Musik-Streaming
Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität
Testen Sie Qobuz kostenlos und hören Sie sich das Album anHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Abonnement abschließenHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Download
Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.
The movement to record Renaissance music in ways that illustrate its context has mostly bypassed Orlande de Lassus up to now. This is partly because his vast output is hard to get a grip on. Lassus was arguably music's first international star, and he was capable of bringing to his employers (mostly the Duke of Bavaria, already something of a cultural crossroads in the late sixteenth century) music from all around the continent. In the secular realm he wrote French chansons, Italian madrigals, and German songs modeled on both of these, and he influenced composers from the North Sea to the Mediterranean. This range of inspiration and influence is the subject of this Belgian release by the always enjoyable Capilla Flamenca and its superbly named countertenor, Marnix de Cat. Not that you would know that from the structure of the program, which falls into a very loose "day-parts of love" classification. But the singing is gorgeous throughout, and any lover of madrigal-type pieces will enjoy the performance of the moody French chanson La nuict froide et sombre, as well as other familiar Lassus pieces. The real attraction here is the way the album shows how, in the secular realm as well as the sacred, musicians even in the increasingly individualistic late sixteenth century tended to think in terms of chains of compositions. Only about half the program is by Lassus himself; the rest is by composers he inspired, or, in the case of the Pierre Sandrin chanson Doulce mémoire, who inspired him. The range of pieces associated with the chanson Bonjour mon coeur is especially interesting. Lassus' limpid setting of this deceptively simple poem by Pierre de Ronsard apparently became a hit and was manipulated by other song composers, keyboardists, and composers more oriented to sacred music who fitted the material with sacred texts, including Lassus himself after his employer's theology began to shift toward the counter-reformation. Another interesting and quite rare piece is the dialogic chanson Hola Caron (track 21), representing a conversations between Charon, the boatman of the river Styx, and a soul who has died of love and is thus not to be allowed to cross; it is a quasi-dramatic setting for two groups of voices, clearly influenced by the ideas in the realm of the Italian madrigal that would eventually lead to the creation of opera. The booklet notes by Ignace Bossuyt take some concentration (they begin with the somewhat tangential counter-reformation issue), but effectively introduce Lassus and his musical surroundings. The notes and texts appear in Dutch, German, French, and English. A treat for madrigal lovers of all stripes.
© TiVo
Sie hören derzeit Ausschnitte der Musik.
Hören Sie mehr als 100 Millionen Titel mit unseren Streaming-Abonnements
Hören Sie diese Playlist und mehr als 100 Millionen Tracks mit unseren Streaming-Abonnements
Ab 12,49€/Monat
Le matin. l'amour naissant (Orlando di Lasso)
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Jean de Castro, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Bernhard Schmidt, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Andreas Pevernage, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Pierre Phalèse, Composer
2009 Outhere 2009 Outhere
Le midi. l'amour épanouï (Orlando di Lasso)
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Jean de Castro, Composer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Sebastiaen Vreedman, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Sebastiaen Vreedman, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Sebastiaen Vreedman, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Adrian Willaert, Composer - Pierre Attaignant, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Le soir. l'amour éternel (Orlando di Lasso)
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
La nuit. l'amour sommeillant (Pierre Sandrin)
Capilla Flamenca, Performer - Pierre Sandrin, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Diego Ortiz, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Albert de Rippe, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Roland de Lassus, Composer
2009 Outhere 2009 Outhere
Capilla Flamenca, Performer - Pierre Certon, Composer
2009 Outhere 2009 Outhere
Albumbeschreibung
The movement to record Renaissance music in ways that illustrate its context has mostly bypassed Orlande de Lassus up to now. This is partly because his vast output is hard to get a grip on. Lassus was arguably music's first international star, and he was capable of bringing to his employers (mostly the Duke of Bavaria, already something of a cultural crossroads in the late sixteenth century) music from all around the continent. In the secular realm he wrote French chansons, Italian madrigals, and German songs modeled on both of these, and he influenced composers from the North Sea to the Mediterranean. This range of inspiration and influence is the subject of this Belgian release by the always enjoyable Capilla Flamenca and its superbly named countertenor, Marnix de Cat. Not that you would know that from the structure of the program, which falls into a very loose "day-parts of love" classification. But the singing is gorgeous throughout, and any lover of madrigal-type pieces will enjoy the performance of the moody French chanson La nuict froide et sombre, as well as other familiar Lassus pieces. The real attraction here is the way the album shows how, in the secular realm as well as the sacred, musicians even in the increasingly individualistic late sixteenth century tended to think in terms of chains of compositions. Only about half the program is by Lassus himself; the rest is by composers he inspired, or, in the case of the Pierre Sandrin chanson Doulce mémoire, who inspired him. The range of pieces associated with the chanson Bonjour mon coeur is especially interesting. Lassus' limpid setting of this deceptively simple poem by Pierre de Ronsard apparently became a hit and was manipulated by other song composers, keyboardists, and composers more oriented to sacred music who fitted the material with sacred texts, including Lassus himself after his employer's theology began to shift toward the counter-reformation. Another interesting and quite rare piece is the dialogic chanson Hola Caron (track 21), representing a conversations between Charon, the boatman of the river Styx, and a soul who has died of love and is thus not to be allowed to cross; it is a quasi-dramatic setting for two groups of voices, clearly influenced by the ideas in the realm of the Italian madrigal that would eventually lead to the creation of opera. The booklet notes by Ignace Bossuyt take some concentration (they begin with the somewhat tangential counter-reformation issue), but effectively introduce Lassus and his musical surroundings. The notes and texts appear in Dutch, German, French, and English. A treat for madrigal lovers of all stripes.
© TiVo
Informationen zu dem Album
- 1 Disc(s) - 27 Track(s)
- Gesamte Laufzeit: 01:03:52
- 1 digitales Booklet
- Künstler: Capilla Flamenca
- Komponist: Various Composers
- Label: Ricercar
- Genre: Klassik
2009 Outhere 2009 Outhere
Verbesserung der AlbuminformationenWarum Musik bei Qobuz kaufen?
-
Streamen oder downloaden Sie Ihre Musik
Kaufen Sie ein Album oder einen einzelnen Track. Oder hören Sie sich mit unseren hochqualitativen Streaming-Abonnements einfach den ganzen Qobuz-Katalog an.
-
Kein DRM
Die heruntergeladenen Daten gehören Ihnen ohne jegliche Nutzungsbeschränkung. Sie können sie sooft herunterladen wie Sie möchten.
-
Wählen Sie das Format, das am Besten zu Ihnen passt
Sie können beim Download Ihrer Einkäufe zwischen verschiedenen Formaten (FLAC, ALAC, WAV, AIFF...) wählen.
-
Hören Sie Ihre Einkäufe mit unseren Apps
Installieren Sie die Qobuz-Apps für Smartphones, Tablets und Computer und hören Sie Ihre Musikeinkäufe immer und überall.