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Religieuze vocale muziek - Verschenen op 9 maart 2012 | deutsche harmonia mundi

Booklet Onderscheidingen Diapason d'or - Choc de Classica
While we don't know quite how Jacob Clemens got his nickname of "non Papa" – some see it as a sign of his reformist sympathies, others as an indication of his rather dissolute life, while the majority of commentators are still scratching their heads – we know enough about his life to confirm that it was indeed quite dissolute. One of his employers wrote that he was a "great drunkard and an ill-liver"; a contract stipulated that he had to live "per modum probae", that is, decently. But the fact is that over the course of his too-short career – he died at the age of 40, around 1555 – he had to his name 15 masses, as many magnificats, 233 motets (almost all religious) a good hundred songs, be they in French or Dutch, 160 psalms in Dutch, the "Souterliedekens", generally using popular songs as their "cantus firmus". In short, it's a magnificent body of work, in which the equally magnificent Huelgas Ensemble (a Belgian formation, despite the Hispanic-sounding name) was spoiled for choice: so much so that they have plumped for several works from each of these categories: songs in French, Souterliedekens, motets, and extracts from masses, all offering the listener a large sample of his extravagant and sumptuous art, from Josquin to Lassus – and the latter was greatly influenced by Jacob Clemens, as it happens. © SM/Qobuz
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Klassiek - Verschenen op 24 mei 2019 | Sony Music Classical Local

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Without the help of blaring drums or castanets, culture-filled aesthete Paul van Nevel gives the opportunity to hear the music that Christopher Columbus heard during his travels and adventurous life. This has resulted in a rigorous selection of (many unknown) a capella works, by Italian and Spanish composers from the late 15th and early 16th centuries. Beginning with childhood memories of Christopher Columbus (a carnival song evoking an erotic joke about chimney sweeps), the album ends with pieces by Agricola most likely heard by the navigator at the end of his final voyage in 1506. This virtual musical journey begins in 15th century Venice and reaches the court of Ferdinand and Isabella in Madrid, Seville, Cordoba and Valladolid. This offers an exciting programme benefitting from the exceptional quality of singers of the Huelgas Ensemble, specialised in medieval and Renaissance polyphony and founded in 1971 by Paul van Nevel. © François Hudry/Qobuz
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Missen, passies, requiems - Verschenen op 22 november 2007 | harmonia mundi

Onderscheidingen 4 étoiles Classica
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Vocale muziek (wereldlijk en religieus) - Verschenen op 17 augustus 2018 | Sony Music Classical Local

Hi-Res Booklet Onderscheidingen 5 de Diapason
The French printer-publisher Christophe Plantin (1520-1589), who has lived in Antwerp more or less all of his adult life, is not just anyone. He is credited with some two thousand publications, an absolutely astounding number in this era in which everything was done by hand, including the press done page after page, and yet he’s managed to publish a new book approximately every week during his 34-year career, with more than a thousand copies for each—up to eight thousand copies for his Hebraic Bible. His workshop included sixteen hand presses, served by thirty-two printers, twenty typographers, three proofreaders and many servants of all kinds: a true company. His opus magnum is a Bible in five languages: Latin, Greek, Hebrew, Aramaean and Syriac. He is also credited with works in the fields of medicine, botany, cartography, anatomy, mathematics, religion of course… And yes, also music! Because he published several major partitions, gathering contemporary sacred works from Jacobus De Kerle, Palestrina, Philippus De Monte, as well as several chansonniers gathering pieces from Andries Pervenage, Claude Le Jeune and colleagues. It is in this incredible stock that the beautiful Ensemble Huelgas drew, alternating between profane and sacred, choral and soloist, a sort of condensed musical Renaissance oscillating between ferocious Catholics (Antwerp was then under Spanish domination, and Philip II was very touchy about religion) and rebellious Protestants. © SM/Qobuz
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Vocale muziek (wereldlijk en religieus) - Verschenen op 18 november 2016 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica
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Vocale muziek (wereldlijk en religieus) - Verschenen op 2 juli 2021 | deutsche harmonia mundi

