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Orlande de Lassus - Motets & Chansonse - The Hilliard Ensemble
published: 30 Dec 2016
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Orlande de Lassus. Masses for Five Voices, Infelix ego (Oxford Camerata, Jeremy Summerly)
published: 23 Aug 2019
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Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria.
Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
published: 23 Oct 2021
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Orlande de Lassus - Psalmi poenitentialis
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Kammerchor Josquian des Prez
http://en.wikipedia.org/wiki/Orlande_de_Lassus
published: 25 Jan 2012
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Orlando di Lasso - From Lamentationes Hieremiae Prophetae
Orlando di Lasso
Lamentationes Hieremiae Prophetae
Second Lamentation from the Second Day IGood Friday)
Third Lamentation from the Second Day (Good Friday)
Ensemble Vocal Européen De La Chapelle Royale conducted by Philipe Herreweghe
published: 27 Nov 2015
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Orlande de Lassus - Tertius Psalmus poenitentialis, LV 796
The score to the third (tertius) Psalmus poenitentialis, LV 794, of Orlande de Lassus.
Performer(s): Herreweghe, Collegium Vocale Gent
published: 16 Jun 2022
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Orlandus Lassus (c1532-1594): Missa VIII Toni / 8 Latin Motets
00:00 Missa VIII toni ad imitationem moduli Puisque j'ai perdu:
Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei
8 Latin Motets:
21:42 Tristis est anima mea
25:00 Justorum animae
27:01 Venite ad me omnes
32:11 Miserere mei, Domine
34:40 Domine convertere
36:47 Improperium exspectavit
39:10 Super flumina Babylonis
41:22 Tui sunt coeli
Aachener Domsingknaben - Aachener Domchor - Conductor: Theodor B. Rehman
With Josquin des Prés (died 1521) and Heinrich Isaac (died 1517), the two outstanding masters of the third generation of the Netherlands School, the influence of the Netherlanders extended over the whole of Europe. The contact of their art with the music of other nations, led to a variety of characteristic national genres: the glorious development of the social art of t...
published: 28 Jun 2022
-
Orlande de Lassus - Psalmi Davidis Pœnitentiales (reference recording : The Hilliard Ensemble)
Orlande de Lassus (1532-1594) Psalmi Davidis poenitentiales.
Click to activate the English subtitles for the presentation (00:00-05:05)
I. Domine ne in furore tuo... Miserere (00:00) ensemble, consort
II. Beati quorum remissae sunt (13:12) ensemble
III. Domine ne in furore tuo... Quoniam (32:31) ensemble, consort
IV. Miserere mei Deus (57:16) ensemble, consort
V. Domine exaudi orationem meam: et clamor meus (1:19:56) ensemble, consort
VI. De profundis clamavi ad te Domine (1:43:01) ensemble
VII. Domine exaudi orationem meam.. auribus percipe (1:52:10) ensemble, consort
-----
The Hilliard Ensemble
David James countertenor I-VII
Michael Chance countertenor I-IV, VI, Vll
Rogers Covey-Crump tenor I-VII
John Potter tenor I-Vll
Leigh Nixon tenor 1-111, v-V11
Philip cave tenor 1, Vll
Charles Dan...
published: 11 Nov 2020
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Orlandus di Lassus - Motet for 8 Voices - Osculetur me Osculo
One of the most prolific and versatile of 16th-century composers, Lassus wrote over 2000 works in almost every current genre, including masses, motets, psalms, hymns, responsorial Passions and secular pieces in Italian, French and German. Most of his masses are parody masses based on motets, chansons or madrigals by himself or others; the large number of Magnificats is unusual. His motets include didactic pieces, ceremonial works for special occasions, settings of classical texts (some secular, e.g. Prophetiae Sibyllarum, 1600), liturgical items (offertories, antiphons, psalms, e.g. Psalmi...poenitentiales, 1584) and private devotional pieces. He issued five large volumes of sacred music as Patrocinium musices (1573-6), and after his death his sons assembled another (Magnum opus musicum, 1...
published: 25 Oct 2009
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Roland de Lassus (c1532-1594): Messe "Douce Mémoire"
00:00 Ave Maria (Josquin Des Prés, c1450-1521)
06:28 Messe "Douce Mémoire" (Roland de Lassus, c1532-1594):
Kyrie - Gloria - Credo - Sanctus - Agnus Dei
Ensemble Vocal de Paris - André Jouve, direction
Josquin des Pres (Josquin Desprez, Josquines Pratensis) (c1450-1521): composer and pedagogue from today's southern Belgium or northern France, mainly active in France, also for a few years in Italy. He mainly composed motets, masses and chansons.
