Loyset Compère Vidéos
compositeur
Commémorations 2025 (Naissance: Loyset Compère)
- royaume de France
- compositeur ou compositrice, cantor, prêtre catholique
streaming
Dernière mise à jour
2024-04-27
Actualiser
Olafur Sigurdarson Verdi Nicholas Milton Opera Australia 2008 2017
2017 ASC Finals Adjudicator Olafur Sigurdarson, baritone performs “Ehi! Paggio…L'onore! Ladri” from Verdi’s “Falstaff” at the Finals Concert of the 2017 IFAC Handa Australian Singing Competition, held in the Concert Hall of The Concourse, Chatswood, on Saturday 15th July 2017. The ASC was lucky enough to welcome acclaimed Icelandic baritone OLAFUR SIGURDARSON to our Adjudication Panel this year. Olafur was in Australia as part of a cultural exchange between the governments of Australia and Germany. Since 2008, Olafur has been a principal soloist in the ensemble of the State Opera House of Saarland and he has appeared in leading roles and in concert engagements throughout Europe and around the world. The Opera Australia Orchestra is conducted by Nicholas Milton AM. The compere is Margaret Throsby. For more information: (http•••) (http•••)
Knapp Ottaviano Petrucci Loyset Compère Jacob Obrecht Antoine Brumel Schwartz Dung Marbrianus Orto Johannes Ghiselin Jean Japart Johannes Martini Martini Odhecaton 1212 1457 1481 1491 1497 1501 1505 1507 1512 1518 1529 1539 2022
(http•••) (http•••) Knapp 50 Jahre nachdem Gutenberg den Druck mit beweglichen Lettern erfunden hatte, war es endlich auch für die Musik so weit: 1501 legte Ottaviano Petrucci mit dem Odhecaton A in Venedig seinen ersten Notendruck vor und löste eine Welle an Innovationen in der Musikwelt des 16. Jahrhunderts aus, die bis heute unsere Kultur prägt. Aus diesem Grunde widmet ReRenaissance jährlich ein Konzert dem Musikschatz aus Petruccis Druckerei – in chronologischer Reihenfolge, um eine langfristige Perspektive auf diese bedeutende Entwicklung zu gewährleisten. Verglichen mit den Drucken, die vorausgingen und folgen sollten, ist Canti B verhältnismässig klein (nur 50 Stücke, wo Odhecaton A 100 umfasste), aber es enthält dennoch Musik von den bedeutendsten Komponisten der Zeit (Josquin, Compère, Obrecht, Brumel), gesammelt von einem Musiker am Schnittpunkt der europäischen Musikkultur. Programmheft auf Deutsch (PDF): (http•••) Programme notes in English (PDF): (http•••) Grace Newcombe – Gesang, Harfe Tabea Schwartz – Blockflöten, Viola d’arco Claire Piganiol – Harfe, Portativ Marc Lewon – Laute, Quinterne, Viola d’arco; Leitung Konzert in der Barfüsserkirche, Historisches Museum Basel, Switzerland Video-/Tonaufnahme & Schnitt: Oren Kirschenbaum (http•••) Programm: 00:17 Iste confessor – gregorianische Hymne (8. Jh.) 01:50 Virgo celesti (5vv*, Canti B, Nr. 2) – Loyset Compère (c1445–1518) 03:08 Dung aultre amer (4vv, Canti B, Nr. 24) – Marbrianus de Orto (c1460–1529) 04:12 De tous biens (3vv, Canti B, Nr. 42) – Johannes Ghiselin (tätig 1491–1507) 05:47 Je cuide / De tous biens (4vv, Canti B, Nr. 31) – Jean Japart (tätig c1476–1481) 07:14 J’ay pris amours (3vv/4vv) – anonym / Johannes Martini (c1430/40–1497) 12:10 Jay pris amours (4vv, Canti B, Nr. 3) – Jacob Obrecht (1457/8–1505) 17:48 A qui direlle sa pencée – anonyme Monodie 20:10 A qui direlle sa pensee (4vv, Canti B, Nr. 15) – anonym 21:43 Se suis trop ionnette (4vv, Canti B, Nr. 6) – anonym 22:57 Hé Dieu, qui me confortera – anonyme Monodie 25:18 Vray dieu qui me confortera (4vv) – anonym 27:17 Je sui trop jeunette & Je suis d’Allemagne (3vv) – anonyme Monodie & Chansonfassung 29:23 A qui dirage mes pensees (3vv, Canti B, Nr. 47) – anonym 32:52 Pour quoy fu fiat cette emprise (3vv, Canti B, 43) – anonym 35:09 En amours que cognoist (3vv, Canti B, Nr. 49) – Antoine Brumel (c1460–1512/13) 36:40 Reveillez vous, Piccars – anonyme Monodie 38:50 Revellies vous (4vv, Canti B, Nr. 9) – anonym 40:13 Avant avant (4vv, Canti B, Nr. 38) – anonym 41:20 Si sumpsero (3vv, Canti B, Nr. 40) – Jacob Obrecht 44:03 Adieu fillette de regnon (3vv, Canti B, Nr. 44) – anonym (Isaac?) 45:47 Le grant desir – anonyme Monodie 47:26 Le grant desir (3vv, Canti B, Nr. 51) – Loyset Compère *vv= ‘voices’ = «Anzahl der Stimmen» Spenden / Donation: (http•••) ReRenaissance | Andreas Heusler-Str. 28 CH 4052 Basel Postfinance | CH41 0900 0000 1539 1212 1 BIC: POFICHBEXXX Paypal: •••@••• Paypal: (http•••) Spenden können in der Schweiz von den Steuern abgezogen werden.
