Author Topic: Ensemble Gilles Binchois - Heinrich ISAAC. Missa Virgo prudentissima  (Read 377 times)

Offline O

  • Posts: 1982

Tras varios años...
Y como de costumbre últimamente casi todos los cantantes nuevos.
Tendré que empezar a detallarlos en la discografía
(volveré a repasarla desde el principio).
No se me ocurre qué decir. Me duermo con el sueño de los ángeles escuchándolos.
La misa de Isaac será sublime, pero el canto llano no le va a la zaga
(al menos tal como lo cantan aquí).
Escuchable en spotify.

Offline O

  • Posts: 1982
Re: Ensemble Gilles Binchois - Heinrich ISAAC. Missa Virgo prudentissima
« Reply #1 on: January 07, 2017, 08:09:24 PM »
Los de remarks de, al cabo de unos meses.

Mi nivel de compresión se reduce con el paso del tiempo. A ver si separando en trocitos me entero mejor:

The release of Ensemble Gilles Binchois' recording of Isaac's Missa Virgo prudentissima was delayed a bit by acquisitions in the music publishing business, but did nonetheless happen last year.

The album marks perhaps the ensemble's most direct essay illustrating the height of Franco-Flemish polyphonic style, although they had previously recorded the Spanish sixteenth century — a time & place that supported some of the older trends, together with some of its own innovations — somewhat extensively.

So this music is more modern than in most of their discography, but certainly not extreme in any way. (Indeed, they not only recorded Palestrina in 1993, but have continued to examine various old-fashioned repertory surviving in practice as late as into the nineteenth century.)

This is also Isaac's most elaborate large format setting, although it does retain some of the emphasis on chant & homophony that marks his most functional music, i.e. his enormous output of Propers etc. — emphasizing clear articulation as it does in forging the composite Franco-Flemish-Austrian style that was to have such a lasting effect on music in Central & Eastern Europe.

In this sense, the present liner notes suggest the Missa Virgo prudentissima as a particularly "mixed" piece, an elaborate cycle intended for Maximilian's coronation in Rome, and so mediating the various stylistic influences, but not toward simplicity as in so much of Isaac's output.

The six-voice counterpoint thus underscores the gravity of the occasion, making this his "most important Ordinary" by at least some measures. (This is the second complete recording, after a 1998 production from Munich.)

The interpretation itself shows a careful attention to plainchant, which both plays to the long-term strength of the ensemble & reflects what seems often to be Isaac's own concern.

With the mixed vocal ensemble, and the sharpness of the sopranos, not to mention the frequent alternation of Isaac's formal style, the music tends to soar & return in compact phrases that emphasize its clarity amidst a big overall sound.

Framed by a couple of Isaac's polyphonic Propers pieces, the program is thus a clear & admirable expression of (apparently?) his most elaborate large-scale cycle.

4 January 2017