Orlande de Lassus (Orlando di Lasso, Orlandus Lassus, Roland de Lâtre) (1532-1594): Born in Mons (Belgium). Was appointed by Albrecht V in 1556 to the Court chapel in Munich, from 1560 until his death he was the leader of this ensemble. He was an exceptionally productive composer: he wrote 53 4-8-part masses, 530 motets, 175 Italian madrigals and...
published: 27 Jun 2022
2:29
Orlande de Lassus - Motet: Da Pacem Domine, LV 957. {w/ score.}
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestri...
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria.
Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
https://wn.com/Orlande_De_Lassus_Motet_Da_Pacem_Domine,_Lv_957._W_Score.
A beautiful and inspired Motet on the text of "Da Pacem Domine" by Orlando de Lassus, one of the most renowned composers of the Renaissance, along with Palestrin and Tomás Luis de Victoria.
Performer(s): Wolfgang Helbich, Alsfeld Vocal Ensemble - recording: https://www.youtube.com/watch?v=7LAlISSRH8o
- published: 23 Oct 2021
- views: 7927
1:00:39
Orlande de Lassus - Psalmi poenitentialis
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Ka...
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Kammerchor Josquian des Prez
http://en.wikipedia.org/wiki/Orlande_de_Lassus
https://wn.com/Orlande_De_Lassus_Psalmi_Poenitentialis
1: Psalmi poenitentialis primus 0:00~
2: Psalmi poenitentialis tertiu 13:45~
3: Psalmi poenitentialis sextus 38:50~
4: Psalmi poenitentialis septimus 46:35~
Kammerchor Josquian des Prez
http://en.wikipedia.org/wiki/Orlande_de_Lassus
- published: 25 Jan 2012
- views: 1048714
16:44
Orlando di Lasso - From Lamentationes Hieremiae Prophetae
Orlando di Lasso
Lamentationes Hieremiae Prophetae
Second Lamentation from the Second Day IGood Friday)
Third Lamentation from the Second Day (Good Friday)
...
Orlando di Lasso
Lamentationes Hieremiae Prophetae
Second Lamentation from the Second Day IGood Friday)
Third Lamentation from the Second Day (Good Friday)
Ensemble Vocal Européen De La Chapelle Royale conducted by Philipe Herreweghe
https://wn.com/Orlando_Di_Lasso_From_Lamentationes_Hieremiae_Prophetae
Orlando di Lasso
Lamentationes Hieremiae Prophetae
Second Lamentation from the Second Day IGood Friday)
Third Lamentation from the Second Day (Good Friday)
Ensemble Vocal Européen De La Chapelle Royale conducted by Philipe Herreweghe
- published: 27 Nov 2015
- views: 61963
27:28
Orlande de Lassus - Tertius Psalmus poenitentialis, LV 796
The score to the third (tertius) Psalmus poenitentialis, LV 794, of Orlande de Lassus.
Performer(s): Herreweghe, Collegium Vocale Gent
The score to the third (tertius) Psalmus poenitentialis, LV 794, of Orlande de Lassus.
Performer(s): Herreweghe, Collegium Vocale Gent
https://wn.com/Orlande_De_Lassus_Tertius_Psalmus_Poenitentialis,_Lv_796
The score to the third (tertius) Psalmus poenitentialis, LV 794, of Orlande de Lassus.
Performer(s): Herreweghe, Collegium Vocale Gent
- published: 16 Jun 2022
- views: 179
44:43
Orlandus Lassus (c1532-1594): Missa VIII Toni / 8 Latin Motets
00:00 Missa VIII toni ad imitationem moduli Puisque j'ai perdu:
Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei
8 Latin Motets:
21:42 Tristis est a...
