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Secular Vocal Music - Released January 4, 2019 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason
With Vieni, dolce Imeneo, La Compagnia del Madrigale make another important halt on their compelling journey across the territory of Italian secular song with a disc devoted to one of the most significant, yet these days somewhat bypassed, composers: Cipriano de Rore. De Rore was a Fleming who enjoyed great success notably in the Italian courts of Ferrara and Parma – but with a prestige which extended up and across Europe. He composed in many genres, but it is the secular madrigal – recorded here – where his skill was most valued, for example in creating extended and expressive melodic lines coupled with innovatory pre-echoes of the “seconda pratica” so triumphantly expressed – albeit amidst great criticism – by Claudio Monteverdi. Recordings – all also on Glossa – of madrigals by Marenzio, Gesualdo and Monteverdi have already demonstrated musical pleasures such as an uncommon vocal blend and delicacy, and a meticulous dynamic control exhibited by the richly experienced members of La Compagnia del Madrigale, and those delights are to be experienced with these 19 madrigals by Cipriano de Rore, composed late in his career. With texts by Petrarch, Ariosto and assorted court poets for these madrigals, essay-writer Marco Bizzarini highlights one of the principal characteristic features of de Rore’s mastery when he points to the disc’s title track, Vieni, dolce Imeneo: the ideal union between poetry and music. © Glossa
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Classical - Released December 24, 2009 | harmonia mundi

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Classical - Released September 26, 2006 | Naxos

Booklet
Lorenzino del Liuto (Lorenzino of the Lute) was a Roman lutenist of the late sixteenth century, the son of a Fleming who joined the professional migration south to Italy. No one would claim that his small dances presented here are on par with Dowland's, but they are interesting pieces that carry some of the experimental, connoisseur-oriented atmosphere of the madrigals of the same period. As lutenist Marco Pesci points out in his booklet notes, Lorenzino's style was forward-looking, with toccata-like elements invading even what seem to be straight dance pieces as they develop. One can see why his name lasted for more than a century in the history books, at a time when few names lasted that long. Specialists and libraries will be more excited about this disc than average listeners; there is a rhythmically squarish feel to much of the music here, and the long "Passomezzo" (track 10) is less exciting than any number of other treatments of that vernacular Italian dance pattern. However, the several lute versions of madrigals (one by Palestrina, of all people) display Lorenzino's style at its best, with judicious ornamentation of the original placed with the confidence of the true virtuoso. Pesci plays smoothly and makes the best possible case for this music, serving as his own producer and shaping a clean sonic environment that excels those of many more sumptuous lute recordings. Recommended for collections of Renaissance music and of recordings of plucked stringed instruments. © TiVo
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Choral Music (Choirs) - Released September 20, 2019 | CPO

Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
Cyprien de Rore is one of the most important representatives of Franco-Flemish musicians. Spread out across all of Europe, these musicians originating in Flanders deepened their knowledge of composition in Italy, where they took up residence in courts. After Josquin des Prés, Rore officiated at the court of the Duke of Ferrara. Later, in Venice, he followed Adrian Willaert as the Master of the Chapel of the Basilica of Saint Mark. This album brings together the mass dedicated to his protector, Ercole II d’Este (Missa vivat felix Hercules secundus) with some motets. So this programme, performed by the Weser-Renaissance choir and conducted by Manfred Cordes, is entirely in Latin. Rore's counterpoint ploughs the furrow of the prima pratica, while the care taken over the text and its harmonic language point towards the "new music" or seconda pratica. Standing at the crossroads of these two styles, Cyprien de Rore has mixed the ordinario of the mass with secular texts, creating a musical unity  – following the example set by Josquin, himself the author of a mass in honour of a Duke of Ferrara, Ercole I. A soggetto cavato provides a bridge: the vowels of the text ("Hercules dux Ferrariae") correspond to the notes (D, C, D, C, D, F, E, D), forming a melodic motif. As for the recorded motets, they were recovered in a magnificent manuscript which was kept in the Library of Bavaria. In fact, Rore was famous in the Munich court, where he went in person to copy his motets into the codex. Polyphonic gems, these pieces blossom with great lucidity. Manfred Cordes and the Bremen Weser-Renaissance ensemble clearly know their stuff: the record is simply magnificent. © Elsa Siffert/Qobuz
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Classical - Released October 4, 2019 | Blue Heron

Hi-Res Booklet
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Classical - Released March 24, 2015 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released July 14, 2014 | harmonia mundi

Distinctions Choc de Classica
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Classical - Released January 15, 2008 | harmonia mundi

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Classical - Released March 19, 2018 | Cantus Records

Booklet
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Classical - Released July 28, 1995 | deutsche harmonia mundi

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Choral Music (Choirs) - Released April 1, 2013 | Divine Art

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Classical - Released February 8, 2015 | Sonamusica

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Classical - Released January 1, 2000 | CPO