The Early Music Club (EMC)

[San Antone]

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Thanks.

[San Antone]

Guillaume Du Fay: The Tenor Masses (Les messes à teneur)
Jesse Rodin and Cut Circle



Cut Circle is a group new to me, they are an all male, OVPP group (perfect, IMO).  These four late-career DuFay masses receive an excellent new recording.

From a trusted Amazon reviewer:

The editions are by Rodin himself. He retains mixed key signatures, doesn't avoid cross relations too much, and slightly rewrites a passage in Missa "L'homme arme" at the phrase "in remissionem peccatorum". This rewrite is actually something I don't like; I suspect he found some sort of a source with the passage in that form, but honestly it's just not as good as the way in which it's usually done. Otherwise though, I think Rodin has done a great job as far as I can tell.

The chosen tempos vary, but they never plod. Cut Circle take Missa "Se la face ay pale" exactly as fast as Chiaroscuro in every movement, which is faster than other groups, and a lot faster than Diablous in Musica. I have to say I like this fast tempo, and it's great we have two so different but great performances of this mass in these tempi.

[San Antone]

My morning listening:

[asin]B0000634YO[/asin]
Getting more Palestrina is still on my to do list....
Palestrina has been popular amongst British ensembles, but that's not my cup of tea...
Which currently brings down the number of eligible candidates considerably.
There is a real need for more excellent Italian Renaissance choral ensembles, like De Labyrintho, to fill the gaps here...
As in Baroque, the Italian are late to the party....but are bound to make a impressive entrance

Q

Sergio Vartolo; Soloisti di San Petronio recorded three volumes of masses in the 1990s, but as far as I can tell on the last two made it to CD. 

[Que]

Sergio Vartolo; Soloisti di San Petronio recorded three volumes of masses in the 1990s, but as far as I can tell on the last two made it to CD. 

They seem to have been reissued by Naxos:

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Unfortunately responses do not seem to be favourable, nor was my own impression upon sampling...
Old fasioned approach and not so well executed....
But then again, I am definitely not a Vartolo fan.

Q

[San Antone]

De gustibus non disputandum est ...

[HIPster]

My morning listening:

[asin]B0000634YO[/asin]
Getting more Palestrina is still on my to do list....
Palestrina has been popular amongst British ensembles, but that's not my cup of tea...
Which currently brings down the number of eligible candidates considerably.
There is a real need for more excellent Italian Renaissance choral ensembles, like De Labyrintho, to fill the gaps here...
As in Baroque, the Italian are late to the party....but are bound to make a impressive entrance

Q

Concerto Italiano has a madrigal recording.  Originally on the Tactus label, this one has been reissued as a part of that label's white series:

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And on Brilliant:

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Gio review! 

I am all for De Labyrintho releasing some Palestrina too! 

[Que]

Concerto Italiano has a madrigal recording.  Originally on the Tactus label, this one has been reissued as a part of that label's white series:

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And on Brilliant:

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Gio review! 

I am all for De Labyrintho releasing some Palestrina too! 

Thank you! 
I was not aware of that recording, am definitely interested.

Q

[Que]

Guillaume Du Fay: The Tenor Masses (Les messes à teneur)
Jesse Rodin and Cut Circle



Cut Circle is a group new to me, they are an all male, OVPP group (perfect, IMO).  These four late-career DuFay masses receive an excellent new recording.

From a trusted Amazon reviewer:

Do you have that recording? 
I was quite impressed by their previous recording for Musique en Wallonie:

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My previous comments HERE.
My only regret is that not the entire album was dedicated to Marbrianus de Orto.

Q

[San Antone]

Do you have that recording? 
I was quite impressed by their previous recording for Musique en Wallonie:

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My previous comments HERE.
My only regret is that not the entire album was dedicated to Marbrianus de Orto.

Q

Yes, I bought a download which didn't include the booklet, which is bothersome.  I agree with you that they are not quite on the level of Stimmwerck or Cinquecento, but it is great to have these masses done with a small, which I had thought was all male but has two female voices that sound like boys so much they fooled me, group.  I also had originally thought they were OVPP but, they are an 8 member group who slims down to individual voices for a section here and there.

[Que]

Yes, I bought a download which didn't include the booklet, which is bothersome.  I agree with you that they are not quite on the level of Stimmwerck or Cinquecento, but it is great to have these masses done with a small, which I had thought was all male but has two female voices that sound like boys so much they fooled me, group.  I also had originally thought they were OVPP but, they are an 8 member group who slims down to individual voices for a section here and there.

I think they are close and will get there. The booklets/packaging by this label are really worthwhile!

Q

[Que]

Since I'm slowly digesting the six volumes of series The Leiden Choirbooks on the Dutch label EtCetera, I wil be posting my impressions here - starting with Volume I. 

Some background information on the project:

For over four hundred years the city of Leiden has held a hidden treasure of immense musical value. Hardly anyone knew of its existence, even in Leiden itself. The six enormous choirbooks were compiled for the singers of the 16th-century College of the Seven Canonical Hours of the Pieterskerk (St. Peter's Church). Each volume of the series is dedicated to one of these six books that are the largest homogenous collection of polyphony in Europe. Together they represent a rare legacy, and form one of the largest comprehensive collections of 16th century religious music.

