Author Topic: Ockeghem's Office  (Read 1897 times)

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Offline Mandryka

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Re: Ockeghem's Office
« Reply #20 on: January 09, 2017, 10:00:57 AM »
All the recordings they did I feel is pretty special.

Ockeghem is an extremely interesting composer. This recording is rather special:



I am a great fan of Ockeghem, he is my favourite Renaissance composer of masses, but for some reason I find Missa Cuiusvis Toni hard to enjoy. It's probably me, or is this music really not very interesting to hear?  Which is your favourite mass in the collection, your favourite tone?

I have Kandel's recording, and Sound and Fury, and Clerks Group. None touch the G spot for me so far.

« Last Edit: January 09, 2017, 10:03:11 AM by Mandryka »
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Offline radicle

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Re: Ockeghem's Office
« Reply #21 on: January 11, 2017, 06:19:50 PM »
Is anybody familiar with this recording?
The performers are unknown to me.



Offline sanantonio

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Re: Ockeghem's Office
« Reply #22 on: January 11, 2017, 06:25:49 PM »
Is anybody familiar with this recording?
The performers are unknown to me.



I was just listening to it last week.  Kevin Moll is one of the first generation of HIP/early music musicians, 1970s on.  I think he was involved in many of the L'Oiseau-Lyre EM recordings.  Good stuff.  Sorry, I got him mixed up with someone else, director of Schola Antiqua.  His name was familiar because it came up in some of the material I've been reading about Machaut.  He's  a bit younger than I thought, but a well respected EM scholar.
« Last Edit: January 11, 2017, 06:35:59 PM by sanantonio »

Offline Mandryka

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Re: Ockeghem's Office
« Reply #23 on: February 19, 2017, 09:32:56 AM »


A particularly robust, wide awake, visceral and exciting recording of Ockeghem's Missa Prolationum from Clemencic, I think OVPP or close, and just the voices. The balance is excellent, the ensemble is not dominated by the higher voices at all. The interpretation locates the music in the gothic rather than in the Renaissance: what I mean is that it's not sweet, angelic, smooth.
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Offline Mandryka

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Re: Ockeghem's Office
« Reply #24 on: June 04, 2017, 05:59:18 AM »


Beauty Farm sing Ockeghem's Missa Quinti Toni. It's an interesting recording for the devotional and noble tempos, and above all for the way they ornament and voice the music to produce dissonances. Their sound is very dynamic and thrilling, which in a way befits the disorienting effect of the harmonies. There's a strong impression of individuals being receptive to each other but making no attempt to lose their identities in a blend.  It's impressive and challenging music making, and I can't say anything sensible about the quality of what they do, other than the experience of listening to it plunges you into an alien world - a world very very far from the way I'm used to hearing 17th and 16th century music.
« Last Edit: June 04, 2017, 06:04:51 AM by Mandryka »
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Online Que

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Re: Ockeghem's Office
« Reply #25 on: June 04, 2017, 06:22:58 AM »


Beauty Farm sing Ockeghem's Missa Quinti Toni. It's an interesting recording for the devotional and noble tempos, and above all for the way they ornament and voice the music to produce dissonances. Their sound is very dynamic and thrilling, which in a way befits the disorienting effect of the harmonies. There's a strong impression of individuals being receptive to each other but making no attempt to lose their identities in a blend.  It's impressive and challenging music making, and I can't say anything sensible about the quality of what they do, other than the experience of listening to it plunges you into an alien world - a world very very far from the way I'm used to hearing 17th and 16th century music.

Gio aka Giordano Bruno found this Ockeghem issue dissapointing after their successful Gombert recordings:

- - - - - - - - -- - - - - - - - - - - - - - - - - - - - - -
Alas! by Gio

I gave this young ensemble, Beauty Farm, an enthusiastic review for their performance of the harmonically risky music of Nicolas Gombert, who was widely regarded in his time as the successor to Josquin. I stand by that review; that CD is one of the four or five best performances of Gombert on the market.
Alas, imagine my distress at finding this CD not quite listenable, certainly not worth listening to a second time. The interpretation is brusque and bumptious, whereas Ockeghem was the suavest and most "Apollonian" of polyphonists. Perhaps the brusqueness is intentional, a manner of distinguishing Beauty Farm from the many other ensembles that have recorded Ockeghem, If so, I simply don't like it. But the individual voices seem coarse and brusque also, with little unity of affect. There's a fatal overload of reverberation on the CD as well. This is a CD is skip, in hopes that Beauty Farm will find its Gombertian voice again.


