- published: 17 Jun 2020
- views: 12601
-
remove the playlistAntiphon Nigra Sum (plainchant) Orlande De Lassus
- remove the playlistAntiphon Nigra Sum (plainchant) Orlande De Lassus
Orlande de Lassus
Roland de Lassus (also Orlande de Lassus, Orlando di Lasso, Orlandus Lassus, or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
Life
Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands (modern-day Belgium). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist Spirito l'Hoste da Reggio, a formative influence on his early musical style.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Orlande_de_Lassus
Podcasts:
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Giovanni Pierluigi da Palestrina - Missa Nigra sum
*Sounds a whole tone lower than score* Missa Nigra sum Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594) Performers: The Tallis Scholars, dir. Peter Philips 0:00 Kyrie 4:44 Gloria 11:19 Credo 21:33 Sanctus 25:05 Benedictus 29:49 Agnus Dei _________________________ "It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to th...
published: 17 Jun 2020 -
Claudio Monteverdi - Vespro della Beata Vergine 1610
- Composer: Claudio Giovanni Antonio Monteverdi (15 May 1567 -- 29 November 1643) - Ensemble: English Baroque Soloists - Choirs: Monteverdi Choir / London Oratory Junior Choir - Conductor: John Eliot Gardiner - Soloists: Michael Chance (Countertenor), Bryn Terfel (Bass), Alastair Miles (Bass), Ann Monoyios (Soprano), Sandro Naglia (Tenor), Nigel Robson (Tenor), Mark Tucker (Tenor) - Year of recording: 1989 (Basilica di San Marco, Venice) Vespro della Beata Vergine 1610 (Vespers for the Blessed Virgin, 1610; SV 206 and 206a) — commonly called Vespers of 1610. 00:00:00 - I. DEUS IN ADIUTORIUM - psalm 69, 1--2 {Sex vocibus et sex instrumenti} 00:02:19 - II. DIXIT DOMINUS - psalm 109 {Motetto ad una voce} 00:09:35 - III. NIGRA SUM (Canticle) {Octo vocibus} 00:13:23 - IV. LAUDATE PUERI - psal...
published: 20 Oct 2015 -
Mount Holyoke Glee Club Vespers Antiphonal, Magnificat, Plainsong
Vespers 2015 Mount Holyoke College
published: 14 Dec 2015 -
Osculetur me
Provided to YouTube by harmonia mundi Osculetur me · Mora Vocis L'Amante, balade vocale dans un jardin de cantiques ℗ Paraty Released on: 2014-04-07 Artist: Mora Vocis Auto-generated by YouTube.
published: 18 Nov 2017 -
Jehan L'Héritier – Noël Akchoté - Surrexit pastor bonus
Worldwide Available 30.09.2016 Jehan L'Héritier – Motets – Noël Akchoté – LHE-3 (Noël Akchoté Downloads, Album, MP3, Believe Digital, 2016). Noël Akchoté : Acoustic Guitar. 02 – Surrexit pastor bonus 04 – Ave virgo gloriosa Recorded in Paris (France), 17 September 2016. Layout by Noël Akchoté, All Compositions by Jehan Lhéritier (Public Domain), Produced by Noël Akchoté - LHE-3 © Noël Akchoté Downloads 2016 (All Rights Reserved).
published: 18 Sep 2016
developed with YouTube
35:07
Giovanni Pierluigi da Palestrina - Missa Nigra sum
- Order: Reorder
- Duration: 35:07
- Uploaded Date: 17 Jun 2020
- views: 12601
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Pete...
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
https://wn.com/Giovanni_Pierluigi_Da_Palestrina_Missa_Nigra_Sum
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
________________________
For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
1:27:21
Claudio Monteverdi - Vespro della Beata Vergine 1610
- Order: Reorder
- Duration: 1:27:21
- Uploaded Date: 20 Oct 2015
- views: 211581
- Composer: Claudio Giovanni Antonio Monteverdi (15 May 1567 -- 29 November 1643)
- Ensemble: English Baroque Soloists
- Choirs: Monteverdi Choir / London Orato...
