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René Clemencic|Late Gothic and Renaissance Masterworks Vol. 1

Late Gothic and Renaissance Masterworks Vol. 1

René Clemencic

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The venerable René Clemencic has released several offbeat discs, and this collection of Renaissance pieces played on the clavichord certainly falls into that category. The packaging promises works by Antonio de Cabezón and Josquin Desprez, but really this is a two-disc Cabezón set; the Spanish keyboard master "intabulated" (or arranged) Josquin's vocal works for keyboard, and the results are heard on disc two. The clavichord, as Clemencic points out, had much more currency as a domestic instrument in Europe, for several centuries, than is generally realized. There's a good deal of evidence, for example, that Mozart used one frequently, and his early keyboard music sounds surprisingly good on one. For Cabezón it's certainly troublesome -- the music here, especially on disc one, was public and virtuosic, and it seems hemmed in on the smaller, quieter instrument. Yet Clemencic is not exactly aiming at sheer authenticity, and he does succeed in what he aims to do. He includes specific instructions that the music should be listened to at low volumes, and this is definitely advisable -- partly because if you don't you hear the clavichord's innards clanking around to an unacceptable degree, but also because it sets the right frame of close concentration. Clemencic's point seems to be that Cabezón "got inside" Josquin's motets and the various preexisting models he used for his own works: the pieces are not simple transcriptions but full-scale reworkings, and they had an improvisatory component. Cabezón composed alternate versions of several of the Josquin pieces, or parts of them (you have to read the notes to figure out exactly what's happening, for the track list gives the wrong idea), and it's fascinating to hear the different versions side by side. Clemencic's performance style is quiet, free, and slightly dreamy. The overall effect is like having an ancient counterpoint teacher walk you through Renaissance polyphony -- and into the mind of a Renaissance instrumentalist who was improvising on it. This is a disc for serious Renaissance music fans only, but it is well worth their time.

© TiVo

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Late Gothic and Renaissance Masterworks Vol. 1

René Clemencic

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1
Ardenti mei suspiri/Verdelot
00:05:20

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

2
Ultimi mei suspiri/Verdelot
00:04:41

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

3
Preres pitie/Criquillon
00:03:36

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

4
Queramus/Moton
00:08:23

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

5
Tiento II
00:01:35

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

6
Tiento XVII
00:02:33

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

7
Tiento del Sexto Tono con primera y segunda parte
00:08:02

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

8
Composiciones a dos partes
00:01:37

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

9
Intermedios para los Kyries de Nuestra Senora
00:02:43

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

10
Duo IV/Ave maris stella
00:02:15

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

11
Duo V/Ave maris stella
00:02:07

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

12
Ave maris stella, a tres
00:03:34

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

13
Ave maris stella con diferencias
00:02:20

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

14
Ave maris stella III
00:01:47

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

15
Diferencias sobre la Pavana Italiana
00:03:30

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

16
Diferencias sobre el canto De quien teme enojo Isabel
00:06:53

Antonio de Cabezón, Composer - Wolfgang Reithofer, Recording Engineer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

DISC 2

1
Inviolata, integra et casta es, Maria
00:04:59

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

2
Inviolata I
00:04:11

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

3
Inviolata II
00:02:45

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

4
Inviolata III
00:02:35

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

5
Benedicta es coelorum regina
00:07:33

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

6
Benedicta es I
00:07:30

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

7
Benedicta es II
00:02:20

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

8
Benedicta es III
00:01:29

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

9
Ave Maria
00:06:05

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

10
Stabat mater dolorosa
00:05:59

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

11
Stabat mater I
00:06:07

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

12
Stabat mater II
00:06:06

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

13
Benedictus de la missa delome arme
00:02:23

Wolfgang Reithofer, Recording Engineer - Josquin Desprez, Composer - René Clemencic, Clavichord

(P)2003 BMG Ariola Classics GmbH

Album review

The venerable René Clemencic has released several offbeat discs, and this collection of Renaissance pieces played on the clavichord certainly falls into that category. The packaging promises works by Antonio de Cabezón and Josquin Desprez, but really this is a two-disc Cabezón set; the Spanish keyboard master "intabulated" (or arranged) Josquin's vocal works for keyboard, and the results are heard on disc two. The clavichord, as Clemencic points out, had much more currency as a domestic instrument in Europe, for several centuries, than is generally realized. There's a good deal of evidence, for example, that Mozart used one frequently, and his early keyboard music sounds surprisingly good on one. For Cabezón it's certainly troublesome -- the music here, especially on disc one, was public and virtuosic, and it seems hemmed in on the smaller, quieter instrument. Yet Clemencic is not exactly aiming at sheer authenticity, and he does succeed in what he aims to do. He includes specific instructions that the music should be listened to at low volumes, and this is definitely advisable -- partly because if you don't you hear the clavichord's innards clanking around to an unacceptable degree, but also because it sets the right frame of close concentration. Clemencic's point seems to be that Cabezón "got inside" Josquin's motets and the various preexisting models he used for his own works: the pieces are not simple transcriptions but full-scale reworkings, and they had an improvisatory component. Cabezón composed alternate versions of several of the Josquin pieces, or parts of them (you have to read the notes to figure out exactly what's happening, for the track list gives the wrong idea), and it's fascinating to hear the different versions side by side. Clemencic's performance style is quiet, free, and slightly dreamy. The overall effect is like having an ancient counterpoint teacher walk you through Renaissance polyphony -- and into the mind of a Renaissance instrumentalist who was improvising on it. This is a disc for serious Renaissance music fans only, but it is well worth their time.

© TiVo

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