Q
À chacun son goût.

Offline GioCar

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Re: Ockeghem's Office
« Reply #26 on: June 04, 2017, 07:28:22 AM »
Gio aka Giordano Bruno found this Ockeghem issue dissapointing after their successful Gombert recordings:

- - - - - - - - -- - - - - - - - - - - - - - - - - - - - - -
Alas! by Gio

I gave this young ensemble, Beauty Farm, an enthusiastic review for their performance of the harmonically risky music of Nicolas Gombert, who was widely regarded in his time as the successor to Josquin. I stand by that review; that CD is one of the four or five best performances of Gombert on the market.
Alas, imagine my distress at finding this CD not quite listenable, certainly not worth listening to a second time. The interpretation is brusque and bumptious, whereas Ockeghem was the suavest and most "Apollonian" of polyphonists. Perhaps the brusqueness is intentional, a manner of distinguishing Beauty Farm from the many other ensembles that have recorded Ockeghem, If so, I simply don't like it. But the individual voices seem coarse and brusque also, with little unity of affect. There's a fatal overload of reverberation on the CD as well. This is a CD is skip, in hopes that Beauty Farm will find its Gombertian voice again.


Q

Don't trust too much who gave 5 stars to a pasta made with spelt flour... >:D

Offline Mandryka

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Re: Ockeghem's Office
« Reply #27 on: June 04, 2017, 07:35:40 AM »
Gio aka Giordano Bruno found this Ockeghem issue dissapointing after their successful Gombert recordings:

- - - - - - - - -- - - - - - - - - - - - - - - - - - - - - -
Alas! by Gio

I gave this young ensemble, Beauty Farm, an enthusiastic review for their performance of the harmonically risky music of Nicolas Gombert, who was widely regarded in his time as the successor to Josquin. I stand by that review; that CD is one of the four or five best performances of Gombert on the market.
Alas, imagine my distress at finding this CD not quite listenable, certainly not worth listening to a second time. The interpretation is brusque and bumptious, whereas Ockeghem was the suavest and most "Apollonian" of polyphonists. Perhaps the brusqueness is intentional, a manner of distinguishing Beauty Farm from the many other ensembles that have recorded Ockeghem, If so, I simply don't like it. But the individual voices seem coarse and brusque also, with little unity of affect. There's a fatal overload of reverberation on the CD as well. This is a CD is skip, in hopes that Beauty Farm will find its Gombertian voice again.


Q

I hadn't seen that, the suave Apollonian conception is Clerks Group I think. I wouldn't like to say that that approach fits Ockeghem most naturally, that his music is naturally suave. Neither would I say that I find Clerks Group more stimulating than Beauty Farm, though it's probably more soothing. I don't know what he means by unity of affect, I do not agree that the individual voices sound coarse and brusque, though I agree they don't sound suave. Maybe coarse and brusque is just the opposite of suave, but art isn't so binary.

Anyway, I wouldn't be dismissive because, as I've tried to suggest, the approach is interesting, especially harmonically.

I didn't like the recorded sound at first, it's loud and close, I still don't really like it.  I think the treble is too bright. But it helps greatly to turn the volume down and have a glass of wine and you can imagine yourself in an old stone church, front row.

The Apollonian thing makes me think of what I see as the latest ideas in early music singing, a move towards sensuality. Apollo wasn't sensual was he?
« Last Edit: June 04, 2017, 07:39:37 AM by Mandryka »
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Offline Mandryka

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Re: Ockeghem's Office
« Reply #28 on: June 23, 2017, 09:03:31 PM »


A very spiritual performance, full of life, of the l'homme armé mass here by Jeremy Summerly.
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