There are 20 singers in total: the male Egidius Quartet and in its, for the occasion of this project extended version, the Egidius College, which has 4 female singers. The music is sung at either one or two voices per part. Some of the latter by a mixed ensemble with female voices.

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Each volume has two discs. The 1st disc here has a mixed selection of motets by Franco-Flemish and Dutch composers: Thomas Crequillon, Benedictus Appenzeller, Joachimus de Monte, Johannes Cleeff, Christan Hollander and Johannes de Richafort.  On the 2nd disc there are two masses: the Missa beati omnes by Nicolas Gombert and the anonymous 6-part Missa Santa Maria.

What can say?... that won't already be covered by Stephen Midgley's extensive and excellent review on Amazon?

I think the selection of motets is wonderful, with Thomas Crequillon and Johannes Richafort expectedly taking pride of place. But the featured "lesser knowns" are really interesting - some gems right there. I quite enjoyed the performance of the mass by Nicolas Gombert: nicely sober, transparent and earthy. A good antidote to overly bright ( transposed upwards) or overly populated  performances. Or interpretations that go overboard with indivualised, emotional expression and psychology, like the ensemble The Sound and the Fury tends to do. The style of Egidius is more similar to the (also Dutch) Gesualdo Consort, known for their Sweelinck series, or the Flemish Huelgas Ensemble.
The anonymous mas on the 2nd disc is wonderful and actually one of the most significant pieces of the series.
Performances are outstanding, though they will improve throughout the series.

Johan van Veen's review of volume I: http://www.musica-dei-donum.org/cd_reviews/Etcetera_KTC1410.html

His MusicWeb review of volumes I - III: http://www.musicweb-international.com/classrev/2013/Feb13/Leiden_choirbooks_v123_KTC1410.htm

Q

[San Antone]

Since I'm slowly digesting the six volumes of series The Leiden Choirbooks on the Dutch label EtCetera, I wil be posting my impressions here - starting with Volume I. 

Some background information on the project:

For over four hundred years the city of Leiden has held a hidden treasure of immense musical value. Hardly anyone knew of its existence, even in Leiden itself. The six enormous choirbooks were compiled for the singers of the 16th-century College of the Seven Canonical Hours of the Pieterskerk (St. Peter's Church). Each volume of the series is dedicated to one of these six books that are the largest homogenous collection of polyphony in Europe. Together they represent a rare legacy, and form one of the largest comprehensive collections of 16th century religious music.

There are 20 singers in total: the male Egidius Quartet and in its, for the occasion of this project extended version, the Egidius College, which has 4 female singers. The music is sung at either one or two voices per part. Some of the latter by a mixed ensemble with female voices.

[asin]B003XKDFAG[/asin]

[asin]B00YJKUZ1Q[/asin]

Each volume has two discs. The 1st disc here has a mixed selection of motets by Franco-Flemish and Dutch composers: Thomas Crequillon, Benedictus Appenzeller, Joachimus de Monte, Johannes Cleeff, Christan Hollander and Johannes de Richafort.  On the 2nd disc there are two masses: the Missa beati omnes by Nicolas Gombert and the anonymous 6-part Missa Santa Maria.

What can say?... that won't already be covered by Stephen Midgley's extensive and excellent review on Amazon?

I think the selection of motets is wonderful, with Thomas Crequillon and Johannes Richafort expectedly taking pride of place. But the featured "lesser knowns" are really interesting - some gems right there. I quite enjoyed the performance of the mass by Nicolas Gombert: nicely sober, transparent and earthy. A good antidote to overly bright ( transposed upwards) or overly populated  performances. Or interpretations that go overboard with indivualised, emotional expression and psychology, like the ensemble The Sound and the Fury tends to do. The style of Egidius is more similar to the (also Dutch) Gesualdo Consort, known for their Sweelinck series, or the Flemish Huelgas Ensemble.
The anonymous mas on the 2nd disc is wonderful and actually one of the most significant pieces of the series.
Performances are outstanding, though they will improve throughout the series.

Johan van Veen's review of volume I: http://www.musica-dei-donum.org/cd_reviews/Etcetera_KTC1410.html

His MusicWeb review of volumes I - III: http://www.musicweb-international.com/classrev/2013/Feb13/Leiden_choirbooks_v123_KTC1410.htm

Q

Thanks for the overview.  Can you guestimate what percentage of the works are done by the male group a/o/t the larger mixed ensemble?  I vastly prefer all male small vocal ensembles, OVPP if possible.  If the majority of the works are done with this group, it is a no-brainer for my collection.

[Que]

Thanks for the overview.  Can you guestimate what percentage of the works are done by the male group a/o/t the larger mixed ensemble?  I vastly prefer all male small vocal ensembles, OVPP if possible.  If the majority of the works are done with this group, it is a no-brainer for my collection.