- Composer: Claudio Giovanni Antonio Monteverdi (15 May 1567 -- 29 November 1643)
- Ensemble: English Baroque Soloists
- Choirs: Monteverdi Choir / London Oratory Junior Choir
- Conductor: John Eliot Gardiner
- Soloists: Michael Chance (Countertenor), Bryn Terfel (Bass), Alastair Miles (Bass), Ann Monoyios (Soprano), Sandro Naglia (Tenor), Nigel Robson (Tenor), Mark Tucker (Tenor)
- Year of recording: 1989 (Basilica di San Marco, Venice)
Vespro della Beata Vergine 1610 (Vespers for the Blessed Virgin, 1610; SV 206 and 206a) — commonly called Vespers of 1610.
00:00:00 - I. DEUS IN ADIUTORIUM - psalm 69, 1--2 {Sex vocibus et sex instrumenti}
00:02:19 - II. DIXIT DOMINUS - psalm 109 {Motetto ad una voce}
00:09:35 - III. NIGRA SUM (Canticle) {Octo vocibus}
00:13:23 - IV. LAUDATE PUERI - psalm 112 {A due voci}
00:19:05 - V. PULCHRA ES (Canticle) {Motetto à 6}
00:23:03 - VI. LAETATUS SUM - psalm 121 {A due voci}
00:29:38 - VII. DUO SERAPHIM {A dieci voci}
00:36:23 - VIII. NISI DOMINUS - psalm 126 {Prima ad una voce sola poi nella fine à 6}
00:41:02 - IX. AUDI COELUM {Prima ad una voce sola poi nella fine à 6}
00:49:41 - X. LAUDA JERUSALEM - psalm 147 {Motetto à 7 voci}
00:53:30 - XI. SONATA à 8 {Sopra Sancta Maria ora pro nobis}
01:00:27 - XII. AVE MARIS STELLA {Hymnus à 8}
-------------- XIII. MAGNIFICAT {Septem vocibus et sex instrumentis}
01:09:34 --- 01. Magnificat
01:10:23 --- 02. Et Exultavit
01:11:41 --- 03. Quia Respexit
01:13:17 --- 04. Quia Fecit
01:14:16 --- 05. Et Misericordia
01:16:17 --- 06. Fecit Potentiam
01:17:14 --- 07. Deposuit
01:19:27 --- 08. Esurientes
01:20:42 --- 09. Suscepit Israel
01:21:56 --- 10. Sicut Locutus Est
01:22:50 --- 11. Gloria Patri
01:25:29 --- 12. Sicut Erat in Principio
01:26:39 --- 13. Amen
The term "Vespers" (evening prayers) is taken from the Hours of the Divine Office, a set of daily prayers of the Catholic Church which have remained structurally unchanged for 1500 years. In scale, Monteverdi's Vespers was the most ambitious work of religious music before Bach. The piece includes soloists, chorus, and orchestra and has both liturgical and extra-liturgical elements. It is composed around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church: the introductory Deus in adjutorium (Psalm 69), five Psalm settings, sacred motets (called "concerti") between the Psalms, a traditional Hymn, a setting of the Magnificat text and the concluding Benedicamus Domino.
The Vespers was first printed in Venice in 1610 when the composer was working at the ducal court in Mantua. Historical record does not indicate whether Monteverdi actually performed the Vespers in either city; the work may have been written as an audition piece for posts at Rome (where the composer was not offered a post, even though he dedicated it to Pope Paul V), and Venice, where Monteverdi subsequently became maestro di cappella at St Mark's Basilica in Venice in 1613.