00:00 Missa VIII toni ad imitationem moduli Puisque j'ai perdu:
Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei
8 Latin Motets:
21:42 Tristis est anima mea
25:00 Justorum animae
27:01 Venite ad me omnes
32:11 Miserere mei, Domine
34:40 Domine convertere
36:47 Improperium exspectavit
39:10 Super flumina Babylonis
41:22 Tui sunt coeli
Aachener Domsingknaben - Aachener Domchor - Conductor: Theodor B. Rehman
With Josquin des Prés (died 1521) and Heinrich Isaac (died 1517), the two outstanding masters of the third generation of the Netherlands School, the influence of the Netherlanders extended over the whole of Europe. The contact of their art with the music of other nations, led to a variety of characteristic national genres: the glorious development of the social art of the madrigal, chanson and Lied: the climax of Catholic and the rise of Evangelical church music: the independent development of domestic music for the organ, lute, clavichord, spinet and gamba, and of instrumental ensemble music: the development of the Venetian music for several groups of choirs and instruments, with its splendid ostentation, and the Golden Age of church and secular music in England (Thomas Tallis, Orlando Gibbons, Thomas Morley, John Dowland, William Byrd and many others). The Netherlander Lassus (died 1594) in Munich and the Italian Palestrina (died 1594) in Rome were the two outstanding masters of the second half of the century, and the Royal Courts, from that of the German Emperor Maximilian I to that of Queen Elisabeth I of England, were the main centres of music making.
Although the masses by Orlandus Lassus are not the highlights of his creative activity — and in this respect he differs from others, particularly Palestrina — he has nevertheless endowed these compositions with a great deal of inventiveness and the number of about fifty masses also bears witness to the composer's industry. No doubt, the uniform strictness of the sung Ordinary of the mass left little room to express his personal feelings, which could be shown to better advantage in motets, madrigals and chansons. However, the limitations thus imposed, are compensated for by the remarkable diversity in the treatment of this venerable music, the sacred functions of which are always given a great deal of consideration. Being a typical representative of the renaissance, Lassus turned his back on the medieval order. His main concern was to combine the expression of his musical genius with the achievements of the new humanism: life, colour and individualism. This is the explanation for the strikingly different approach to composition when compared with the older kind of mass, which for instance uses an ecclesiastical or secular tenor or thematic material derived from Gregorian music. He shows a preference for the Parody Mass, which uses musical material borrowed from motets, madrigals and chansons. Throughout the mass various themes are arranged in accordance with a carefully studied and grandly conceived system of variation, taking into account the unequal duration of the different items of the Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei). With an astonishing wealth of imagination pre-existent melodies are chosen by the composer, partly from among his own works, but more often from those of contemporaries or musicians living in an era immediately preceding his own. Among the vast number of masses for four, five, six and eight parts, we find a few obviously written with an eye on monumental effects and accordingly of a rather dragging nature. Others display a desire for technical perfection and refinement. But we find also masses which are consciously simple and scanty in their outward appearance.
https://wn.com/Orlandus_Lassus_(C1532_1594)_Missa_Viii_Toni_8_Latin_Motets
00:00 Missa VIII toni ad imitationem moduli Puisque j'ai perdu:
Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei
8 Latin Motets:
21:42 Tristis est anima mea
25:00 Justorum animae
27:01 Venite ad me omnes
32:11 Miserere mei, Domine
34:40 Domine convertere
36:47 Improperium exspectavit
39:10 Super flumina Babylonis
41:22 Tui sunt coeli
Aachener Domsingknaben - Aachener Domchor - Conductor: Theodor B. Rehman
With Josquin des Prés (died 1521) and Heinrich Isaac (died 1517), the two outstanding masters of the third generation of the Netherlands School, the influence of the Netherlanders extended over the whole of Europe. The contact of their art with the music of other nations, led to a variety of characteristic national genres: the glorious development of the social art of the madrigal, chanson and Lied: the climax of Catholic and the rise of Evangelical church music: the independent development of domestic music for the organ, lute, clavichord, spinet and gamba, and of instrumental ensemble music: the development of the Venetian music for several groups of choirs and instruments, with its splendid ostentation, and the Golden Age of church and secular music in England (Thomas Tallis, Orlando Gibbons, Thomas Morley, John Dowland, William Byrd and many others). The Netherlander Lassus (died 1594) in Munich and the Italian Palestrina (died 1594) in Rome were the two outstanding masters of the second half of the century, and the Royal Courts, from that of the German Emperor Maximilian I to that of Queen Elisabeth I of England, were the main centres of music making.
