Nicolas Grenon News
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2024-04-24
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The Boston Musical Intelligencer
2016-12-18 17:52:48
[…] order) is a three-part canon for the middle voices, flanked by an alto pair and a baritone-bass pair in shifting imitative combinations: another display of ensemble virtuosity for the one-on-a-part ensemble of seven singers. The New Year’s section turned to secular song for inspiration. At the Valois courts of France and Burgundy, the customary New Year’s exchange of precious gifts might also include a beautifully thought out and artfully inscribed love poem. French composer Nicolas Grenon (ca. 1375-1456) was active in France, Burgundy, and Rome. Although instrumentation was never specified in the manuscripts, the treble-dominated style of Grenon’s virelai lent itself well to the performance by the clear-voiced soprano Daniela Tošić with the accompaniment of two plucked string instruments— Scott Metcalfe, harp, and Charles Weaver, lute—in the middle and tenor ranges. A rondeau by Guillaume Malbecque (ca. 1400-1465) took another approach: in an instrumental introduction, Laura Jeppesen provided an artfully […]
The Boston Musical Intelligencer
2014-12-20 22:02:45
Holidays Among the Valois
[…] the music and not find themselves displaced by the theology of hate that has turned many of us away from the Church (in its now manifold incarnations). Next came music for New Year’s Day. Here the work was freer in style, texts in the vulgate (here, old French), more popular in form. Wishes for a good day and a good year joined with praise of the beloved and longings to see and be with her (Grenon, Cordier, van Ghizeghem, Du Fay). Interspersed were some instrumental pieces: out came vielle, rebec, lute, and harp to join the otherwise a cappella voices. Here, too, some singers appeared in solo numbers. I was intrigued by Cordier’s “Belle, bonne, sage, plaisant et gente” sung magnificently (of course) by Martin Near: a New Year’s song of joy and of love, it is also a sort of moral blazon cataloging the beloved’s qualities. Christmas is a […]
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