The Vespers is monumental in scale, and requires a choir large enough and skillful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornett, but the ripieno instrumentation is not specified by Monteverdi. Additionally, he did not specify a set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monteverdi's psalm settings). Another example of tailoring to the forces available is the fact that the collection includes two versions of the Magnificat, one of which is scored for a smaller group of musicians than the other. Gardiner recorded both the 6-part and 7-part Magnificat in 1989, I choose the latter here because it has the most impact, and corresponds with Gardiner's 'triumphant' interpretation of the Vespers.
Monteverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
https://wn.com/Claudio_Monteverdi_Vespro_Della_Beata_Vergine_1610
- Composer: Claudio Giovanni Antonio Monteverdi (15 May 1567 -- 29 November 1643)
- Ensemble: English Baroque Soloists
- Choirs: Monteverdi Choir / London Oratory Junior Choir
- Conductor: John Eliot Gardiner
- Soloists: Michael Chance (Countertenor), Bryn Terfel (Bass), Alastair Miles (Bass), Ann Monoyios (Soprano), Sandro Naglia (Tenor), Nigel Robson (Tenor), Mark Tucker (Tenor)
- Year of recording: 1989 (Basilica di San Marco, Venice)
Vespro della Beata Vergine 1610 (Vespers for the Blessed Virgin, 1610; SV 206 and 206a) — commonly called Vespers of 1610.
00:00:00 - I. DEUS IN ADIUTORIUM - psalm 69, 1--2 {Sex vocibus et sex instrumenti}
00:02:19 - II. DIXIT DOMINUS - psalm 109 {Motetto ad una voce}
00:09:35 - III. NIGRA SUM (Canticle) {Octo vocibus}
00:13:23 - IV. LAUDATE PUERI - psalm 112 {A due voci}
00:19:05 - V. PULCHRA ES (Canticle) {Motetto à 6}
00:23:03 - VI. LAETATUS SUM - psalm 121 {A due voci}
00:29:38 - VII. DUO SERAPHIM {A dieci voci}
00:36:23 - VIII. NISI DOMINUS - psalm 126 {Prima ad una voce sola poi nella fine à 6}
00:41:02 - IX. AUDI COELUM {Prima ad una voce sola poi nella fine à 6}
00:49:41 - X. LAUDA JERUSALEM - psalm 147 {Motetto à 7 voci}
00:53:30 - XI. SONATA à 8 {Sopra Sancta Maria ora pro nobis}
01:00:27 - XII. AVE MARIS STELLA {Hymnus à 8}
-------------- XIII. MAGNIFICAT {Septem vocibus et sex instrumentis}
01:09:34 --- 01. Magnificat
01:10:23 --- 02. Et Exultavit
01:11:41 --- 03. Quia Respexit
01:13:17 --- 04. Quia Fecit
01:14:16 --- 05. Et Misericordia
01:16:17 --- 06. Fecit Potentiam
01:17:14 --- 07. Deposuit
01:19:27 --- 08. Esurientes
01:20:42 --- 09. Suscepit Israel
01:21:56 --- 10. Sicut Locutus Est
01:22:50 --- 11. Gloria Patri
01:25:29 --- 12. Sicut Erat in Principio
01:26:39 --- 13. Amen
The term "Vespers" (evening prayers) is taken from the Hours of the Divine Office, a set of daily prayers of the Catholic Church which have remained structurally unchanged for 1500 years. In scale, Monteverdi's Vespers was the most ambitious work of religious music before Bach. The piece includes soloists, chorus, and orchestra and has both liturgical and extra-liturgical elements. It is composed around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church: the introductory Deus in adjutorium (Psalm 69), five Psalm settings, sacred motets (called "concerti") between the Psalms, a traditional Hymn, a setting of the Magnificat text and the concluding Benedicamus Domino.
The Vespers was first printed in Venice in 1610 when the composer was working at the ducal court in Mantua. Historical record does not indicate whether Monteverdi actually performed the Vespers in either city; the work may have been written as an audition piece for posts at Rome (where the composer was not offered a post, even though he dedicated it to Pope Paul V), and Venice, where Monteverdi subsequently became maestro di cappella at St Mark's Basilica in Venice in 1613.
