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Fretwork|Ottaviano dei Petrucci's "Harmonice Musices Odhecaton" (Fretwork)

Ottaviano dei Petrucci's "Harmonice Musices Odhecaton" (Fretwork)

Fretwork

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The second half of the British Viol ensemble Fretwork's debut for Harmonia Mundi is an effort of great discipline and loving critical attention to source material -- not to mention a specially commissioned set of Renaissance viols. The program on this CD is a showcase of song settings from the Offering of Polyphonic Chansons. This selection of works by Flemish, Italian, and French Renaissance composers was assembled by Ottaviani dei Petrucci, and became the first-ever printed collection of part-music. According to the liner notes, it is because of Petrucci and his method that anything at all about early 16th century salon music is known. Petrucci devised an exacting triple process for displaying and printing music -- stave, music, text -- that is still unsurpassed. Fretwork performs with their usual crucial restraint and painstaking attention to the obscure works of major composers such as Obrecht, Isaac, Josquin, Pinarol, Agricola, Caron, and many others. Their approach to the style of music is that of Petrucci, whose notations and methods offered the notion that the singer's requirements need not be uppermost in the scoring of a work for performance. Many composers began to use this model when writing for lute or other strings, but Fretwork plays the catalog here without deference that a human voice was ever scripted into the process at all. Despite the fact that many composers used the voice melody as a model for entrance into a work, Petrucci's scoring and printing offered the primacy of the written musical text and here, in the rondeauxs, "danses chansons," and waltzes, there appears an interplay among the ensemble that extrapolates the entirety of the early 1500s and grafts it onto the sparseness of contemporary time's needs. This music is timeless, the performances stellar, and the sound so exacting you'd swear you were in the room.
© Thom Jurek /TiVo

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Ottaviano dei Petrucci's "Harmonice Musices Odhecaton" (Fretwork)

Fretwork

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1
La Spagna, à 3 (Anonymous)
00:02:47

