Now if this here won't be cool, I don't know
Would have enjoyed attending the symposium on Isaac as well, but alas can't make it.
Fr 24. März 19.30 h Kirche St. Peter
EXTRAKONZERT HEINRICH ISAAC
Guillaume Dufay Le serviteur hault guerdonné a3 (Rondeau)
(ca. 1400–1474) Porto, Biblioteca Municipal, Cod. 714
Le serviteur a3 (instrumental)
Florenz, Biblioteca Nazionale Centrale, ms. Banco Rari 229
Tart ara mon cuer sa plaisance a3
Paris Bibliothèque Nationale nouv. Acq. Fr. 4379
Tartara a3 (instrumental)
Canti C numero cento cinquanta, Ottaviano dei Petrucci, Venedig 1504
La morra a3 (instrumental)
Harmonice Musices Odhecaton A, Ottaviano dei Petrucci, Venedig 1503
De tous biens playne / Et qui lui dira a2
Segovia, Archivo Capitular de la Catedral, Ms s.s.
Fortuna in mi (Intabulierung)
Hans Kotter: «Deutsche Orgeltabulatur» 1532, Basel, Universitätsbibliothek F. IX. 22
Fammi una gratia, amore a3
Florenz, Biblioteca Nazionale Centrale, Ms. Magliabecchi XIX 59
Sempre giro piangendo a3 (instrumental)
Florenz Biblioteca Nazionale Centrale, Ms. Magliabecchi XIX 59
Ach, was will doch mein Hertz a4
Johannes Ott, Hundert und fünfftzehen guter newer Liedlein, Nürnberg 1544
In meinem Sinn a4 (instrumental)
München, Universitätsbibliothek der Ludwig-Maximilians-Universität, SS 80 328-331
Mein Freud allein a4
Johannes Ott, Hundert und fünfftzehn guter newer Liedlein, Nürnberg 1544
Der Hundt: Das Kind lag in der Wiegen a3 (instrumental)
Hieronymus Formenschneyer, Trium vocum carmina, Nürnberg 1539
Es wollt ein Meydlein grasen gan a4
Liederbuch, Peter Schöffer, Mainz 1513
Els Janssens-Vanmunster Gesang
Silvia Tecardi Viola d’arco
Elizabeth Rumsey Viola da gamba
Marc Lewon Plektrumlaute und Viola d’arco
Michael Form Flöte und Leitung
Sub tuum praesidium
Josquin Desprez (1540/45–1521)
Ave regina caelorum
Costanzo Festa (ca. 1490–1545)
In illo tempore
O decus ecclesiae
Laura Fabris Sopran
Giuseppe Maletto Tenor und Leitung
Gianluca Ferrarini Tenor
Marco Scavazza Bariton
Mauro Morini Posaune
more info here:
Some thoughts about this ... first of all, it was wonderful to hear early music in concert, and hear it played well and sung outstandingly well! I never had the chance so far to hear any early vocal music in concert and Cantica Symphonia were excellent indeed.
My German write-up on which the following is based found here:http://forum.rollingstone.de/foren/topic/konzertimpressionen-und-rezensionen/page/3/#post-10127669Extrakonzert Heinrich Isaac
Festival Alte Musik Zürich – Kirche St. Peter – 24.3.
Part 1 - Les Flamboyants & Els Janssens-Vanmunster
This was my first visit to Festival Alte Musik in Zürich, running for fifteen years it seems (that's how far the festivals listed - or and more recently two per year - in the programme go back), without me having heard of it. This year's festival was mostly dedicated to Claudio Monteverdi, but the most interesting concerts took and will take (tomorrow) place on evenings I can't make it: there was a long afternoon/evening/night with excerpts from the Madrigal books by Voces Suaves last saturday, a "Vespro Veneziano" with La Cetra (cond. Andrea Marcon) last Sunday, and tomorrow La Venexiana will do "Scene and ballets", but I have a ticket for Isabelle Faust and the Freiburger Barockorchester, cond. Pablo Heras-Casado ... can't have it all). I also missed out on the symposium held on Isaac on Friday afternoon and this morning, as I had to work last Friday, exceptionally (Friday is my day off, otherwise - exceptionally bad timing but beyond my influencing, alas). The Isaac concert though, the fourth item on the programme that looked really enticing to me, I was able to attend, after a long day and week, but I was luckily able to stay awake throughout.
In the first half, secular works were presented by Les Flamboyans (Silvia Tecardi on viola d’arco, Elizabeth Rumsey on viola da gamba, Marc Lewon on plectrum lute and viola d’arco as well, and leader Michael Form on recorder) and singer Els Janssens-Vanmunster. This was interesting, pretty, nice, sometimes funny – but it failed to really grab me by the balls (uhm), which was then kinda achieved by the final song (preceding the encore), "Es wollt ein Meydlein", the words of which I added as my signature already, as some may have noted:
Es wollt ein meydlein grasen gan:
Fick mich, lieber Peter!
Und do die roten röslein stan:
Fick mich, lieber Peter!
Fick mich mehr, du hast dein ehr.
Kannstu nit, ich wills dich lern.
Fick mich, lieber Peter!
(A maid went grazing:
Fuck me, dear Peter!
And where the red roses rise:
Fuck me, dear Peter!
