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Religieuze vocale muziek - Verschenen op 30 september 2016 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
This recording is a discovery of Alessandro Scarlatti’s heretofore unknown sacred music, where Renaissance tradition meets Baroque sensibility for a unique and compelling recording. At the core of Odhecaton’s latest offering is the Missa defunctorum for four voices and basso continuo. It is in this magnificent score – recorded for the first time using the critical edition of Luca Della Libera – that primarily contrapuntal writing gives way to Scarlatti’s stylistic choices of great expressivity and rhetorical force, such as in the case of the astonishing Lacrimosa. The Miserere is also recorded for the first time. Written for nine voices for the Sistine Chapel, the score follows Allegri’s model only outwardly; Scarlatti, in fact, moves steadily away from it through his harmonic originality, formal richness, and expressivity. The Magnificat displays a unique synthesis of the Palestrinian model and the expressive language of the eighteenth century. In this score, Scarlatti exploits the great wealth and variety of the Marian text, particularly in the relationship between words and the emotional and descriptive spheres.
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Klassiek - Verschenen op 1 september 2017 | Arcana

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
During the reign of Duke Galeazzo Maria Sforza (1444-76), Milan experienced an extraordinary musical era. In the 1470s, the Duke set out to form a ‘famous and worthy choir’, recruiting a ‘goodly number of singers from beyond the Alps and from various countries’. He soon assembled a musical ensemble that boasted some of the most celebrated musicians in the Franco-Flemish polyphony of the day, from Italy and beyond. The Duke brought into being a new kind of polyphonic mass, a cycle of motets called missales to replace the traditional ordinarium, with texts attributing special importance to the worship of Our Lady of Grace and Mercy, much beloved by the Sforza family. A masterpiece of the genre is the so-called Missa Galeazescha for five voices, composed by Loyset Compère and performed here by an ensemble inspired by the impressive size of Galeazzo Maria Sforza’s cappella. This recording brings together four vocal-instrumental groups. © Arcana
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Klassiek - Verschenen op 18 november 2014 | Musique en Wallonie

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 20 augustus 2021 | Arcana

Hi-Res Booklet
During the sixteenth century in Italy, the motto "i galli cantano" (the Gauls are singing) circulated, acknowledging the supremacy of the Franco-Flemish "transalpine" musicians who were summoned to the peninsula to serve princes and prelates in the techniques of composing and performing vocal polyphony. Josquin Desprez, "Giosquino" to the Italians, was the emblematic figure: in addition to France, he was in the service of Cardinal Ascanio Sforza in both Milan and Rome (1484, 1498) and of the papal (1489-95) and Este chapels (1503-4). On the fifth centenary of the composer’s death (1521), the Odhecaton ensemble proposes to retrace Josquin’s Italian itinerary with the Missa Hercules dux Ferrariæ, composed for the Duke of Ferrara Ercole I d’Este, and a selection of motets commissioned by Italian patrons. The contribution of The Gesualdo Six in the more solemn pieces brings the vocal ensemble to twentytwo singers, a number that is close to the forces of the Rome and Ferrara chapels and yields new sonic results in our quest to recreate how polyphony sounded in the fifteenth and early sixteenth centuries. © Alpha Classics
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Klassiek - Verschenen op 23 september 2010 | Arcana

Booklet
The aim of this Italian release is, according to the booklet, "to re-create, as much as possible in terms of both forces and interpretation, a hypothetical performance by the pontifical chapel during the second half of the sixteenth century" of Giovanni Pierluigi da Palestrina's most famous pieces, the Missa Papae Marcelli or Pope Marcellus Mass. This re-creation entails various aspects, most of which sharply separate the performance from the general run of readings of this mass, which are informed by a tradition of several centuries of myth-making that began with Palestrina himself. The performance involves a small ensemble of about 20 singers (three to a part in the mass) as well as certain other matters of pitch and edition procedure. The small all-male group (countertenors, baritones, and basses) has a direct, unfussy sound that avoids the self-consciously ethereal quality traditionally associated with Palestrina, and it's fresh and appealing. The biggest attraction here, however, is the program, which embeds the mass in a series of chants and motets that presents the music from possible actual liturgies beginning on Holy Saturday. This has been done with other Renaissance masses, but not much with Palestrina, and for the general listener it's likely to be quite a revelation: the contrapuntally spacious Pope Marcellus Mass, which can seem a bit featureless when listened to one movement after another, here jumps into sharp focus when it is placed in contrast with texturally simpler music. The various motets seem to hew more closely to the new desideratum of homophony being promoted by the church, but the mass itself ignores the pressure and seems to justify itself by being splendid and profound. Early music groups have come back to Palestrina after a long period in which they weren't much interested in him, and fans of Renaissance sacred music will definitely find this disc of interest, especially with fine sound. Notes and texts are given in German, French, English, and Italian. © TiVo
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Klassiek - Verschenen op 27 april 2018 | Arcana

Hi-Res Booklet
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Klassiek - Verschenen op 31 december 2012 | Cantus Records

Booklet
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Klassiek - Verschenen op 23 september 2010 | Arcana