The Vespers is monumental in scale, and requires a choir large enough and skillful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornett, but the ripieno instrumentation is not specified by Monteverdi. Additionally, he did not specify a set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monteverdi's psalm settings). Another example of tailoring to the forces available is the fact that the collection includes two versions of the Magnificat, one of which is scored for a smaller group of musicians than the other. Gardiner recorded both the 6-part and 7-part Magnificat in 1989, I choose the latter here because it has the most impact, and corresponds with Gardiner's 'triumphant' interpretation of the Vespers.
Monteverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
- published: 20 Oct 2015
- views: 211581
1:37
Mount Holyoke Glee Club Vespers Antiphonal, Magnificat, Plainsong
- Order: Reorder
- Duration: 1:37
- Uploaded Date: 14 Dec 2015
- views: 759
Vespers 2015 Mount Holyoke College
Vespers 2015 Mount Holyoke College
https://wn.com/Mount_Holyoke_Glee_Club_Vespers_Antiphonal,_Magnificat,_Plainsong
Vespers 2015 Mount Holyoke College
- published: 14 Dec 2015
- views: 759
2:05
Osculetur me
- Order: Reorder
- Duration: 2:05
- Uploaded Date: 18 Nov 2017
- views: 118
Provided to YouTube by harmonia mundi
Osculetur me · Mora Vocis
L'Amante, balade vocale dans un jardin de cantiques
℗ Paraty
Released on: 2014-04-07
Artist...
Provided to YouTube by harmonia mundi
Osculetur me · Mora Vocis
L'Amante, balade vocale dans un jardin de cantiques
℗ Paraty
Released on: 2014-04-07
Artist: Mora Vocis
Auto-generated by YouTube.
https://wn.com/Osculetur_Me
Provided to YouTube by harmonia mundi
Osculetur me · Mora Vocis
L'Amante, balade vocale dans un jardin de cantiques
℗ Paraty
Released on: 2014-04-07
Artist: Mora Vocis
Auto-generated by YouTube.
- published: 18 Nov 2017
- views: 118
1:18
Jehan L'Héritier – Noël Akchoté - Surrexit pastor bonus
- Order: Reorder
- Duration: 1:18
- Uploaded Date: 18 Sep 2016
- views: 49
Worldwide Available 30.09.2016
Jehan L'Héritier – Motets – Noël Akchoté – LHE-3
(Noël Akchoté Downloads, Album, MP3, Believe Digital, 2016).
Noël Akchoté : A...
Worldwide Available 30.09.2016
Jehan L'Héritier – Motets – Noël Akchoté – LHE-3
(Noël Akchoté Downloads, Album, MP3, Believe Digital, 2016).
Noël Akchoté : Acoustic Guitar.
02 – Surrexit pastor bonus
04 – Ave virgo gloriosa
Recorded in Paris (France), 17 September 2016. Layout by Noël Akchoté, All Compositions by Jehan Lhéritier (Public Domain), Produced by Noël Akchoté - LHE-3 © Noël Akchoté Downloads 2016 (All Rights Reserved).
https://wn.com/Jehan_L'HéRitier_–_NoëL_Akchoté_Surrexit_Pastor_Bonus
Worldwide Available 30.09.2016
Jehan L'Héritier – Motets – Noël Akchoté – LHE-3
(Noël Akchoté Downloads, Album, MP3, Believe Digital, 2016).
Noël Akchoté : Acoustic Guitar.
02 – Surrexit pastor bonus
04 – Ave virgo gloriosa
Recorded in Paris (France), 17 September 2016. Layout by Noël Akchoté, All Compositions by Jehan Lhéritier (Public Domain), Produced by Noël Akchoté - LHE-3 © Noël Akchoté Downloads 2016 (All Rights Reserved).