Fretwork, Performer - Anonymous, Composer

2001 harmonia mundi usa

2
Fors seulement, à 4 (Ghiselin)
00:02:53

Fretwork, Performer - Ghiselin, Composer

2001 harmonia mundi usa

3
Fors seulement, à 4 (attrib. to Brumel)
00:02:05

Fretwork, Performer - Antoine Brumel, Composer

2001 harmonia mundi usa

4
Fors seulement, à 4 (Obrecht)
00:01:58

Fretwork, Performer - Obrecht, Composer

2001 harmonia mundi usa

5
Tandernaken, à 3 (Lapicida)
00:02:46

Fretwork, Performer - Lapicida, Composer

2001 harmonia mundi usa

6
Tandernaken, à 3 (Agricola)
00:03:19

Fretwork, Performer - Alexander Agricola, Composer

2001 harmonia mundi usa

7
Si sumpsero, à 3 (Obrecht)
00:03:21

Fretwork, Performer - Obrecht, Composer

2001 harmonia mundi usa

8
Se congie pris, à 4 (Anonymous)
00:01:45

Fretwork, Performer - Anonymous, Composer

2001 harmonia mundi usa

9
Numqua fue pena major, à 4 (Anonymous)
00:03:33

Fretwork, Performer - Anonymous, Composer

2001 harmonia mundi usa

10
La Morra, à 3 (Isaac)
00:01:30

Fretwork, Performer - Isaac, Composer

2001 harmonia mundi usa

11
Tartara, à 3 (Isaac)
00:02:30

Fretwork, Performer - Isaac, Composer

2001 harmonia mundi usa

12
Jay pris amours, à 4 (Isaac)
00:02:01

Fretwork, Performer - Isaac, Composer

2001 harmonia mundi usa

13
Jay pris amours, à 4 (Obrecht)
00:07:06

Fretwork, Performer - Obrecht, Composer

2001 harmonia mundi usa

14
Ava Maria, à 4 (de Orto)
00:02:22

Fretwork, Performer - de Orto, Composer

2001 harmonia mundi usa

15
Tsat een meskin, à 4 (Obrecht)
00:02:09

Fretwork, Performer - Obrecht, Composer

2001 harmonia mundi usa

16
Brunette, à 5 (Stokem)
00:01:27

Fretwork, Performer - Stokem, Composer

2001 harmonia mundi usa

17
Adieu mes amours, à 4 (Josquin)
00:01:52

Fretwork, Performer - Josquin Des Prez, Composer

2001 harmonia mundi usa

18
Le Serviteur, à 4 (attrib. Busnois)
00:01:52

Fretwork, Performer - Busnois, Composer

2001 harmonia mundi usa

19
Si dedero, à 3 (Agricola)
00:02:06

Fretwork, Performer - Alexander Agricola, Composer

2001 harmonia mundi usa

20
Helas que poura devenir, à 3/4 (Caron)
00:02:43

Fretwork, Performer - Caron, Composer

2001 harmonia mundi usa

21
Je suis d'Alemagne, à 5 (Anonymous)
00:01:36

Fretwork, Performer - Anonymous, Composer

2001 harmonia mundi usa

22
Vray dieu d'amours, à 5 (Japart)
00:01:52

Fretwork, Performer - Japart, Composer

2001 harmonia mundi usa

23
Favus distillans, à 3 (Ghiselin)
00:03:03

Fretwork, Performer - Ghiselin, Composer

2001 harmonia mundi usa

24
Dit le bourguygnon, à 4 (Anonymous)
00:01:00

Fretwork, Performer - Anonymous, Composer

2001 harmonia mundi usa

25
Fortuna desperata, à 4 (Pinarol)
00:02:07

Fretwork, Performer - Pinarol, Composer

2001 harmonia mundi usa

26
Fortuna desperata, à 4 (Anonymous)
00:02:03

Fretwork, Performer - Anonymous, Composer

2001 harmonia mundi usa

27
Baises moy, à 4/6 (Josquin)
00:02:36

Fretwork, Performer - Josquin Des Prez, Composer

2001 harmonia mundi usa

28
La Bernardina, à 3 (Josquin)
00:01:06

Fretwork, Performer - Josquin Des Prez, Composer

2001 harmonia mundi usa

29
De tous biens playne, à 3/4 (Hayne van Ghizeghem)
00:03:18

Fretwork, Performer - Hayne van Ghizeghem, Composer

2001 harmonia mundi usa

30
Beati pacifici (De tous biens playne), à 4 (van Stappen)
00:01:59

Fretwork, Performer - van Stappen, Composer

2001 harmonia mundi usa

31
De tous biens playne, à 4 (Agricola)
00:01:37

Fretwork, Performer - Alexander Agricola, Composer

2001 harmonia mundi usa

32
De tous biens playne, à 4 (Josquin)
00:01:28

Fretwork, Performer - Josquin Des Prez, Composer

2001 harmonia mundi usa

Albumbeschreibung

The second half of the British Viol ensemble Fretwork's debut for Harmonia Mundi is an effort of great discipline and loving critical attention to source material -- not to mention a specially commissioned set of Renaissance viols. The program on this CD is a showcase of song settings from the Offering of Polyphonic Chansons. This selection of works by Flemish, Italian, and French Renaissance composers was assembled by Ottaviani dei Petrucci, and became the first-ever printed collection of part-music. According to the liner notes, it is because of Petrucci and his method that anything at all about early 16th century salon music is known. Petrucci devised an exacting triple process for displaying and printing music -- stave, music, text -- that is still unsurpassed. Fretwork performs with their usual crucial restraint and painstaking attention to the obscure works of major composers such as Obrecht, Isaac, Josquin, Pinarol, Agricola, Caron, and many others. Their approach to the style of music is that of Petrucci, whose notations and methods offered the notion that the singer's requirements need not be uppermost in the scoring of a work for performance. Many composers began to use this model when writing for lute or other strings, but Fretwork plays the catalog here without deference that a human voice was ever scripted into the process at all. Despite the fact that many composers used the voice melody as a model for entrance into a work, Petrucci's scoring and printing offered the primacy of the written musical text and here, in the rondeauxs, "danses chansons," and waltzes, there appears an interplay among the ensemble that extrapolates the entirety of the early 1500s and grafts it onto the sparseness of contemporary time's needs. This music is timeless, the performances stellar, and the sound so exacting you'd swear you were in the room.
© Thom Jurek /TiVo

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