Although the masses by Orlandus Lassus are not the highlights of his creative activity — and in this respect he differs from others, particularly Palestrina — he has nevertheless endowed these compositions with a great deal of inventiveness and the number of about fifty masses also bears witness to the composer's industry. No doubt, the uniform strictness of the sung Ordinary of the mass left little room to express his personal feelings, which could be shown to better advantage in motets, madrigals and chansons. However, the limitations thus imposed, are compensated for by the remarkable diversity in the treatment of this venerable music, the sacred functions of which are always given a great deal of consideration. Being a typical representative of the renaissance, Lassus turned his back on the medieval order. His main concern was to combine the expression of his musical genius with the achievements of the new humanism: life, colour and individualism. This is the explanation for the strikingly different approach to composition when compared with the older kind of mass, which for instance uses an ecclesiastical or secular tenor or thematic material derived from Gregorian music. He shows a preference for the Parody Mass, which uses musical material borrowed from motets, madrigals and chansons. Throughout the mass various themes are arranged in accordance with a carefully studied and grandly conceived system of variation, taking into account the unequal duration of the different items of the Ordinary (Kyrie, Gloria, Credo, Sanctus, Agnus Dei). With an astonishing wealth of imagination pre-existent melodies are chosen by the composer, partly from among his own works, but more often from those of contemporaries or musicians living in an era immediately preceding his own. Among the vast number of masses for four, five, six and eight parts, we find a few obviously written with an eye on monumental effects and accordingly of a rather dragging nature. Others display a desire for technical perfection and refinement. But we find also masses which are consciously simple and scanty in their outward appearance.
- published: 28 Jun 2022
- views: 2679
2:07:37
Orlande de Lassus - Psalmi Davidis Pœnitentiales (reference recording : The Hilliard Ensemble)
Orlande de Lassus (1532-1594) Psalmi Davidis poenitentiales.
Click to activate the English subtitles for the presentation (00:00-05:05)
I. Domine ne in furore t...
Orlande de Lassus (1532-1594) Psalmi Davidis poenitentiales.
Click to activate the English subtitles for the presentation (00:00-05:05)
I. Domine ne in furore tuo... Miserere (00:00) ensemble, consort
II. Beati quorum remissae sunt (13:12) ensemble
III. Domine ne in furore tuo... Quoniam (32:31) ensemble, consort
IV. Miserere mei Deus (57:16) ensemble, consort
V. Domine exaudi orationem meam: et clamor meus (1:19:56) ensemble, consort
VI. De profundis clamavi ad te Domine (1:43:01) ensemble
VII. Domine exaudi orationem meam.. auribus percipe (1:52:10) ensemble, consort
-----
The Hilliard Ensemble
David James countertenor I-VII
Michael Chance countertenor I-IV, VI, Vll
Rogers Covey-Crump tenor I-VII
John Potter tenor I-Vll
Leigh Nixon tenor 1-111, v-V11
Philip cave tenor 1, Vll
Charles Daniels tenor I, VIl
Paul Hillier baritone I-Vll
Gordon Jones baritone I, VIl David Beavan bass 1, IV-Vll
-----
Kees Boeke Consort
Kees Boeke viola da 1, 111, V, Vll
Charles Medlam viola da gamba 1, 111, V, Vll
Bruce Dickey cornett 1, 111, V, Vll
Charles Toet tenor trombone 1, 111, V, Vll
Richard Lister bass trombone 1, 111, V, Vll
