viols
Flow, My Tears - Dorothy Linell
Greiner Zancker - Ensemble Villanella
Stat ('Tsaat) Ein Meskin - Ensemble Villanella
Tiento - Shirley Rumsey
Tribulationem Et Dolorem - Oxford Camerata
Lagrime Di San Pietro: 'Il Magnanimo Pietro' - Bo Holten
Missa 'Susanne Un Jour': Kyrie - Oxford Camerata
Beau Le Crystal - The Scholars Of London
Missa 'O Magnum Mysterium': O Magnum Mysterium - Oxford Camerata
Missa 'Papae Marcelli': Kyrie - Oxford Camerata

Customer Reviews:

another winner from Naxos.......2007-02-21

This is another winning compilation from Naxos. My only comment is to provide a heads-up regarding the track list in the booklet. CD 1 puts the Leonin "Viderunt Omnes" on six tracks, while the booklet leaves room for only one. Thus, add five to booklet tracks five through 21 for CD1 to get them to match. (I.e., where the booklet says tracks 15 and 16 are two versions of Josquin's "El Grillo," your CD player will show them to be tracks 20 and 21.) With luck this will be corrected in later printings.

Also, I would have liked the booklet to include the words, but perhaps that is an inducement to get particular CDs from Naxos.

As for the music itself--breadth of selection, musicianship, sound quality, all are excellent. A great collection!

awesome value -- 5+ stars.......2006-07-15

I'm really enthusiastic about these CDs and booklet. I've had it for a few weeks now, in which I've explored Medieval and Renaissance music much more deeply than this little book and CD set. Yet I'm very glad I started with these.

The selection of composers gives an excellent, broad sweep across several centuries.

But the booklet contains one of the most informative essays I've found about early music, and I've spent a few dozen dollars buying books. If the booklet were separated from the CDs, it alone would be worth more than $10.

In short, if you're interested in exploring early music, this really is one of the best places to start; the best place that I know of. I'm sure, at any rate, that you can't beat the value.

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