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2024-05-06
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Orlandus Lassus Groot Egidius Kwartet
Orlandus Lassus: O vos omnes Egidius Kwartet: Peter de Groot - alto, Marco van de Klundert - tenor Hans Wijers - baritone Donald Bentvelsen - bass Score: www.cpdl.org (Pothárn Imre) O vos omnes qui transitis per viam, attendite et videte si est dolor similis sicut dolor meus. Attendite universi populi et videte dolorem meum, si est dolor similis sicut dolor meus. / ENGLISH / O all ye that pass by the way, attend and see: If there be any sorrow like to my sorrow. Attend, all ye people, and see my sorrow: If there be any sorrow like to my sorrow. / MAGYAR / Ó, ti mindnyájan, akik az úton jártok, tekintsetek ide és lássátok: van-e oly fájdalom, mint az én fájdalmam. Tekintsetek ide minden népek és lássátok fájdalmamat, van-e oly fájdalom, mint az én fájdalmam.
Orlandus Lassus Egidius Kwartet 1576
Orlandus Lassus: Beau le cristal (Les Meslanges d'Orlande de Lassus. Contenantz plusieurs chansons. 1576) Egidius Kwartet Score: www.cpdl.org (Pothárn Imre) Beau le cristal, beau l’albastre et l’ivoire, Beau le porphyre et le jaspe luisant, Et beau est l’or, des beaux metaux la gloire. Beau le rubis aux doigtz hautains duisant, Beau de la terre est le fruict, et plaisant : Beau est le vaincre où tant d'honneur abonde, Mais des vainqueurs les debats appaisant, Belle, la paix seule embellit le monde. / ENGLISH / Beautiful is crystal, beautiful are alabaster and ivory, beautiful are porphyry and glowing jasper, And beautiful is gold, glory of all the metals. Beautiful the ruby, fitting to be worn on the fingers of the high and mighty, Beautiful and pleasing the fruit of the earth, Beautiful is the victory where so much honour abounds, But, calming the disputes of the victors, my lovely one, only peace can make the world beautiful.
Tielman Susato Egidius Kwartet 1529 1530 1531 1532 1540 1541 1542 1543
From the album "Egidius Kwartet / Oltremontano - Tielman Susato: Het ierste en tweetste Musyck Boexken" (http•••) Tylman Susato was important as a composer and very important as a music printer. Much about his origins and early years is unknown. Scholars take his name to mean "from Soest," referring to a Westphalian town in the bishopric of Cologne. This is supported from his occasionally signing himself Tylman Susato Agrippinensis, after the old name for Cologne, Colonia Aggripina. Thus, it is concluded, he was either born in Soest himself or was part of an Antwerp family originating from there. Records show that in 1529 and 1530 he was a calligrapher at Antwerp Cathedral, and after 1531 added the position of trumpeter to his duties. In 1532 there is reference in the city archives of "Tielman van Colen," a town musician who owned several wind instruments. He continued as a town player until 1540. In 1541 he went into the printing business, going partners with Henry ter Bruggen, an engraver and map maker who obtained a license to print music late that year, and Willem van Vissenaecken. Something went wrong with this business, and in September 1542 Susato made another partnership, with van Vissenaecken alone. They published a book of motets. This partnership also split, with Susato going into business alone and obtaining his first privilege to print music on July 20, 1543. Susato ran this business for 18 years, establishing the first important music publishing house in the Low Countries. His publications included both anthologies and books devoted to single composers. One of his projects was a series he called the Musyck boexken, comprising Flemish songs. In the preface to the first one he asked Flemish composers to send him songs "suitable for publication" to show that "our Flemish tongue" was as suitable for music as French, Latin, or Italian. Another of his publications, Souterliedekens, is a group of polyphonic and metrical Dutch psalm settings, intended for the home rather than church. His most important original music is a set of two books of 50 cantus firmus chansons in "two or three parts," meaning with the bass part optional. This is the largest number of extant cantus firmus chansons by any composer. Susato said in his preface to them that their purpose was to teach and encourage younger people who were not experienced at singing in ensemble. As such, the polyphonic writing is imitative. In addition, Susato also wrote and arranged various dances of the time in relatively simple, more homophonic texture. (http•••)
Alexander Agricola Egidius Kwartet
Alexander Agricola - Lamentatio Jeremiae (part 1) Egidius Kwartet Peter de Groot, altus Marco van de Klundert, tenor Hans Wijers, baritone Donald Bentvelsen, bass Aleph How hath the Lord covered the daughter of Zion with a cloud in his anger, and cast down from heaven unto the earth the beauty of Israel, and remembered not his footstool in the day of anger! Beth the Lord hath swallowed up all the habitations of Jacob, and hath not pitied: he hath thrown down in his wrath the strongholds of the daughter of Judah; he hath brought them down to the ground: he hath polluted the kingdom and the princes thereof. Jerusalem turn again to the Lord your God. Gimel He hath cut off in his fierce anger all the horn of Israel: he hath drawn back his right hand from before the enemy, and he burned against Jacob like a flaming fire, which devoureth round about. Daleth He hath bent his bow like an enemy: he stood with his right hand as an adversary, and slew all that were pleasant to the eye in the tabernacle of the daughter of Zion: he poured out his fury like fire.