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Tonus Peregrinus John Dunstable 2005
Provided to YouTube by NAXOS of America Gloria in canon (reconstructed M. Bent) · Tonus Peregrinus Dunstable: Quam Pulchra Es / Veni Sancte Spiritus / Mass Movements ℗ 2005 Naxos Released on: 2005-10-18 Conductor: Antony Pitts Composer: John Dunstable Composer: Margaret Bent Choir: Tonus Peregrinus Auto-generated by YouTube.
Gilles Binchois Guillaume Dufay John Dunstaple Mercy 1400 1460 2017
Music of the french Renaissance by the composer Gilles Binchois , in a long play compilation mix of 24 songs ; playlist : Musique de la Renaissance française par le compositeur Gilles Binchois , dans un collage audio longue durée de 24 pièces ; liste de lecture : Gilles Binchois, also known as Gilles de Binche or Gilles de Bins (c. 1400 September 20, 1460), was a Franco-Flemish composer, one of the earliest members of the Burgundian School, and one of the three most famous composers of the early 15th century. While often ranked behind his contemporaries Guillaume Dufay and John Dunstaple, at least by contemporary scholars, his influence was arguably greater than either, since his works were cited, borrowed and used as source material more often than those by any other composer of the time. Binchois is often considered to be the finest melodist of the 15th century, writing carefully shaped lines which are easy to sing, and utterly memorable. His tunes appeared in copies decades after his death, and were often used as sources for mass composition by later composers. Most of his music, even his sacred music, is simple and clear in outline, sometimes even ascetic; a greater contrast between Binchois and the extreme complexity of the ars subtilior of the previous century would be hard to imagine. Most of his secular songs are rondeaux, which became the most common song form during the century. Binchois, however, rarely wrote in strophic form, but instead shaped his melody independently of the verse's rhyme scheme. G. Binchois - Files a marier 1:52 0 2 G. Binchois - Mon cuer chante 2:35 0 1 G. Binchois - Joyeux penser 2:05 0 1 G. Binchois - Jamais Cant 2:20 0 1 G. Binchois - Amoreux suy 3:49 0 G. Binchois - Amours mercy 3:53 0 G. Binchois- Triste plaisir et douloureuse joye 4:35 0 1 G. Binchois - De plus en plus 4:37 0 G. Binchois - Dueil angiosseus 2:43 0 G. Binchois- Les tres doulx yeux 5:22 0 G. Binchois - Vostre tres doulx regart 4:03 0 G. Binchois - Se la belle 3:22 0 G. Binchois - Asperges me 3:07 0 G. Binchois- Je ne vis onques la pareille 4:39 0 G. Binchois- Adieu ma tres belle maistresse 4:04 0 G. Binchois - Adieu mon amoureuse joye - Pietrus Christus 6:53 0 G. Binchois - Adieu, adieu 5:33 0 G. Binchois - Missa Ferialis [part one] 2:57 0 G. Binchois - Missa Ferialis [part two] 3:51 0 G. Binchois - Missa Ferialis [part three] 2:46 0 G. Binchois - Missa Ferialis [part four] 4:09 0 G. Binchois - Gloria, laus et honor 6:03 0 G. Binchois - Magnificat 7:31 0 G. Binchois - Adieu, jusque je vous revoye -Roger van der Weyden 8:20 0 2017 Ill rec compilations
The Sanctus of John Dunstaple's Mass, Da Gaudiorum. The tenor of the this Mass takes chant for Holy Trinity. Music for this feast was widely used in the Middle Ages for votive Masses for important state occasions, a category that clearly included coronations. The ‘rex genitor’ trope used in the Kyrie of this Mass (available on the recent Music for the Hundred Years' War CD (http•••) in a reconstruction by Philip Weller) seems to have been chosen, in preference to the usual Trinity one, for its emphasis on the qualities of kingship and for the way it subtly underlines the parallel of earthly–heavenly monarchy. The jury is still out regarding the possible context for the first performance of this Mass. It could have been in 1420, either for the Treaty of Troyes (signed on 21 May, in St Peter’s cathedral in Troyes) or the marriage of Henry V to the French princess Catherine of Valois (solemnized on 2 June, in the Troyes parish church of St John or in the same city’s cathedral). Since 2 June was Trinity Sunday, the relevance of the Trinity respond verse speaks for itself. Yet just as striking is the relevance of the political message of the verse to a peace treaty, beseeching God, here in eloquent polyphonic form, to ‘tighten the bonds of peace’. It may just be that Dunstaple, had he been in France at that time, could have been enjoined to compose the Mass expressly in celebration of one, or even both, of these epoch-making dynastic and political events. It could then easily have been revived for the later coronations, as necessary.
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