Johannes de LYMBURGIA. Gaude Felix Padua —
Le Miroir de Musique, Baptiste Romain
[18.6.2019]
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Release: 14 June 2019
[18.6.2019]
medieval.org Remarks
http://www.medieval.org/emfaq/cds/remarks.html
15 Jul 2019
Todd M. McComb
———
Continuing the early fifteenth century orientation from the
previous entry (now, on average, involving music a little earlier),
but this time around Burgundian-Italian music, I also want to
highlight the recent Johannes de Lymburgia program,
Gaude felix Padua, by Le Miroir de
Musique. It continues what has often been a basic Burgundian
orientation for the group, including around Italian sojourns (&
hence performance practice, mainly heard as instrumental doubling
in these interpretations): In particular, only Latin music by
Lymburgia has survived (& calling it "sacred" isn't
quite in keeping with later designations, as it's not all liturgical),
and so this program is rather different from the group's earlier
album devoted to the de Lantins, which is
secular (mostly in French, including some Italian & Latin items
— but not the surviving liturgical music).
Lymburgia had
been illustrated on record only by an occasional short track
elsewhere, and so this program reveals another distinctive, personal
contrapuntal style (chronologically) between those of Ciconia &
Dufay. (Besides the de Lantins, one might also compare e.g. to
Brassart, who was apparently a somewhat younger contemporary:
Perhaps he'll be subject of this group's next album? He &
Lymburgia sometimes seem to collide in Buxheimer Orgelbuch
style, if via the Codex Faenza in these interpretations....)
The program also ranges from mass movements to laude-derived strophic
songs, orienting on the composer's time in Italy. The quirky style
in evidence here might not have had much subsequent influence,
particularly with Dufay becoming such a dominating figure (not to
mention the English input in the wake of the Hundred Years War),
but it does help to elaborate (once again) the musical concerns of
the era. The group's handling of the different genres is also quite
deft, involving a sense of lightness when appropriate, and fine
articulation in general. The pieces aren't all of the most striking
individual merit (with the Magnificat being perhaps the most
individually distinctive), but the result does end up being both
enjoyable & broadly illuminating e.g. of Dufay's context.
[15.7.2019]