Booklet
The aim of this Italian release is, according to the booklet, "to re-create, as much as possible in terms of both forces and interpretation, a hypothetical performance by the pontifical chapel during the second half of the sixteenth century" of Giovanni Pierluigi da Palestrina's most famous pieces, the Missa Papae Marcelli or Pope Marcellus Mass. This re-creation entails various aspects, most of which sharply separate the performance from the general run of readings of this mass, which are informed by a tradition of several centuries of myth-making that began with Palestrina himself. The performance involves a small ensemble of about 20 singers (three to a part in the mass) as well as certain other matters of pitch and edition procedure. The small all-male group (countertenors, baritones, and basses) has a direct, unfussy sound that avoids the self-consciously ethereal quality traditionally associated with Palestrina, and it's fresh and appealing. The biggest attraction here, however, is the program, which embeds the mass in a series of chants and motets that presents the music from possible actual liturgies beginning on Holy Saturday. This has been done with other Renaissance masses, but not much with Palestrina, and for the general listener it's likely to be quite a revelation: the contrapuntally spacious Pope Marcellus Mass, which can seem a bit featureless when listened to one movement after another, here jumps into sharp focus when it is placed in contrast with texturally simpler music. The various motets seem to hew more closely to the new desideratum of homophony being promoted by the church, but the mass itself ignores the pressure and seems to justify itself by being splendid and profound. Early music groups have come back to Palestrina after a long period in which they weren't much interested in him, and fans of Renaissance sacred music will definitely find this disc of interest, especially with fine sound. Notes and texts are given in German, French, English, and Italian. © TiVo
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Klassiek - Verschenen op 30 september 2016 | Arcana

Hi-Res Booklet
This recording is a discovery of Alessandro Scarlatti’s heretofore unknown sacred music, where Renaissance tradition meets Baroque sensibility for a unique and compelling recording. At the core of Odhecaton’s latest offering is the Missa defunctorum for four voices and basso continuo. It is in this magnificent score – recorded for the first time using the critical edition of Luca Della Libera – that primarily contrapuntal writing gives way to Scarlatti’s stylistic choices of great expressivity and rhetorical force, such as in the case of the astonishing Lacrimosa. The Miserere is also recorded for the first time. Written for nine voices for the Sistine Chapel, the score follows Allegri’s model only outwardly; Scarlatti, in fact, moves steadily away from it through his harmonic originality, formal richness, and expressivity. The Magnificat displays a unique synthesis of the Palestrinian model and the expressive language of the eighteenth century. In this score, Scarlatti exploits the great wealth and variety of the Marian text, particularly in the relationship between words and the emotional and descriptive spheres.
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Klassiek - Verschenen op 1 oktober 2009 | Ramée

Booklet
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Klassiek - Verschenen op 1 april 2014 | Bongiovanni

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Klassiek - Verschenen op 24 juni 2014 | Ricercar

Hi-Res Booklet
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Klassiek - Verschenen op 27 april 2018 | Arcana

Hi-Res Booklet
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Klassiek - Verschenen op 21 februari 2012 | Ricercar

Hi-Res Booklet
Monteverdi wrote his Missa In illo tempore, one of his three complete surviving mass settings, as a companion piece to the Vespers of 1610, at least partly to demonstrate to church authorities his mastery of the late-Renaissance, Palestrina-influenced polyphony the conservative hierarchy favored. He certainly succeeded in creating a work of rich contrapuntal intricacy that bears enough of a stamp of his own personality and harmonic preferences that it wouldn't be mistaken for Palestrina, a piece that should have strong appeal to fans of choral music of the period. Listeners' reaction to this recording featuring the Italian ensemble Odhecaton, led by Paolo da Col, may depend on their preferences in countertenor sound. On this recording countertenors take the soprano and alto parts that would have originally been sung by castrati. The singers on the highest part tend to have a white, somewhat closed tone that is more characteristic of countertenors of a generation ago than the robust, rounded sound of the singers who have emerged since the turn of the 21st century. The group overall sings with a full, nicely sculpted sound, with the nuanced dynamics so crucial for a work made up of such elaborately layered independent lines. The performances don't generate the kind of heat usually associated with Monteverdi, but that may have as much to do with the stricter Renaissance polyphonic style he adopted for this work as with the singing itself. A strong selling point for the album is the inclusion of the premiere recordings of three Monteverdi motets that had only recently been identified as his work when this recording was made. They are in the more personal, intensely expressive style that characterizes his mature work. The recording inserts them between the movements of the Mass. The stylistic juxtaposition can be startling, but the motets act as refreshing palate cleansers within the austerity of the Mass, and the performers sing them with gusto. The album also includes performances of four works by Giaches de Wert, the Flemish composer whose career ended in Mantua around the time Monteverdi's began there, and Nicolas Gombert's In illo tempore loquente Jesu, the motet from which Monteverdi drew thematic material for his Mass. © TiVo
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Klassiek - Verschenen op 18 november 2014 | Musique en Wallonie

Hi-Res Booklet
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Klassiek - Verschenen op 1 september 2017 | Arcana

Hi-Res Booklet
During the reign of Duke Galeazzo Maria Sforza (1444-76), Milan experienced an extraordinary musical era. In the 1470s, the Duke set out to form a ‘famous and worthy choir’, recruiting a ‘goodly number of singers from beyond the Alps and from various countries’. He soon assembled a musical ensemble that boasted some of the most celebrated musicians in the Franco-Flemish polyphony of the day, from Italy and beyond. The Duke brought into being a new kind of polyphonic mass, a cycle of motets called missales to replace the traditional ordinarium, with texts attributing special importance to the worship of Our Lady of Grace and Mercy, much beloved by the Sforza family. A masterpiece of the genre is the so-called Missa Galeazescha for five voices, composed by Loyset Compère and performed here by an ensemble inspired by the impressive size of Galeazzo Maria Sforza’s cappella. This recording brings together four vocal-instrumental groups. © Arcana