Josquin Prez Johannes Ockeghem Brumel Compère Stout Pierre Rue 1410 1497 1545
This partly secularized Requiem was a tribute to the late, great master of Franco-Flemish polyphony, Johannes Ockeghem (c.1410-1497), by that other great master of the early Renaissance, Josquin des Prez. One can hear an impossibly long, stretched out incantation of the ancient Requiem chant in the tenor part while the other 4 voices sing a more flowing harmony around him. Among the mourners that Josquin Des Prez includes in his poem are several Franco-Flemish composers of the 15th century (Josquin himself, Brumel, Compere, Pinchon) who were all, in some professional capacity, connected to the late master. The MIDI file without the words were entered by François-Xavier Chauchat and uploaded to IMSLP.org. I converted the MIDI into a vocal arrangement for 5 "humanoid" voices using Vocaloid 4 (Yamaha) and the Cyber Songman voice bank. In the earlier version of this performance, I used Cyber Songman's countertenor range for the top line. In this latest version, I replaced the cantus part with the PRIMA V2 (female soprano) voice bank. I also corrected my pronunciation of late Medieval French extensively. Some modern day recordings are performed with Early Modern French pronunciation (e.g. "in pa-say" for "in pace"), but I used Roman ecclesiastical Latin since Josquin was likely living in Italy at the time of Ockeghem's passing in 1497. +••.••(...) FRENCH (AND LATIN) LYRICS Nymphes des bois, deesses des fontaines, Chantres expres de toutes nations, Changez vos voix fort claires et hautaines En cris tranchants et lamentations Car Atropos tres terrible satrappe, Votre Ockeghem atrappe en sa trappe, Vrai tresorier de musiqu’et chef d’œuvre, Doct, elegant de corps et non point trappe. Grand dommag’est que la terre le couvre. Accoutrez vous d’habits de deuil, Josquin, Piersson, Brumel, Compère, Et pleurez grosses larmes d’œil. Perdu avez votre bon pere. Requiescat in pace. (TENOR) Requiem aeternam dona eis Domine et lux perpetua luceat eis. / ENGLISH TRANSLATION (from CPDL.org): Wood-nymphs, goddesses of the fountains, Skilled singers of every nation, Turn your voices, so clear and lofty, To piercing cries and lamentation Because Atropos, terrible satrap, Has caught your Ockeghem in her trap, The true treasurer of music and master, Learned, handsome and by no means stout. It is a source of great sorrow that the earth must cover him. Put on the clothes of mourning, Josquin, Pierre de la Rue, Brumel, Compère, And weep great tears from your eyes, For you have lost your good father. May he rest in peace. Amen. (TENOR) Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. +••.••(...) Descriptions of the photos in their order of appearance: 1. "La deploration de Johan Okeghem", Josquin des Prez, publ.1545 (T.Susato), Antwerp 2. Requiem mass, Queen's Book of Hours, Anon. Anglo-French, c1415 3. Kyrie, Missa Ecce Ancilla Domini, J. Ockeghem, Chigi Codex VIII 234, c1500. Many of Ockeghem's works are beautifully rendered (like this example) by the best copyist of his generation. 4. Requiem mass, Royal 2 B VIII f. 144, c1420. Note the clerical singers surrounding the casket 5. Cathedral of Saint Gatien, Tours, France, the last town in which Ockeghem lived before his death in 1497. 6. Funeral procession, Anon.English, Book of Hours, British Museum 27697, c1420. Ockeghem's funeral was probably also well attended given his great fame among prominent men of his generation and his extensive travels across Europe. 7. The altar of St. Gatien where Ockeghem may have had his Service for the Dead. 8. Ockeghem (with dark spectacles) as choirmaster, Anon., c1510, Bibliotheque Nationale in Paris. 9. Portrait of a Musician (? Ockeghem), Anonymous Franco-Flemish, second half 15th cent.
Josquin Prez Johannes Ockeghem Jean Molinet Brumel Pierchon Compère Pierson 1497
Josquin des Prez' chanson Nymphes des Bois, or La Déploration sur la mort d'Ockeghem, is a lament composed in February 1497 on the occasion of the death of Johannes Ockeghem, his predecessor and teacher of the Franco-Flemish school. This piece for five voices (Soprano, Alto, Countertenor, Tenor and Bass) is based on a poem by Jean Molinet and includes the text and the liturgical music Requiem Aeternam used cantus firmus in the tenor voice (the voice of content). In the first part, Josquin clearly imitates the contrapuntal style of the deceased. The second part is marked by its more harmonic aspect before the whole choir concludes with the request “Requiescat in pace” (May he rest in peace). Nimphes des bois, deesses des fontaines Chantres expers de toutes nations Changés vos voix tant cleres et haultaines En cris tranchans et lamentations Car Atropos, très terrible satrape, Vostr' Ockeghem par sa rigueur attrappe Vray tresoir de musicque et chief d'oeuvre Qui de trépas désormais plus n'eschappe Dont grant domaige est que la terre coeuvre. Accoutrez vous d'habits de doeul, Josquin, Brumel, Pierchon, Compère, Et plourez grosses larmes d'œil Perdu avez vostre bon pere, Requiescat in pace. Nymphs of the woods, goddesses of the fountains Expert singers of all nations, Change your voices, so clear and high To sharp cries and lamentations. For Atropos, that terrible Satrap Has seized your Ockeghem in her trap. True treasurer of music and its masterpiece Learned, elegant in body and untrapped. It is a shame that the earth covers him. Bear your clothes of mourning, Josquin, Pierson, Brumel, Compere, And weep great tears from your eyes Gone is your great father. Requiescat in pace. Cantus firmus: Eternal rest give them, Lord, And light perpetual shine on them. May he rest in peace. Amen.
ou
- chronologie: Compositeurs (Europe). Artistes lyriques (Europe).
- Index (par ordre alphabétique): C...