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Lassus - Requiem / Magnificat (Coll. Splendeurs) Reviews and Opinions
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Masterful music, 15 decembre 2005
Par FrKurt Messick "FrKurt Messick" (Bloomington, IN USA) - Voir tous mes commentaires(TOP 500 COMMENTATEURS)
Ce commentaire fait reference à cette edition : Lassus - Requiem / Magnificat (Coll. Splendeurs) (CD)
--Orlandus Lassus-- A composer of the late Renaissance period, Orlandus Lassus was born in 1532. Franco-Flemish in background, there is a legend that he was kidnapped three different times during his boyhood for his exquisite choir voice. Lassus produced over 2,000 works in Latin, Italian, French, and German vocal genres, practically every one known in his time. His versatility is virtually unmatched. Among the 2000 pieces were 530 motets (on religious and secular themes) and over 60 masses. His career was spent in the Low Countries, in Italy, and in Germany, and he traveled extensively throughout other European countries. He died in 1594 one of the most celebrated composers of the age. --Requiem-- The mass here consists of the classic parts - Introit, Kyrie, Gradulae (Cantus gregorianus), Tractus ’Absolve Domine’, Offertorium ’Domine Jesu Christe’, Sanctus and Benedictus, Agnus Dei, and Communio ’Lux Aeterna’. The tenor leads as cantus firmus in many parts, but there are definite pieces here that introduced new standards to the way the requiem is structures in the Renaissance, leading to Baroque times. --Motets-- Motets (in this sense) are choral settings of Latin religious texts, generally in four to six voiced parts, sometimes more. The ’O bone Jesu’ (motet for four voices), ’Alma Redemptoris mater’ (motet for six voices), and ’Ave Maria’ (motet for five voices) show the variations in the voices. The Magnificat, on the other hand, is a large-scale, six-voice setting that draws on an earlier well known piece by Josquin des Prez. The performance here is done by the Pro Cantione Antiqua, led by Bruce Turner. The Pro Cantione Antiqua have had an extensive recording and performing history, with great experience in the kind of chant, polyphony and Renaissance style that Palestrina calls for. Turner states that in a Renaissance setting, ’music is not something fixed by the written note but something to be recreated rather than reproduced.’ There is something of that here, although Lassus was rather structured in his Requiem, certainly. The Pro Cantione Antiqua is joined for certain pieces that call for more voices by members of the Collegium Aureum and the Blaserkreis fur Alte Musik Hamburg for the Magnificat and motets. These recordings were made in the early 1970s and originally released on vinyl. This transfer to digital has been done with great care, and it is a very good recording.
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