- published: 18 Sep 2016
- views: 49
35:07
Giovanni Pierluigi da Palestrina - Missa Nigra sum
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Pa...
published: 17 Jun 2020
Giovanni Pierluigi da Palestrina - Missa Nigra sum
Giovanni Pierluigi da Palestrina - Missa Nigra sum
- Report rights infringement
- published: 17 Jun 2020
- views: 12601
*Sounds a whole tone lower than score*
Missa Nigra sum
Composer: Giovanni Pierluigi da Palestrina (ca. 1525 - 1594)
Performers: The Tallis Scholars, dir. Peter Philips
0:00 Kyrie
4:44 Gloria
11:19 Credo
21:33 Sanctus
25:05 Benedictus
29:49 Agnus Dei
_________________________
"It is rare to be able to highlight the music of Jean Lhéritier, the composer of the motet Nigra sum which Palestrina parodied. In the reverential atmosphere which has long surrounded Palestrina’s music, it has been thought that his style was born perfect, needed to change little during his lifetime, and died with him, leaving theorists with a code of mathematical perfection which they have not tired of trying to crack to this day. The idea that he owed little to anybody in his formative years is attributable to the lack of any obvious predecessor; his music does not sound like that of Josquin, and there are no major figures to bridge the gap between the two of them. Lhéritier, with de Silva, Penet and Morales, fills this gap – and, on the evidence of Lhéritier’s five-voice motet Nigra sum, very obviously so. Lhéritier’s music has much of the balance that is associated with Palestrina; the points unfold slowly and spaciously, and the part-writing is sonorous. The principal difference is that Lhéritier wrote counterpoint throughout, whereas Palestrina added homophony to his general technique.
Palestrina wrote fifty-three parody Masses, of which thirty-one were based on music by other composers. Almost all of these models were by French, Flemish and Spanish composers – not Italians. This strongly suggests that Palestrina was showing his own appreciation of the Franco-Flemish style, and probably at the same time learning to write in it himself. Another feature of these thirty-one models is that almost all were available to Palestrina in print by 1563. It has been said that the resulting parody Masses by Palestrina pre-date the remaining twenty-two based on his own motets, and that they must be – in the broadest sense – apprentice works, as Palestrina refined in his own way the styles of those he most admired. This recording shows what he gained from Lhéritier.
The text for the plainchant Nigra sum, sed formosa combines three Marian antiphons – Nigra sum, Iam hiems transiit and Speciosa facta es – sung now at Second Vespers for the common Feasts of the Virgin; with the Alleluia placed at the end of each antiphon, the plainchant is proper to the Easter period. It will be seen from the words how Church authorities tried to tame the erotic imagery of the Song of Songs and make it serviceable; the effusions of praise are reinterpreted to refer to the Virgin Mary.
Jean Lhéritier (c.1480–after 1552) was a French disciple of Josquin, and widely known in his own time – copies of his music may be found in Poland and Bohemia, even though he himself worked in France and Italy. He joins Josquin’s style to Palestrina’s by developing the technique known as ‘ad imitationem’, ‘using imitation consistently’, which he then helped to make more generally known throughout Italy. That his melodies can be described as presenting ‘nicely balanced arches … resulting from predominantly step-wise motion’ is tribute to his influence on Palestrina.
[...] The motet and Palestrina’s Mass, including the second Agnus Dei, are scored for soprano, countertenor, two tenors and bass.
Palestrina’s Missa Nigra sum (published in 1590, but written many years earlier) follows its model unusually closely. Whereas with the Missa Benedicta es Palestrina adapts Josquin’s music very noticeably, in this case he feels himself unable to add very much. Most of the movements start with the opening of the motet which thus becomes a head-motif. The ‘Hosanna’ takes a point which occurs almost incidentally in the motet and turns it into an impressively spacious piece of counterpoint. The falling scale, which Lhéritier probably took from the chant, is put to a wide variety of different uses by Palestrina; it is interesting to see what can be made of so simple a phrase. At ‘descendit de caelis’ in the Credo it contributes to some exciting word-painting. At ‘miserere nobis’ in the Gloria the phrase takes on a much more supplicatory air. At ‘dona nobis pacem’ it carries the Mass to a peaceful conclusion. The motif of the falling and rising third is also used consistently throughout the work. This Mass has no musical connection with Palestrina’s own motet Nigra sum, as has been maintained (Zoë Kendrick Pyne, Palestrina, his Life and Times, London, 1922). Palestrina’s motet is not recorded here because it has a different text, after its initial phrase, from these settings."