Fuck me, more, you have your hon'r.
Can you not, I will teach you.
Fuck me, dear Peter!
- my own lacking translation, the rhyme more/honour doesn't work really, sorry 'bout that - but we all had um, a ball, as did Ms Janssens-Vanmunster
What exactly was played before I can't tell with 100% accuracy, as the sheet with sung words that was handed out was announced to present the correct sequence, but there was one set of lyrics on it that weren't sung (and some stanzas were sung that weren't on the sheet, but I think they belonged to songs listed), while the instrumentals listed in between weren't quite in that sequence I think ... it didn't really ad up anyway. A pity they couldn't present proper information, as Isaac's music isn't exactly common place.
The encore of the first half was "Innsbruck, ich muss dich lassen", before that the pieces presented were: Dufay's "Le Serviteur" as opener, after that I think "Le Serviteur" and/or "La Morra" (instrumentals by Isaac), after that the chanson "Et qui lui dira" (not sure what this is ... there was a set of lyrics under the title "De tous biens plaine/Et qui lui dira" that wasn't sung, then there was another set under the heading "Et qui lui dir" with a note stating that the "lines of text are fragments from chansons of the time" - what does that mean? was this a pasticchio put together by Les Flamboyans? by Isaac? by somebody else?). The other songs were "Fammi una gratia" (wonderful!), "Ach, was will doch mein Herz" and "Mein Freund allein", as well as the funny little ditty quoted above on prepotent Dona..., uhm, Peter I mean (which had a great vocal part, with lots of melismas and stuff - who would do all that, was this noted in detail or does the singer do it on her own? Either way: chapeau!). In between, there were more instrumentals, including "Der Hundt: Das Kind lag in der Wiegen" – about this piece, Michael Form, the leader of the ensemble, is quoted at some length in the programme: "verarbeitet Isaac im Tenor jeweils die Melodie Das Kind lag in der Wiegen / do bissen es die Fliegen. Gut möglich, dass das arme Kind im weiteren Verlauf des Textes, den ich bis jetzt nicht zur Gänze ausfindig machen konnte, auch noch vom Hundt gebissen wird ..." (the rhyme doesn't work, but: in the tenor voice Isaac works in the melody of the song "The child lay in the cradle, it was itched by the flies" ... and Form goes on speculating, that it may have been bit by the dog (Hundt) later on in the so far not recovered lyrics of that song). In addition to that, I assume they played "Fortuna in mi" and "Sempre giro piangendo" and probably one more ("In meinem Sinn" or "Mein Freund allein"?) – as I said, a pity that the exact proceedings weren't communicated.Part 2 Cantica Symphonia/Giuseppe Maletto
The second half was dedicated to sacral music presented by Cantica Symphonia (Laura Fabris, soprano; Giuseppe Maletto, tenor & director; Gianluca Ferrarini, tenor; Marco Scavazza, baritone; Mauro Morini, trombones) – and this then was truly outstanding! For starters, they did Isaac's "Ave regina caelorum" followed by a wonderful "Salve regina" by Josquin, then again Isaac with "Sub tuum praesidium", "Rogamus te" and "O praeclarissima", followed by Costanzo Festa's "In illo tempore" and then by "Tota Pulchra", again by Isaaac. Other than the last piece and "O praeclarissima", they're all on the on the Isaac disc by the groupe (on Glossa), which was my first encounter with both Isaac and Cantica Symphonia. Didn't find the time (and the mood) to re-listen before the concert, but it groups various sacred motets around the "Missa Misericordias Domini".
Either way, this was the first time I witnessed polyphonic vocal music in concert, partly sung a cappella, partly with a trombone (also a kind of slide trumpet sometimes, but I guess this is also called trombone? at least so it was announced both in the concert and in the printed programme) providing a Cantus firmus. This was sung extremely well, and I was mightily impressed indeed!
Closing the proceedings was a premiere, an arrangement of "O decus ecclesiae" (also found on the CD) by Maletto, combining his group's voices (and trombone) with the vour instrumentalists of Les Flamboyants. This was nice, but to me it proved mostly that I will likely always prefer this kind of music in a capella (or very, very sparsely accompanied - the trombone worked perfectly well) versions. It was a bit as if the instrumentalists were switched on and off several times, a cappella parts followed after accompanied ones, and it didn't really add up to all that much, I found.
As a final encore, Cantica Symphonia did Isaac's „Greatest Hits“ – which is, I guess, one short motet titled "La mi la sol", composed 1502 in what has turned out to be my "Sehnsuchtsort" last June (that word cannot be translated adequately into English, it will just sound silly), the wonderful city of Ferrara.
I would have loved to hear more of Cantica Symphonia's art, but I assume presenting such music in concert is extremely demanding. Planning to play CD again in the next few days ... and actually, with Presto's running a Glossa sale, I have several of the ensemble's discs on order right now (including the three Dufay ones). There was, to be precise, absolutely nothing wrong with Les Flamboyans, it's just that I have been fascinated by polyphonic early music for a long time and enjoy it much more than any kind of instrumental music from the Renaissance period I've so far heard (and more than most chansons or single voice w/accompaniment pieces, though there must be exceptions there, but I guess those would be from somewhat later periods going into early Baroque, mostly).