Hi-Res Booklet
Making the most of the vocal and stylistic near-perfection of his Huelgas Ensemble, Paul van Nevel explores English polyphony between 1300 and 1400. The authors of this late medieval music are unknown, as these pieces have come down to us anonymously, unlike many works on the continent, whose composers are known and often highly revered. But in spite of the anonymity, this material which was written around the time of the Hundred Years' War had a great influence on the music of those distant times. The dozen sacred and secular a capella pieces presented here come from various sources preserved in the United States (New York), England (London, Oxford, Durham) and France (Tours, Chantilly). With their strange chromaticism and extreme, complicated modulations, the composers of Albion paved the way for a new musical style. This new album consists of mostly unknown and unrecorded pieces that add to the knowledge of an era that is still largely undiscovered. © François Hudry/Qobuz
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Klassiek - Verschenen op 7 juni 2011 | harmonia mundi

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Klassiek - Verschenen op 12 september 1995 | Sony Classical

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Klassiek - Verschenen op 19 april 2002 | Sony Classical

Franco-Flemish composer Pierre de Manchicourt (c.1510-1564), a follower of Gombert and Créquillon, was one of the last polyphonists of his day before the new style developed by Lassus and the musicians of his generation came along. So it's a style of writing that some might call "old-fashioned": which, while not necessarily false, is hardly a fault! Note that Manchicourt was the Chapel-master to the King of Spain, Philip II of Spain, whose court was hardly the place for radical revolutions... This superb recording from the Huelgas Ensemble ably weaves together the Missa Veni Sancte Spiritus, still marked by a few late-medieval accents, with a few more daring religious motets and some secular songs of great beauty – profane, to be sure, but solidly polyphonic all the same: the new Italian influence seems to have passed Manchicourt by. All these masterpieces date from 1540 to 1560, at least in terms of their year of publication. © SM/Qobuz
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Wereldlijke vocale muziek - Verschenen op 9 november 2001 | harmonia mundi

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Klassiek - Verschenen op 26 maart 1999 | harmonia mundi

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Klassiek - Verschenen op 12 september 1995 | Sony Classical

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Klassiek - Verschenen op 19 april 1999 | Sony Classical

Alexander Agricola was viewed in his time as one of the major musical artists of his day; in old sources, he is referred to as "the divine Alexander" -- a source dating to 1503 states that Agricola could "make music shine clearer than the finest silver." That his reputation, even among many experts in Renaissance music, has not survived since Agricola's death of the plague in Valladolid in 1506 seems a quirk of history. There are many attributes of Agricola that are appealing to modern listeners attuned to Renaissance polyphony, particularly his highly unconventional approach to harmony; brilliant, flowing textures; and intense emotionalism. Paul van Nevel and Huelgas Ensemble's Agricola: A Secret Labyrinth, while not perfect, is a huge step in the right direction to reclaim Alexander Agricola for twenty-first century listeners. Van Nevel and Huelgas Ensemble have long proven surprisingly consistent in the excellence of their performance of late Medieval and early Renaissance music -- Agricola: A Secret Labyrinth would fall into the latter category. Therefore, it is equally surprising that the disc gets off to such a weak start in the florid two-part piece Gaudeamus omnes in Domino. The soloist is uncertain with the music, drops out notes, and generally does not get this one off the ground, yet the remainder of the disc is much better. Moreover, it is certainly well worth hearing -- check out the hair-raising sonorities in the "Sanctus" from Missa Re-fa-mi-re-fa or the pre-Mannerist sound of the Canzona Fortuna desperata, the one piece that comes closest for Agricola to being a "hit" by virtue of the infrequent performances it has gained. Perhaps conscious of Agricola's severe shortcomings in terms of recorded literature, van Nevel elects to patch together a mass out of individual movements from five of Agricola's eight mass settings. The pieces do flow together nicely, but listeners should be advised that this so-called "Missa Guazzabuglio" is a pastiche of mass movements and not a genuine work. In terms of performance, aside from the hesitant opening piece, van Nevel and Huelgas make the best case for Agricola's dark and rather bitter-sounding music. With any luck, Huelgas Ensemble's Agricola: A Secret Labyrinth will help open the door for others to follow, as Agricola's extraordinarily large and varied output, available in print since 1970, remains an uninvestigated labyrinth in its own right in which we are far from finding the exit. © TiVo
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Klassiek - Verschenen op 6 oktober 2003 | harmonia mundi

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Klassiek - Verschenen op 6 november 2007 | harmonia mundi

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Klassiek - Verschenen op 1 januari 1990 | Sony Classical

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Missen, passies, requiems - Verschenen op 1 januari 1992 | Sony Classical

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Klassiek - Verschenen op 1 januari 2002 | harmonia mundi

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Klassiek - Verschenen op 22 juli 2007 | Challenge Classics

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Klassiek - Verschenen op 31 juli 2007 | harmonia mundi