Ernest int Eugène Ernest Mocker Video
tenore e direttore d'opera francese
Commemorazioni 2025 (Morte: Ernest int Eugène Ernest Mocker)
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2024-04-28
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Josquin Desprez Grillo Clément Janequin Dominique Visse Jean Paul Fouchécourt Philippe Cantor Antoine Sicot Headley Guillaume Dufay Palestrina Heinrich Glarean Gioseffo Zarlino Stravinsky Mocker 1440 1450 1455 1521 1547 1988 2003
00:00 - La plus des plus - violes 01:23 - Cueurs désolez - cantus et violes 03:08 - Cueur langoreulx - 2 voix et violes 05:09 - El grillo - 4 voix et luth 06:47 - Vous l'arez s'il vous plaist - 3 voix et violes «Josquin ist der noten meister, die habens müssen machen, wie er wolt; die anderen Sangmeister müssens machen, wie es die noten haben wöllen.» (Martin Luther) / Ensemble 1. Clément Janequin: dir. Dominique Visse, haute-contre Bruno Boterf, Jean-Paul Fouchécourt, ténors Philippe Cantor, Josep Cabré, barytons Antoine Sicot, basse Claude Debóves, luth Ensemble 2. Les Eléments: Ariane Maurette, Nanneke Schaap, René Stock, Erin Headley, violes Enregistrement février 1988 Direction artistique et prise de son: Pere Casulleras Illustration: Cranach, Portrait de femme (détail) (P) 1988, 2003 Harmonia Mundi France www.harmoniamundi.com HMA 1951279 / Josquin des Prez (French pronunciation: [ʒɔskɛ̃ depʁe]; c. 1450 to 1455 / 27 August 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, although he himself expressed his preferred spelling of his name, Josquin des Prez, in an acrostic in his motet Illibata Dei virgo nutrix.[2][3] 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.[4] He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales.[5] At least 374 works are attributed to him;[6] 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.[7] 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. Josquin liked to solve compositional problems in different ways in successive compositions, as did Stravinsky more than 400 years later. Sometimes he wrote in an austere style devoid of ornamentation, and at other times he wrote music requiring considerable virtuosity.[8] 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.[9] 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.[10] (http•••)
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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- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): I...