The Early Music Club (EMC)

[Que]

The Sound and the Fury set was released in 2014, rather than 2016. I emailed them a few weeks ago to ask if volume 2 might be in preparation, but had no response. If it does appear, I'll definitely be getting it. I thought volume 1 was outstandingly good.

Agreed!  One of the Sound & Fury recordings I can recommend without hesitation.

Q

[San Antone]

Tetraktys
Codex Chantilly 1



The first of three (so far) recordings that is supposed to end up including all of the music in the Chantilly Codex.  Judging from the quality of this one I will be getting the rest of the series.

[San Antone]

This came in last week and I didn't listen past the first 30 seconds of the first track.  This is one case when I should have really read a review before purchasing since it has everything I dislike in early music recordings.  Despite the rave on Music-Web it contained the truly disqualifying pieces of information:

This is a female group singing music specifically for men (this music was "written" by Franciscan monks and sung in their Medieval monastery).  Instruments are used to accompany them (I turned it off after 30 seconds because the first track sounded like new age music to me)



I went for the 4-CD set, which was comparably priced for the single disc recordings of the same music and I usually enjoy Brilliant recordings.  The only other recordings are by Ensemble Organum (Corsican singers) and one that while primarily by a male group also uses female voices for some of the pieces.  So, I knew I didn't want the Peres disc and also didn't know anything about the other recording.  This one looked good, four times as much music and a newer recording.  However, I never dreamt it would be done by an all female group.

The Marcel Peres recording exhibits the expected singing style as well as featuring a female soloist, and I haven't heard the other recording but I think it is on Naxos Music Library.

I found this recording in my collection that I had forgotten about:

Laudarium - Songs of Popular Devotion from 14th Century Italy



Much more enjoyable to me than either Peres or the female group.  But in sampling deeper into their 4-CD set, it gets better, so it was not a wasted purchase after all.

[PeterWillem]

Tetraktys
Codex Chantilly 1



The first of three (so far) recordings that is supposed to end up including all of the music in the Chantilly Codex.  Judging from the quality of this one I will be getting the rest of the series.

For me, this set of (three so far, I presume) recordings was a matter of big disappointment. Tempos here are so slow that it makes those lively songs lifeless.

[San Antone]

I've always pronounced Ockeghem's name as "AH-k'ghem" but I recently read somewhere that it is more correctly said "OH-kay-ghem" or even "oh-KAY-ghem".

Can anyone shed any light?

[JCBuckley]

This seems to be the native pronunciation: https://forvo.com/word/ockeghem/

[San Antone]

This seems to be the native pronunciation: https://forvo.com/word/ockeghem/

Thanks. 

[San Antone]

Here lately I've been listening to music mostly from the Renaissance period: lots of Palestrina, with sprinkles of Lassus, Victoria, Gombert, etc. What I have discovered is that while I prefer OVPP groups in Medieval repertoire, for the Renaissance works I prefer the have the parts doubled, e.g. 3VPP, or 2VPP.  Even a large choir like the Westminster Cathedral Choir has been very enjoyable to hear singing Palestrina and others since they will reduce the singers down for different sections and it offers a very pleasing variety of texture.  The only exception is I also very much enjoy smaller groups doing Palestrina in a "madrigal style".

But for anything from Dufay and before, OVPP still is my preferred way to hear the music.

Anyone else have this kind of preference?

[chord]

http://classicalcompass.blogspot.hu/2017/02/monteverdi-vespro-della-beata-vergine_13.html

[kishnevi]

Here lately I've been listening to music mostly from the Renaissance period: lots of Palestrina, with sprinkles of Lassus, Victoria, Gombert, etc. What I have discovered is that while I prefer OVPP groups in Medieval repertoire, for the Renaissance works I prefer the have the parts doubled, e.g. 3VPP, or 2VPP.  Even a large choir like the Westminster Cathedral Choir has been very enjoyable to hear singing Palestrina and others since they will reduce the singers down for different sections and it offers a very pleasing variety of texture.  The only exception is I also very much enjoy smaller groups doing Palestrina in a "madrigal style".

But for anything from Dufay and before, OVPP still is my preferred way to hear the music.

Anyone else have this kind of preference?

I find that logical.

If you have noticed from the Listening thread, I have been going through the L'Oiseau Lyre Medieval Renaissance box, which is arranged sort of chronologically. I am now up to the late 1400s/early 1500s.  Josquin is recognizably of the soundworld of the Renaissance, whereas Dufay and others are, if not high medieval, at least not Renaissance, especially in secular music.

The difference in performance you suggest would align with that.

[San Antone]

I find that logical.

If you have noticed from the Listening thread, I have been going through the L'Oiseau Lyre Medieval Renaissance box, which is arranged sort of chronologically. I am now up to the late 1400s/early 1500s.  Josquin is recognizably of the soundworld of the Renaissance, whereas Dufay and others are, if not high medieval, at least not Renaissance, especially in secular music.

The difference in performance you suggest would align with that.

I got that box recently but have only listened to the first third or maybe a bit more.  It is very enjoyable.