Stephen Stubbs theorbo I, Ill-V, VIl
John Toll organ IV, Vll
-----
Recorded in 1985, at Cambridge
New mastering in 2020 by AB for CMRR
Find CMRR's recordings on Spotify: https://spoti.fi/3016eVr
-----
*COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ*
Les psaumes pénitentiels occupent une place importante dans le rituel chrétien depuis au moins le VIe siècle. Etant donné qu'ils sont au nombre de sept, on les a associés avec les jours de la semaine et avec les sept moyens d'obtenir l'absolution : le baptême, le martyr, l'aumône, le pardon, le prêche, l'amour du prochain et la pénitence. Le fait que le duc Albrecht se réserva les Psaumes Pénitentiels pour son propre usage prouve la haute considération qu'il portait à Lassus. Il témoigna également de son estime en lui versant d'importantes sommes d'argent. En 1563, le peintre Hans Mielich reçu la commande d'un livre de choeur richement enluminé pour ces compositions. Il y travailla pendant plusieurs années, réalisant des volumes d'une splendeur extraordinaire, et toute l'entreprise embrassa la musique, la théologie, les études humanistes, la peinture, la calligraphie et la reliure. Ce monumental livre de prières et livre d'heures était l'un des joyaux les plus précieux de la bibliothèque ducale. Près de soixante ans après que Mielich ait achevé son oeuvre, l'approche de l'armée suédoise fit que l'on envoya ces volumes à la forteresse de Werfen à Salzbourg pour y être à l'abri. On les considéra alors comme de simples curiosités. Ils furent mis au mont-de-piété vers 1700, puis on les oublia complètement. On ne les retrouva plus ou moins par hasard que dans les années 1750, et ils se trouvent aujourd'hui à la Bibliothèque d'état de Bavière.
-
Pendant que l'on préparait les volumes, Lassus fit savoir discrètement que certaines oeuvres étaient réservées au duc, et un tel mystère aiguisa la curiosité. Lassus ne fut pas seulement particulièrement prolifique, mais il eut également à coeur la promotion de ses oeuvres par le moyen alors nouveau de la musique imprimée, aussi tout secret lui était une entrave. Cependant, la non-publication de certaines pièces leur conféra du moins une certaine notoriété, et comme les splendides volumes étaient montres à certains visiteurs privilégiés, leur célébrité ne fit que s'accroître.
-
On peut estimer qu'il n'était pas dans l'intention de Lassus de concevoir les sept psaumes comme formant une oeuvre cyclique, mais dans la mesure où ils sont écrits en suivant l'ordre des quatre modes traditionnels de la liturgie, ils sont néanmoins composés de manière cyclique. En d'autres termes, le premier est écrit dans le mode dorien, le deuxième dans le mode dorien transposé en sol, le troisième et le quatrième dans le mode phrygien, le cinquième et le sixième dans le mode lydien, et le septième dans le mode mixolydien. Cette succession produit un déséquilibre à l'intérieur du cycle que Lassus atténue en combinant deux autres psaumes afin de former une conclusion. Cependant, bien que cette conclusion soit également dans le mode mixolydien et rétablisse ainsi la symétrie tonale, elle n'appartient pas véritablement aux Psaumes Pénitentiels. De ce fait, on ne la joue généralement pas en concert, et elle ne figure pas dans le présent enregistrement.
-----
Early Music : Gregorian Chants, Renaissance Music.. PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxNLjB0rMvGuS1ZrUnb_Hf8V
https://wn.com/Orlande_De_Lassus_Psalmi_Davidis_Pœnitentiales_(Reference_Recording_The_Hilliard_Ensemble)
Orlande de Lassus (1532-1594) Psalmi Davidis poenitentiales.