~Peter Philips
Source: https://www.hyperion-records.co.uk/dc.asp?dc=D_CDGIM003
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1:27:21
Claudio Monteverdi - Vespro della Beata Vergine 1610
- Composer: Claudio Giovanni Antonio Monteverdi (15 May 1567 -- 29 November 1643)
- Ensemb...
published: 20 Oct 2015
Claudio Monteverdi - Vespro della Beata Vergine 1610
Claudio Monteverdi - Vespro della Beata Vergine 1610
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- published: 20 Oct 2015
- views: 211581
- Composer: Claudio Giovanni Antonio Monteverdi (15 May 1567 -- 29 November 1643)
- Ensemble: English Baroque Soloists
- Choirs: Monteverdi Choir / London Oratory Junior Choir
- Conductor: John Eliot Gardiner
- Soloists: Michael Chance (Countertenor), Bryn Terfel (Bass), Alastair Miles (Bass), Ann Monoyios (Soprano), Sandro Naglia (Tenor), Nigel Robson (Tenor), Mark Tucker (Tenor)
- Year of recording: 1989 (Basilica di San Marco, Venice)
Vespro della Beata Vergine 1610 (Vespers for the Blessed Virgin, 1610; SV 206 and 206a) — commonly called Vespers of 1610.
00:00:00 - I. DEUS IN ADIUTORIUM - psalm 69, 1--2 {Sex vocibus et sex instrumenti}
00:02:19 - II. DIXIT DOMINUS - psalm 109 {Motetto ad una voce}
00:09:35 - III. NIGRA SUM (Canticle) {Octo vocibus}
00:13:23 - IV. LAUDATE PUERI - psalm 112 {A due voci}
00:19:05 - V. PULCHRA ES (Canticle) {Motetto à 6}
00:23:03 - VI. LAETATUS SUM - psalm 121 {A due voci}
00:29:38 - VII. DUO SERAPHIM {A dieci voci}
00:36:23 - VIII. NISI DOMINUS - psalm 126 {Prima ad una voce sola poi nella fine à 6}
00:41:02 - IX. AUDI COELUM {Prima ad una voce sola poi nella fine à 6}
00:49:41 - X. LAUDA JERUSALEM - psalm 147 {Motetto à 7 voci}
00:53:30 - XI. SONATA à 8 {Sopra Sancta Maria ora pro nobis}
01:00:27 - XII. AVE MARIS STELLA {Hymnus à 8}
-------------- XIII. MAGNIFICAT {Septem vocibus et sex instrumentis}
01:09:34 --- 01. Magnificat
01:10:23 --- 02. Et Exultavit
01:11:41 --- 03. Quia Respexit
01:13:17 --- 04. Quia Fecit
01:14:16 --- 05. Et Misericordia
01:16:17 --- 06. Fecit Potentiam
01:17:14 --- 07. Deposuit
01:19:27 --- 08. Esurientes
01:20:42 --- 09. Suscepit Israel
01:21:56 --- 10. Sicut Locutus Est
01:22:50 --- 11. Gloria Patri
01:25:29 --- 12. Sicut Erat in Principio
01:26:39 --- 13. Amen
The term "Vespers" (evening prayers) is taken from the Hours of the Divine Office, a set of daily prayers of the Catholic Church which have remained structurally unchanged for 1500 years. In scale, Monteverdi's Vespers was the most ambitious work of religious music before Bach. The piece includes soloists, chorus, and orchestra and has both liturgical and extra-liturgical elements. It is composed around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church: the introductory Deus in adjutorium (Psalm 69), five Psalm settings, sacred motets (called "concerti") between the Psalms, a traditional Hymn, a setting of the Magnificat text and the concluding Benedicamus Domino.
