Josquin Desprez Salve regina Video
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2024-04-27
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Francis Poulenc Serge Baudo Michèle Lagrange Fons Jacopone Todi Josquin Près Palestrina Haydn Rossini Verdi Szymanowski Bérard Delalande Charpentier Paradisi Fauré Orchestre National Lyon Maîtrise Hauts Seine 1220 1306 1505 1615 1822 1899 1963 1984
Francis Poulenc +••.••(...)) Stabat Mater / Salve Regina. *Click to activate the English subtitles for the presentation* (00:00-02:50) Stabat Mater I.Stabat Mater Dolorosa (00:00) II.Cujus animam gementem (04:17) III.O quam tristis et afficta (05:22) IV.Quae moere bat et dolebat (08:17) V.Quis est homo, qui non fleret (09:56) VI.Vidit suum dulcem natum (11:19) VII.Eja Mater, fons amoris (15:05) VIII.Fac ut ardeat cor meum (16:15) IX.Sancta Mater, istud agas (18:22) X.Fac ut portem Christi mortem (21:19) XI.Inflammatus et accensus (25:24) XII.Quando corpus morietur (27:21) Salve Regina (31:41) Soprano : Michèle Lagrange Chef de choeurs : Bernard Tetu Choeurs et Orchestre National de Lyon Conductor : Serge BAUDO Recorded in 1984, at Lyon Find CMRR's recordings on Spotify: (http•••) Le « Stabat Mater » est un Séquence inspirée d'un hymne latin ayant pour sujet les sept douleurs de la Vierge Marie au pied de son fils Jésus agonisant. Elle tire son titre de la première ligne du poème Stabat Mater dolorosa (« Debout, la Mère de douleurs... » ). Les paroles sont attribuées à Jacopone da Todi +••.••(...)). Des mises en musique célèbres du Stabat Mater ont été composées par Josquin des Près, Palestrina, Pergolèse, Haydn, Rossini, Verdi Dvorák et Szymanowski. Composé en hommage à son ami Christian Bérard, le Stabat mater est l’une des oeuvres les plus populaires de Poulenc. Conçu pour soprano solo, chœur et orchestre, il a reçu le prix du Cercle des Critiques de New York. Le Stabat Mater fut unanimement reconnu comme un chef d’oeuvre le jour de sa création. Ce jour là, la musique française renouait avec une tradition datant du XVIe au XVIIIe siècle et qui s’était quelque peu perdue. On retrouvait là la beauté versaillaise des grands motets concertant de Delalande ou de Charpentier ou encore, la déclamation sobre et ferme des ‘Oraisons funèbres’ de Bossuet.. Le Stabat Mater commence dans un climat de grande sérénité, mais de couleur sombre, et s’achève de même, mais éclairé par le Paradisi gloria chanté par le Soprano. Les voix et l’orchestre s’équilibrent, par endroit l’orchestre s’efface presque laissant l’auditeur face à sa propre introspection. Aux épisodes de pure gravité se succèdent de superbes instants de brillance plein d’espoir, les voix d’enfants de la Maîtrise des Hauts-de-Seine venant se superposer au choeur d’hommes. Un véritable moment de grâce vous est ici proposé. Ces pages sont ici interprétées avec une conviction, un sens de la couleur et une homogénéité incontestables. Michèle Lagrange s'affirme décidément; tant par ses qualités techniques et expressives que par l'étendue de son répertoire, comme une des chanteuses françaises de reference. La prise de son est également excellente. Fauré / Poulenc - Requiem / Messe + Presentation (reference recording : George Guest) : (http•••)
Stile Antico Antico Josquin Desprez
Energetic, intellectual, eloquent and confident: in the Missa Gaudeamus we encounter a grown-up Josquin Desprez, who shows off with bravura all the compositional techniques and stylistic elements of his day. Cantus firmus and canon techniques go hand in hand with melodic ingenuity, rhythmic complexity and sophisticated climax-building. In the hands of the multiple prize-winning Stile Antico, this work, alternated with Josquin’s motets including Ave Maria and Salve Regina, shines like new. Watch the complete concert on (http•••)
Antonius Divitis Josquin Prez Mechelen Pierre Rue Alexander Agricola Pavia Jean Mouton Gaude 1470 1501 1504 1505 1506 1508 1510 1514 1525 1526 1530 1534
Antonius Divitis (also Anthonius Rycke, and Anthoine Le Riche – "the rich") (c. 1470 – c. 1530) was a Flemish composer of the Renaissance, of the generation slightly younger than Josquin des Prez. He was important in the development of the parody mass. He was born in Leuven. He first appears in the historic record in 1501 in Bruges, at the church of St. Donatian, where he taught singing to the choirboys. Later in 1501 he became singing master, then he became succentor, and at the end of 1501 was ordained a priest. He took a similar musical post in Mechelen at the church of St. Rombout in 1504, but he had fallen into debt, and left his job in a hurry in 1505, evidently fleeing from bill collectors.[1] In late 1505 he joined the singers in the chapel of Philip the Fair. Along with Pierre de la Rue, Alexander Agricola, and others in the chapel, he went to Spain in 1506 with Philip when he was summoned there to become king; although Philip died of typhoid later that year, the singers remained until 1508, maintained by Philip's insane widow, Joanna of Castile. The chapel was disbanded in 1508 and the singers scattered. Divitis left Spain and returned to northern Europe. His next documented appointment was in 1510 when he was singing master for the chapel of Anne of Brittany; and when the singers were absorbed by the French court after her death in 1514, he went with them, and stayed in the French court chapel until at least 1525, when François I was decisively defeated and captured at the Battle of Pavia. Nothing certain is known of Divitis after this date. He may have gone to Rome, based on the similarity of his name to that of a man listed in the chapel choir in 1526. He is mentioned as being dead by 1534 by a manuscript copyist, but the implication in the reference is that he had been dead for several years. Surviving works by Divitis include masses, motets, Magnificat settings (a genre that was to become quite popular in the middle 16th century), and a chanson. The three masses by Divitis use parody technique, and are among the first to do so; he is cited as influential in development of the genre, along with Jean Mouton and the other members of the French royal chapel. Each of his masses is for four voices, although an isolated six-voice setting of the Credo survives attributed to him. One of them, Missa Gaude Barbara, is based on a motet of that name by Mouton, and may have been a tribute to his colleague. Motets by Divitis are often for five and six voices, which was another relatively innovative feature in music around the beginning of the 16th century. They are contrapuntal in texture, and two of them (Ista est speciosa and Per lignum crucis) are entirely canonic. His setting of the Marian antiphon Salve regina uses an identical tenor line, rests and all, to that which appears in Josquin's setting of the popular song Adieu mes amours; it is uncertain whether Divitis consciously based his setting on Josquin, or on the popular song, which probably came first.
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