Click to activate the English subtitles for the presentation (00:00-05:05)
I. Domine ne in furore tuo... Miserere (00:00) ensemble, consort
II. Beati quorum remissae sunt (13:12) ensemble
III. Domine ne in furore tuo... Quoniam (32:31) ensemble, consort
IV. Miserere mei Deus (57:16) ensemble, consort
V. Domine exaudi orationem meam: et clamor meus (1:19:56) ensemble, consort
VI. De profundis clamavi ad te Domine (1:43:01) ensemble
VII. Domine exaudi orationem meam.. auribus percipe (1:52:10) ensemble, consort
-----
The Hilliard Ensemble
David James countertenor I-VII
Michael Chance countertenor I-IV, VI, Vll
Rogers Covey-Crump tenor I-VII
John Potter tenor I-Vll
Leigh Nixon tenor 1-111, v-V11
Philip cave tenor 1, Vll
Charles Daniels tenor I, VIl
Paul Hillier baritone I-Vll
Gordon Jones baritone I, VIl David Beavan bass 1, IV-Vll
-----
Kees Boeke Consort
Kees Boeke viola da 1, 111, V, Vll
Charles Medlam viola da gamba 1, 111, V, Vll
Bruce Dickey cornett 1, 111, V, Vll
Charles Toet tenor trombone 1, 111, V, Vll
Richard Lister bass trombone 1, 111, V, Vll
Stephen Stubbs theorbo I, Ill-V, VIl
John Toll organ IV, Vll
-----
Recorded in 1985, at Cambridge
New mastering in 2020 by AB for CMRR
Find CMRR's recordings on Spotify: https://spoti.fi/3016eVr
-----
*COMMENTAIRE COMPLET : VOIR PREMIER COMMENTAIRE ÉPINGLÉ*
Les psaumes pénitentiels occupent une place importante dans le rituel chrétien depuis au moins le VIe siècle. Etant donné qu'ils sont au nombre de sept, on les a associés avec les jours de la semaine et avec les sept moyens d'obtenir l'absolution : le baptême, le martyr, l'aumône, le pardon, le prêche, l'amour du prochain et la pénitence. Le fait que le duc Albrecht se réserva les Psaumes Pénitentiels pour son propre usage prouve la haute considération qu'il portait à Lassus. Il témoigna également de son estime en lui versant d'importantes sommes d'argent. En 1563, le peintre Hans Mielich reçu la commande d'un livre de choeur richement enluminé pour ces compositions. Il y travailla pendant plusieurs années, réalisant des volumes d'une splendeur extraordinaire, et toute l'entreprise embrassa la musique, la théologie, les études humanistes, la peinture, la calligraphie et la reliure. Ce monumental livre de prières et livre d'heures était l'un des joyaux les plus précieux de la bibliothèque ducale. Près de soixante ans après que Mielich ait achevé son oeuvre, l'approche de l'armée suédoise fit que l'on envoya ces volumes à la forteresse de Werfen à Salzbourg pour y être à l'abri. On les considéra alors comme de simples curiosités. Ils furent mis au mont-de-piété vers 1700, puis on les oublia complètement. On ne les retrouva plus ou moins par hasard que dans les années 1750, et ils se trouvent aujourd'hui à la Bibliothèque d'état de Bavière.
-
Pendant que l'on préparait les volumes, Lassus fit savoir discrètement que certaines oeuvres étaient réservées au duc, et un tel mystère aiguisa la curiosité. Lassus ne fut pas seulement particulièrement prolifique, mais il eut également à coeur la promotion de ses oeuvres par le moyen alors nouveau de la musique imprimée, aussi tout secret lui était une entrave. Cependant, la non-publication de certaines pièces leur conféra du moins une certaine notoriété, et comme les splendides volumes étaient montres à certains visiteurs privilégiés, leur célébrité ne fit que s'accroître.
-
On peut estimer qu'il n'était pas dans l'intention de Lassus de concevoir les sept psaumes comme formant une oeuvre cyclique, mais dans la mesure où ils sont écrits en suivant l'ordre des quatre modes traditionnels de la liturgie, ils sont néanmoins composés de manière cyclique. En d'autres termes, le premier est écrit dans le mode dorien, le deuxième dans le mode dorien transposé en sol, le troisième et le quatrième dans le mode phrygien, le cinquième et le sixième dans le mode lydien, et le septième dans le mode mixolydien. Cette succession produit un déséquilibre à l'intérieur du cycle que Lassus atténue en combinant deux autres psaumes afin de former une conclusion. Cependant, bien que cette conclusion soit également dans le mode mixolydien et rétablisse ainsi la symétrie tonale, elle n'appartient pas véritablement aux Psaumes Pénitentiels. De ce fait, on ne la joue généralement pas en concert, et elle ne figure pas dans le présent enregistrement.
-----
Early Music : Gregorian Chants, Renaissance Music.. PLAYLIST (reference recordings) : https://www.youtube.com/playlist?list=PL3UZpQL9LIxNLjB0rMvGuS1ZrUnb_Hf8V
- published: 11 Nov 2020
- views: 27233
3:39
Orlandus di Lassus - Motet for 8 Voices - Osculetur me Osculo
One of the most prolific and versatile of 16th-century composers, Lassus wrote over 2000 works in almost every current genre, including masses, motets, psalms, ...