The Vespers was first printed in Venice in 1610 when the composer was working at the ducal court in Mantua. Historical record does not indicate whether Monteverdi actually performed the Vespers in either city; the work may have been written as an audition piece for posts at Rome (where the composer was not offered a post, even though he dedicated it to Pope Paul V), and Venice, where Monteverdi subsequently became maestro di cappella at St Mark's Basilica in Venice in 1613.
The Vespers is monumental in scale, and requires a choir large enough and skillful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornett, but the ripieno instrumentation is not specified by Monteverdi. Additionally, he did not specify a set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monteverdi's psalm settings). Another example of tailoring to the forces available is the fact that the collection includes two versions of the Magnificat, one of which is scored for a smaller group of musicians than the other. Gardiner recorded both the 6-part and 7-part Magnificat in 1989, I choose the latter here because it has the most impact, and corresponds with Gardiner's 'triumphant' interpretation of the Vespers.
Monteverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
1:37
Mount Holyoke Glee Club Vespers Antiphonal, Magnificat, Plainsong
Vespers 2015 Mount Holyoke College
published: 14 Dec 2015
Mount Holyoke Glee Club Vespers Antiphonal, Magnificat, Plainsong
Mount Holyoke Glee Club Vespers Antiphonal, Magnificat, Plainsong
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- published: 14 Dec 2015
- views: 759
Vespers 2015 Mount Holyoke College
2:05
Osculetur me
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Osculetur me · Mora Vocis
L'Amante, balade vocale ...
published: 18 Nov 2017
Osculetur me
Osculetur me
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- views: 118
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Osculetur me · Mora Vocis
L'Amante, balade vocale dans un jardin de cantiques
℗ Paraty
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Artist: Mora Vocis
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1:18
Jehan L'Héritier – Noël Akchoté - Surrexit pastor bonus
Worldwide Available 30.09.2016
Jehan L'Héritier – Motets – Noël Akchoté – LHE-3
(Noël Ak...
published: 18 Sep 2016
Jehan L'Héritier – Noël Akchoté - Surrexit pastor bonus
Jehan L'Héritier – Noël Akchoté - Surrexit pastor bonus
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- published: 18 Sep 2016
- views: 49
Worldwide Available 30.09.2016
Jehan L'Héritier – Motets – Noël Akchoté – LHE-3
(Noël Akchoté Downloads, Album, MP3, Believe Digital, 2016).
Noël Akchoté : Acoustic Guitar.
02 – Surrexit pastor bonus
04 – Ave virgo gloriosa
Recorded in Paris (France), 17 September 2016. Layout by Noël Akchoté, All Compositions by Jehan Lhéritier (Public Domain), Produced by Noël Akchoté - LHE-3 © Noël Akchoté Downloads 2016 (All Rights Reserved).
Orlande de Lassus
Roland de Lassus (also Orlande de Lassus, Orlando di Lasso, Orlandus Lassus, or Roland de Lattre; 1532, possibly 1530 – 14 June 1594) was a Netherlandish or Franco-Flemish composer of the late Renaissance. He is today considered to be the chief representative of the mature polyphonic style of the Franco-Flemish school, and one of the three most famous and influential musicians in Europe at the end of the 16th century (the other two being Palestrina and Victoria).
Life
Lassus was born in Mons in the County of Hainaut, Habsburg Netherlands (modern-day Belgium). Information about his early years is scanty, although some uncorroborated stories have survived, the most famous of which is that he was kidnapped three times because of the singular beauty of his singing voice. At the age of twelve, he left the Low Countries with Ferrante Gonzaga and went to Mantua, Sicily, and later Milan (from 1547 to 1549). While in Milan, he made the acquaintance of the madrigalist Spirito l'Hoste da Reggio, a formative influence on his early musical style.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Orlande_de_Lassus
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