Wydawnictwo: Delphian
Nr katalogowy: DCD 34224
Nośnik: 1 CD
Data wydania: grudzień 2019
EAN: 801918342240
Nr katalogowy: DCD 34224
Nośnik: 1 CD
Data wydania: grudzień 2019
EAN: 801918342240
Nasze kategorie wyszukiwania
Epoka muzyczna: renesans
Obszar (język): flamandzki, angielski
Rodzaj: pieśń
Epoka muzyczna: renesans
Obszar (język): flamandzki, angielski
Rodzaj: pieśń
Werrecore / Desprez / Phinot: Music for Milan Cathedral
Delphian - DCD 34224
Kompozytor
Hermann Matthias Werrecore (1500-1574)
Josquin Desprez (1450-1521)
Dominique Phinot (c1510-1561)
Franchinus Gaffurius, Gaspar van Weerbeke
Hermann Matthias Werrecore (1500-1574)
Josquin Desprez (1450-1521)
Dominique Phinot (c1510-1561)
Franchinus Gaffurius, Gaspar van Weerbeke
Wykonawcy
Siglo de Oro / Patrick Allies
Siglo de Oro / Patrick Allies
Utwory na płycie:
Hermann Matthias Werrecore:
Inviolata, integra et casta es Maria
Popule meus
Proh dolor
Ave maris stella
Inclina Deus meus
Beati omnes qui timent Dominum
Franchinus Gaffurius:
O sacrum convivium
Josquin des Prez:
Alma redemptoris mater
Inviolata, integra et casta
Gaspar van Weerbeke:
Ave regina caelorum, mater
Dominique Phinot:
Homo quidam fecit
Inviolata, integra et casta es Maria
Popule meus
Proh dolor
Ave maris stella
Inclina Deus meus
Beati omnes qui timent Dominum
Franchinus Gaffurius:
O sacrum convivium
Josquin des Prez:
Alma redemptoris mater
Inviolata, integra et casta
Gaspar van Weerbeke:
Ave regina caelorum, mater
Dominique Phinot:
Homo quidam fecit
In the fifteenth and sixteenth centuries, Milan Cathedral acted as a magnet to many of the finest composers of the time. Yet the Cathedral’s maestro di cappella for almost thirty years, Hermann Matthias Werrecore, is almost completely unknown to us today.
Why was he forgotten? Did his Flemish origins mean he was never properly adopted by his Milanese congregation? Did his later reputation suffer from confusion with his countryman Matthias Le Maistre?
Six of Werrecore’s surviving motets are presented here – the first time any of his sacred music has been recorded. They are heard alongside works by composers Werrecore knew, drawn mostly from the holdings of the Milan library during his tenure there. Siglo de Oro’s act of rediscovery reveals the exceptional quality of the music, and Patrick Allies directs them in performances of extraordinary flair.
Why was he forgotten? Did his Flemish origins mean he was never properly adopted by his Milanese congregation? Did his later reputation suffer from confusion with his countryman Matthias Le Maistre?
Six of Werrecore’s surviving motets are presented here – the first time any of his sacred music has been recorded. They are heard alongside works by composers Werrecore knew, drawn mostly from the holdings of the Milan library during his tenure there. Siglo de Oro’s act of rediscovery reveals the exceptional quality of the music, and Patrick Allies directs them in performances of extraordinary flair.