One of the most prolific and versatile of 16th-century composers, Lassus wrote over 2000 works in almost every current genre, including masses, motets, psalms, hymns, responsorial Passions and secular pieces in Italian, French and German. Most of his masses are parody masses based on motets, chansons or madrigals by himself or others; the large number of Magnificats is unusual. His motets include didactic pieces, ceremonial works for special occasions, settings of classical texts (some secular, e.g. Prophetiae Sibyllarum, 1600), liturgical items (offertories, antiphons, psalms, e.g. Psalmi...poenitentiales, 1584) and private devotional pieces. He issued five large volumes of sacred music as Patrocinium musices (1573-6), and after his death his sons assembled another (Magnum opus musicum, 1604).
https://wn.com/Orlandus_Di_Lassus_Motet_For_8_Voices_Osculetur_Me_Osculo
One of the most prolific and versatile of 16th-century composers, Lassus wrote over 2000 works in almost every current genre, including masses, motets, psalms, hymns, responsorial Passions and secular pieces in Italian, French and German. Most of his masses are parody masses based on motets, chansons or madrigals by himself or others; the large number of Magnificats is unusual. His motets include didactic pieces, ceremonial works for special occasions, settings of classical texts (some secular, e.g. Prophetiae Sibyllarum, 1600), liturgical items (offertories, antiphons, psalms, e.g. Psalmi...poenitentiales, 1584) and private devotional pieces. He issued five large volumes of sacred music as Patrocinium musices (1573-6), and after his death his sons assembled another (Magnum opus musicum, 1604).
- published: 25 Oct 2009
- views: 85587
27:58
Roland de Lassus (c1532-1594): Messe "Douce Mémoire"
00:00 Ave Maria (Josquin Des Prés, c1450-1521)
06:28 Messe "Douce Mémoire" (Roland de Lassus, c1532-1594):
Kyrie - Gloria - Credo - Sanctus - Agnus Dei
Ensemb...
00:00 Ave Maria (Josquin Des Prés, c1450-1521)
06:28 Messe "Douce Mémoire" (Roland de Lassus, c1532-1594):
Kyrie - Gloria - Credo - Sanctus - Agnus Dei
Ensemble Vocal de Paris - André Jouve, direction
Josquin des Pres (Josquin Desprez, Josquines Pratensis) (c1450-1521): composer and pedagogue from today's southern Belgium or northern France, mainly active in France, also for a few years in Italy. He mainly composed motets, masses and chansons.
Orlande de Lassus (Orlando di Lasso, Orlandus Lassus, Roland de Lâtre) (1532-1594): Born in Mons (Belgium). Was appointed by Albrecht V in 1556 to the Court chapel in Munich, from 1560 until his death he was the leader of this ensemble. He was an exceptionally productive composer: he wrote 53 4-8-part masses, 530 motets, 175 Italian madrigals and villanellas, 150 French chansons and 90 German songs.
https://wn.com/Roland_De_Lassus_(C1532_1594)_Messe_Douce_Mémoire
00:00 Ave Maria (Josquin Des Prés, c1450-1521)
06:28 Messe "Douce Mémoire" (Roland de Lassus, c1532-1594):
Kyrie - Gloria - Credo - Sanctus - Agnus Dei
Ensemble Vocal de Paris - André Jouve, direction
Josquin des Pres (Josquin Desprez, Josquines Pratensis) (c1450-1521): composer and pedagogue from today's southern Belgium or northern France, mainly active in France, also for a few years in Italy. He mainly composed motets, masses and chansons.
Orlande de Lassus (Orlando di Lasso, Orlandus Lassus, Roland de Lâtre) (1532-1594): Born in Mons (Belgium). Was appointed by Albrecht V in 1556 to the Court chapel in Munich, from 1560 until his death he was the leader of this ensemble. He was an exceptionally productive composer: he wrote 53 4-8-part masses, 530 motets, 175 Italian madrigals and villanellas, 150 French chansons and 90 German songs.
- published: 27 Jun 2022
- views: 1673