Jacob Obrecht Fors seulement Videos
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2024-04-25
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Jacob Obrecht Capilla Flamenca 2004
Order the CD Jacob Obrecht: click here (http•••) Recording Obrecht Capilla Flamenca-Piffaro Recorded in Heverlee- Leuven (Belgium) September 2004 (http•••) Music: Fors seulement l'attente que je meure (Jacob Obrecht) - Instrumentaal (Jacob Obrecht) - Ave maris stella (Jacob Obrecht)- Ic weinsche alle scoene vrauwen eere (Jacob Obrecht) from the CD "Jacob Obrecht Chansons/Songs/Motets" école franco-flamande musique ancienne polyphonie flamande Niederländische Polyphonie Zeitalter der Franko-Flamen Niederländer Schule Alte Musik Renaissance Niederländische Polyphonie Ancient music Franco-Flemish School Dutch School Flemish Polyphony Early Music
Pierre Rue Obrecht Petrucci Pierre Alamire Vary 1460 1470 1518 1534
Pierre de la Rue (c.1460-1518) was the leading composer at the court of Burgundy during the golden age of Franco-Flemish polyphony. La Rue's output forms the third stage of a three-step development of musical form by his generation, following upon the work of Obrecht and then Josquin. While La Rue did not achieve the subsequent fame of Josquin, it was he who perfected the formal innovations of the era, reinjecting them with a refined & subtle sense of variety. La Rue's mass cycles in the fully developed post-Obrecht style dwarf Josquin's in number, and while the priorities of text-setting and simpler expression in Josquin's late output became the rallying cry of the high Renaissance, it was La Rue whose output punctuated the end of the medieval era. La Rue was the most important composer of his generation not to work in Italy. He worked in the North, outside of the full spotlight of modernity, and was the last major composer to have the most important part of his output preserved in hand-copied manuscripts. Despite being featured by Petrucci, the best sources for La Rue's music are those copied by the famous Pierre Alamire (c.1470-1534) in Burgundy. Given this unity of presentation & the proximity to his work, La Rue's catalog shows the least confusion among major composers of the era. He dominates the Burgundian manuscripts of the period, in both sacred & secular music. In fact, his influence on notation itself can be perceived, as he was the first to regularly use written accidentals and to extend ranges consistently outside the gamut. La Rue's innovations are impressive, despite his conservative reputation, but it is his non-systematic approach to musical development which both limited his subsequent influence and provides such fertile ground for exploration today. Despite the relatively late date of his compositional activity, and resulting speculation that many early works may be lost, La Rue was one of the most prolific composers of the period. Perhaps due to his late start, or lost early sources, identifying trends in La Rue's compositional development is difficult. His style appears fully mature almost immediately, with a wide variety of techniques evident throughout his output. He used canon extensively, most spectacularly in the six-voice canonic mass Missa Ave sanctissima Maria, as well as imitation, cantus firmus, ostinato, homophony, and word-painting. La Rue was a pioneer of the full-fledged parody mass, and used the technique in increasingly sophisticated settings such as the Missa Incessament mon pauvre (which also incorporates a strict canon). La Rue rarely used cantus firmus technique in a systematic fashion, preferring to vary the melody when restating it, making his sense of melodic variation one of his most distinctive traits. Individual lines tend to eschew direct repetition while maintaining a distinct internal consistency & differentiation between parts, based on range and tonal orientation. The result is a uniquely unified sense of linear melodic ideas within a polyphonic whole.
Josquin Desprez Guillaume Dufay Palestrina Heinrich Glarean Gioseffo Zarlino Mocker Ockeghem Brumel Pipelare Obrecht Agricola Carpentras 1450 1455 1521 1547
Josquin des Prez (1450/1455 / 1521), often referred to simply as Josquin, was a Franco-Flemish composer of the Renaissance. He is also known as Josquin Desprez and Latinized as Josquinus Pratensis, alternatively Jodocus Pratensis. He himself spelled his name "Josquin des Prez" in an acrostic in his motet Illibata Dei virgo nutrix. He was the most famous European composer between Guillaume Dufay and Palestrina, and is usually considered to be the central figure of the Franco-Flemish School. Josquin is widely considered by music scholars to be the first master of the high Renaissance style of polyphonic vocal music that was emerging during his lifetime. During the 16th century, Josquin gradually acquired the reputation as the greatest composer of the age, his mastery of technique and expression universally imitated and admired. Writers as diverse as Baldassare Castiglione and Martin Luther wrote about his reputation and fame; theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales. More than 370 works are attributed to him; it was only after the advent of modern analytical scholarship that some of these mistaken attributions have been challenged, on the basis of stylistic features and manuscript evidence. Yet in spite of Josquin's colossal reputation, which endured until the beginning of the Baroque era and was revived in the 20th century, his biography is shadowy, and we know next to nothing about his personality. The only surviving work which may be in his own hand is a graffito on the wall of the Sistine Chapel, and only one contemporary mention of his character is known, in a letter to Duke Ercole I of Ferrara. The lives of dozens of minor composers of the Renaissance are better documented than the life of Josquin. Josquin wrote both sacred and secular music, and in all of the significant vocal forms of the age, including masses, motets, chansons and frottole. During the 16th century, he was praised for both his supreme melodic gift and his use of ingenious technical devices. In modern times, scholars have attempted to ascertain the basic details of his biography, and have tried to define the key characteristics of his style to correct misattributions, a task that has proved difficult, as Josquin liked to solve compositional problems in different ways in successive compositions—sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity. Heinrich Glarean wrote in 1547 that Josquin was not only a "magnificent virtuoso" (the Latin can be translated also as "show-off") but capable of being a "mocker", using satire effectively. While the focus of scholarship in recent years has been to remove music from the "Josquin canon" (including some of his most famous pieces) and to reattribute it to his contemporaries, the remaining music represents some of the most famous and enduring of the Renaissance. Fors seulement is a French chanson, popular as a basis for variations and as a cantus firmus. An early version is attributed to Ockeghem - this is sometimes called Fors seulement l'attente to distinguish it from his similarly titled Fors seulement contre. Brumel wrote a polytextual version, combining a tenor setting of Du tout plongiet with the words and superius from Ockeghem's Fors seulement l'attente for the baritone. Many versions of the chanson were produced including those by Ockeghem, Josquin, Pipelare, Verbonnet, Obrecht, Pirson, Brumel and Agricola. Mass settings include those by Ockeghem, Obrecht, Pipelare, and Carpentras. The lyrics read (in English): "Except in waiting for death, There dwells in my faint heart no hope..." Although originally written for Chorus (SATB), I created this arrangement for Concert (Pedal) Harp.
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