Thanks.  In general I actually share your preference.

Let me firstly emphasize that for these performances the scores were not transposed upwards British style, and are therefore not "soprano heavy". This also means that female singers are only featured for the upper voices when the (original) score calls for it - many of the works that are sung by the extended ensemble do not feature female voices. For instance, on this volume the performance of the Gombert mass features two female singers, the six-part anonymous mass none.... The same goes for the motets.

It is hard to put numbers on it, but I think well over half of the total features female voices.
I think roughly a third of the total is sung OVPP, wich includes works that are over 4 parts.

Q

[San Antone]

Thanks.  In general I actually share your preference.

Let me firstly emphasize that for these performances the scores were not transposed upwards British style, and are therefore not "soprano heavy". This also means that female singers are only featured for the upper voices when the (original) score calls for it - many of the works that are sung by the extended ensemble do not feature female voices. For instance, on this volume the performance of the Gombert mass features two female singers, the six-part anonymous mass none.... The same goes for the motets.

It is hard to put numbers on it, but I think well over half of the total features female voices.
I think roughly a third of the total is sung OVPP, wich includes works that are over 4 parts.

Q

Thanks.  Looks like my Wishlist will have a new occupant.  I can tolerate female voices easier if they sound like countertenors.  Although I appreciate the English style more than you, I tend to prefer lower voices and a generally rougher style.

[Que]

It's a superb set. Some variation in the performances, but the repertoire, packaging, everything is grade A++

My comments on volume II of the Leiden Choirbooks

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The angle of this series is clearly to uncover and give exposure to as much unique and unknown repertoire as possible. I think one's attraction to an extensive set like this depends on how intensive and deep you want to explore this particular Franco-Flemish repertoire of the late 14th and 1st half 15 centuries that was sung in the Netherlands. There is much that is worthwhile amongst the lesser known composers and the multiple anonymous pieces that are included. Some are truly magnificent but all pieces are worthy of hearing. The (anonymous) hymns accompanied by Georgian Chant included in this 2nd disc are a good example in point: not must-hear masterpieces but superbly done and charming. They complete the picture of musical life in those days.

Quite some wonderful music by Clemens non Papa in this volume of motets, magnificats and polyphonic hymn settings. Other highlights are a motets by Iosquin Baston, Philippe Verdelot and Jean Richafort.

Amazon review by Stephen Midgley: More hidden renaissance treasures.

MusicWeb review: http://www.musicweb-international.com/classrev/2013/Feb13/Leiden_choirbooks_v123_KTC1410.htm

Q

[Que]

My comments on  volume III of the Leiden Choirbooks:

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I stand my earlier assessment that this volume sounds vocally a step up from the two previous ones. The choir achieved a higher level of integration.
The opening piece on disc 1 is a breath taking motet by Clemens non Papa, a composer well represented in these manuscripts.

Disc 2 contains two masses. The 1st is the six-part  Missa pastores loquebantur by Cornelius Canis aka Cornelius d'Hondt, who was choir master in the Flemish city of Gent, where he succeeded JHeronimus Vinders - whose music is also featured in this series. Later he succeeded Thomas Crequillon at the court of Holy Roman emperor Charles V. The Egidius devoted an entire album to Cornelius d'Hondt before. Anyway, it is a very nice piece indeed. The 2nd mass is an anonymous, 4-part Requiem mass, which requires attentive listening due to its rather subdued character but is one of the many highlights in the series.. 

 "Music to die for" by Stephen Midgley
The superb quality of the first two volumes in this ground-breaking series of the six Leiden Choirbooks, in both music and performance, may well lead some renaissance fans to wonder whether the series can possibly maintain such high standards. Well, fear not - from the opening bars of the very first item here, any such doubts are immediately laid to rest.

Read the rest of te review HERE

MusicWeb review: http://www.musicweb-international.com/classrev/2013/Feb13/Leiden_choirbooks_v123_KTC1410.htm

Q

[Harry]

Thanks.  In general I actually share your preference.

Let me firstly emphasize that for these performances the scores were not transposed upwards British style, and are therefore not "soprano heavy". This also means that female singers are only featured for the upper voices when the (original) score calls for it - many of the works that are sung by the extended ensemble do not feature female voices. For instance, on this volume the performance of the Gombert mass features two female singers, the six-part anonymous mass none.... The same goes for the motets.

It is hard to put numbers on it, but I think well over half of the total features female voices.
I think roughly a third of the total is sung OVPP, wich includes works that are over 4 parts.

Q

The complete set is on my orderlist. You are responsable Que

[Harry]

Let me firstly emphasize that for these performances the scores were not transposed upwards British style, and are therefore not "soprano heavy".
Q

That for me is the main reason to buy the complete set!

[Que]

The complete set is on my orderlist. You are responsable Que

WOW..... Hope you found a good price. 

The set is €80 is at Amazon IT.

Q

[Harry]

WOW..... Hope you found a good price. 

The set is €80 is at Amazon IT.

Q

I go there! Thank you.