[Que]

Here lately I've been listening to music mostly from the Renaissance period: lots of Palestrina, with sprinkles of Lassus, Victoria, Gombert, etc. What I have discovered is that while I prefer OVPP groups in Medieval repertoire, for the Renaissance works I prefer the have the parts doubled, e.g. 3VPP, or 2VPP.  Even a large choir like the Westminster Cathedral Choir has been very enjoyable to hear singing Palestrina and others since they will reduce the singers down for different sections and it offers a very pleasing variety of texture.  The only exception is I also very much enjoy smaller groups doing Palestrina in a "madrigal style".

But for anything from Dufay and before, OVPP still is my preferred way to hear the music.

Anyone else have this kind of preference?

For me it realy depends on type of composer and type of work. As a rule of thumb any anything that predates Renaissance preferably OVPP, I agree.
In Renaissance the Franco-Flemish repertoire often works best in OVPP, particularly the motets. So do the motets by Lassus for instance. Or small setings by Sweelinck.

In Spanish, Italian and English repertoire larger forces work well, but I definitely prefer madrigals with smaller forces. To give a post-Renaisance example: I have the Italian madrigals by Schütz performed two voices per part (Orlando di Lasso Ensemble/Thorofon) - wouldn't want it any other way...

Q

[San Antone]

For me it realy depends on type of composer and type of work. As a rule of thumb any anything that predates Renaissance preferably OVPP, I agree.
In Renaissance the Franco-Flemish repertoire often works best in OVPP, particularly the motets. So do the motets by Lassus for instance. Or small setings by Sweelinck.

In Spanish, Italian and English repertoire larger forces work well, but I definitely prefer madrigals with smaller forces. To give a post-Renaisance example: I have the Italian madrigals by Schütz performed two voices per part (Orlando di Lasso Ensemble/Thorofon) - wouldn't want it any other way...

Q

I don't know those Schütz works (should look them up) but I do think of madrigals (maybe secular works in general) as being for solo voices (with some flexibility, i.e. OVPP or 2VPP, or even one voice with instrumental accompaniment).  My earlier post was concerning sacred music, masses specifically, and having a definite preference for solo voices in Medieval and larger groups for the Renaissance masses. 

But you're right - it is related also to the type of work not necessarily a period specific thing.

[San Antone]

I don't know if this will confuse or clarify what I have been trying to say, but ...

Palestrina : Missa Beata virgine I
Sergio Vartolo | Bologna Cappella Musicale di St. Petronio 



Sergio Vartolo has recorded more than a dozen Palestrina masses in solo voice male group performances, some with discreet organ accompaniment.  I like all the ones I've heard very much - the men singers are excellent and the polyphony is crystal clear offering the best way to appreciate Palestrina's craft. 

Some of the masses appear on Naxos but most, ten Mantuan masses, were released on Bongiovanni and quickly went OOP.  It can be confusing since Missa sine nomine appears on both iterations, but the Naxos mass is for 6 voices whereas the other recording is of the 4 voice mass.  Similarly the Beata virgine I, which shows up on both sets, are different recordings.

So, yes, I think Palestrina done OVPP is fantastic.  I guess my discovery regarding my own preferences is that while I really only want to hear Medieval works done OVPP,  Renaissance masses sound good to me with OVPP or a mid-size ensemble or full choir. 

[San Antone]

Nice video of The Sound and the Fury singing Pierre de la Rue

https://www.youtube.com/v/r0XxREaz_JU

[Mandryka]

Found Gesualdo on my mind tonight and listening to him now, his music is so divine. I can't help thinking about space, the "heavens" and a lot of existential stuff with his music, there's a profundity not too unlike Stockhausen's mid-late works.

I'll probably already know some of your suggestions but what do you recommend as far as unpredictable, chromatic and majestic early music? 

I've been asked this question before by someone who loved Gesualdo's most chromatic music, and it's really hard to answer just because Gesualdo in that mode is a sort of extreme case. You could listen to madrigals by Luca Marenzio and the earlier books of madrigals by Monteverdi,  but they aren't as shocking as Gesualdo (though I have to say that I enjoy Marenzio and Monteverdi more than Gesualdo.)

One line worth exploring is the movement called Ars Subtilior, if you search it in this forum you'll see a certain amount of discussion. Composers like Solages. This music was experimental both rhythmically and harmonically, and in a decent performance you should hear the same sense of pushing boundaries that you hear in some Gesualdo.

If you want to check early instrumental music which explores chromaticism, let me know and I'll think about it.

[North Star]

Found Gesualdo on my mind tonight and listening to him now, his music is so divine. I can't help thinking about space, the "heavens" and a lot of existential stuff with his music, there's a profundity not too unlike Stockhausen's mid-late works.

I'll probably already know some of your suggestions but what do you recommend as far as unpredictable, chromatic and majestic early music? 

Orlando di Lasso's Prophetiae Sibyllarum

[HIPster]

Found Gesualdo on my mind tonight and listening to him now, his music is so divine. I can't help thinking about space, the "heavens" and a lot of existential stuff with his music, there's a profundity not too unlike Stockhausen's mid-late works.

I'll probably already know some of your suggestions but what do you recommend as far as unpredictable, chromatic and majestic early music? 

This set is worthy of a purchase, alien:

[asin]B01L32LU7K[/asin]

Also, have you heard John Zorn's madrigal recording?  I think you would like it very much.

Cheers! 

[Mandryka]

Oh yes please Mandryka! Any suggestions are appreciated 

Try Christopher Stembridge's recording called "Consonanze Stravaganti"

[chord]

It's a Balestracci's one.
Outstanding.