Jacob Obrecht, Alexander Agricola & Heinrich Isaac.

Started by Mandryka, December 11, 2015, 09:45:06 PM

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Mandryka

#60
Thanks for doing that. I wonder why it is that Isaac is so often presented with instruments, maybe I'm wrong but my impression is he gets this treatment more than others.


And yet, ironically,  my memory is that Cantica Symphonia did an Isaac mass with just voices!

Up to now I've found Cantica Symphonia's recording completely uninspiring.
Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

#61


A rerelease of masses (Beata Maria Virginie) made over 10 years ago, and a disc of motets.  Fluid, serious and controlled singing, all male but IMO not too extrovert and agressive, as far as I can see OVPP a capella. Textures tend to be consistently rich rather than light and airy.

Masses are sung both chanted and with organ alternatim. I don't know what instrument or music is being played, or indeed being chanted. The contrast between the chant and Isaac's settings is sometimes very surprising, and IMO underlines Isaac's originality.

Alternatim was clearly all the rage at the time, as you get passages of plainsong even in the motets!

Listening to this I was struck by two of their decisions: to sing a capella and to use an ensemble which is all male. I don't know if it was the best decision, I have my doubts about that, especially in the motets, where I missed the lightness and soaring quality that the sopranos brought to Cantica Symphonia's Isaac recording, and the noble sonority of brass accompaniment. The motets in Maletto's CD impress me more and more each time I go back to them.

Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

#64


Prague Madrigal Singers, Obrecht Zart. An old recording obviously, rereleased in May this year. Instruments - I wouldn't like to say what current ideas about performance practice have to say about that. And historical sound of course.

What can a rerelease like this have of interest for people like us? People who are familiar with Maria Zart sung by Tallis Scholars and Beauty Farm.

What it has made me see is how contemporary ideas of the Flemish renaissance favour fluidity and sensuality. This earlier recording is more about energy, rhythm. How the modern aesthetics came about is a mystery to me - just a reaction maybe.

I think it's well worth a listen, and may well be one of the most valuable releases of renaissance music this year. 
Wovon man nicht sprechen kann, darüber muss man schweigen

premont

Quote from: Mandryka on December 23, 2022, 08:49:41 AMPrague Madrigal Singers, Obrecht Zart. An old recording obviously, rereleased in May this year. Instruments - I wouldn't like to say what current ideas about performance practice have to say about that. And historical sound of course.

What can a rerelease like this have of interest for people like us? People who are familiar with Maria Zart sung by Tallis Scholars and Beauty Farm.

What it has made me see is how contemporary ideas of the Flemish renaissance favour fluidity and sensuality. This earlier recording is more about energy, rhythm. How the modern aesthetics came about is a mystery to me - just a reaction maybe.

I think it's well worth a listen, and may well be one of the most valuable releases of renaissance music this year. 


You describe very well why Venhoda's recordings may be nothing but musicological relevant to day being concerned only with energy and rhytm, which is also my impression as I recall it. The OVPP allows for much more expression, as well as more option for displaying the relationship of the voices.
γνῶθι σεαυτόν

The new erato

I remeber collecting a few of the Venhoda discs when my early music interest took off in the mid 70ies.

In fact I just located the Obrecht disc as well as a disc of two Dufay Masses in a corner where I've kept some LPs.