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Klassiek - Verschenen op 16 augustus 2019 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 28 april 2010 | Ambronay Éditions

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Klassiek - Verschenen op 25 maart 2010 | Ambronay Éditions

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Klassiek - Verschenen op 24 juni 2003 | Ricercar

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Klassiek - Verschenen op 1 januari 2008 | Ricercar

Booklet
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Klassiek - Verschenen op 18 augustus 2017 | Phaia Music

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Klassiek - Verschenen op 30 september 2016 | Phaia Music

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Klassiek - Verschenen op 1 januari 2005 | Ricercar

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Klassiek - Verschenen op 13 januari 2015 | Ricercar

Hi-Res Booklet
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Klassiek - Verschenen op 16 augustus 2019 | Alpha Classics

Hi-Res Booklet
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Klassiek - Verschenen op 25 september 2008 | Ricercar

The recordings of the Chamber Choir of Namur and the instrumental ensemble La Fenice, under leader Jean Tubéry, may not be riding high on the classical sales charts, but they are most enthusiastically recommended. This series, from Belgium's Ricercar label, spares no expense in the graphics or the engineering, and what you get for the money are superior recordings of the hard-to-handle early polychoral style. This repertory is known to general listeners mostly through the music of Andrea and Giovanni Gabrieli and their German stylistic descendants, but their ideas combined with existing styles in many different ways as they spread across Europe over a period of several decades. This recording and others by this group give listeners an idea of the music that arose when Renaissance courts wanted to pull out all the stops. This double-CD set features music by Netherlandish composers active on the Iberian peninsula, a generation apart in time. No event called for more stop-pulling than a royal wedding, and Philippe Rogier, who became music master of Philip II of Spain in 1588, composed the six-part Missa Domine Dominus Noster for the marriage of Philip's daughter to Charles Emmanuel, Duke of Savoy, three years before that. Perhaps the music got him the job. Both masses in this package feature reconstructions of an actual celebration of the mass from the time, with the Ordinary sections interspersed with psalms, motets, instrumental substitions for parts of the mass, and plainchant. What's particularly interesting about this work is that Rogier composed much of this linking material, as well; the music hangs on contrasts between the full polychoral style and more conservative polyphonic idioms from the North. The contrasts are even more striking in the Missae bonae voluntatis by Portuguese composer Mateo Romero, whose birth name, in Liège, was Matthieu Romarin. Many of his works were destroyed in a fire and subsequent earthquake in the eighteenth century, and not enough survived to permit a reconstruction similar to what has been accomplished with the Rogier work. However, the mass is interesting enough in itself. This work, too, is for three "choirs," but one of them consists merely of a solo voice, with continuo, adding a complexity of antiphonal effects. All of the action is backed by La Fenice, a group of brass-and-continuo players led by Tubéry, himself a player of Baroque cornets and trombones, and the balance with the medium-sized choral forces is carefully sculpted. The two recordings were made six years apart, in different churches, and the later one (of the Romero work) is a bit clearer. This seems to be a budget release, with notes simply stacked one on the other. It made a great deal of sense, however, to put these works together, and this set would make a great starting point for anyone who has ever noticed these remarkable recordings and been tempted by them. © TiVo
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Klassiek - Verschenen op 31 januari 2008 | Ricercar

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Klassiek - Verschenen op 30 september 2016 | Ricercar

Hi-Res Booklet
At the height of the Renaissance, the music of Orlande de Lassus frequently combines the emotion of secular music with sacred compositions. With their erotic connotations, the texts of The Song of Songs are an ideal source for bringing together sacred and profane feelings. Based on his most famous song, Lassus wrote one of his unitary masses: Suzanne un jour. Along with the Magnificat that he composed on De Rore’s madrigal Ancorche col partire, here are two religious compositions of which the themes are borrowed from evocations of amorous turmoil.
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Klassiek - Verschenen op 14 augustus 2020 | Ricercar

Booklet
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Klassiek - Verschenen op 24 augustus 2018 | Ricercar

Hi-Res Booklet
Brought up in the French-Flamish tradition but fed with the milk of Renaissance Italian madrigalism since he was about eighteen years old, Jacques Arcadelt (1507-1568) left behind him many gems whose importance has been realized only recently. Let’s acclaim this magnificent album gathering the Chœur de Chambre de Namur, the ensemble Doulce Mémoire and the Cappella Mediterranea, to give us not the complete marigals, songs and motets by Arcadelt, of course, but a large selection of his most stupefying pieces. These are thus madrigals from his First and Fourth Books released during his Italian years around 1540, songs from the various Livres de Chansons (Books of Songs) released between 1550 and 1565 when he was living in Paris, and motets from various eras in his career—mostly Italian, a bit French too since he moved from court to court depending on the jobs, the political assassinations, the change in alliances and, generally, the implausible chaos between the various power players at the time. As a nod, we also hear an Ave Maria “according to Arcadelt”, in truth an imitation by Louis Dietsch, a composer from the 19th Century, and the comical Ave Maria d’Arcadelt … by Liszt, inspired by the Dietsch imitation, for solo organ, an exercise in returning to your ancient roots like people loved to imagine them during the Romantic era. We could even wonder if Saint-Saëns didn’t use the head of the main theme to recycle it into his ”Organ” Symphony, incidentally. © SM/Qobuz
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Klassiek - Verschenen op 9 juni 2011 | Ricercar

Hi-Res Booklet
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Klassiek - Verschenen op 1 oktober 2009 | Cypres

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Klassiek - Verschenen op 17 februari 2011 | Ricercar

Hi-Res Booklet