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Missing / In Mulieribus LIVE II 2009-2014
« Last post by 0 on Today at 08:22:31 AM »
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Missing / In Mulieribus LIVE 2004-2008
« Last post by 0 on Today at 08:16:19 AM »
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Missing / Vox in Rama - Modulatio divinae laudis
« Last post by 0 on Today at 08:06:51 AM »


http://www.voxinrama.com/?page_id=499#Modulatio
http://www.medieval.org/emfaq/cds/vxr002.htm

El Osanna salvifica (cc 92) en la pista 9.
Publicación de 2013, grabación en 2012.

Más Calixtino (missing) de este grupo en su disco Flores aquitanes.
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https://www.early-music.org/recordings/unrequited-love-troubadours-of-france-spain
http://www.medieval.org/emfaq/cds/tem15.htm

Bastante reciente, grabado en 2013 y publicado en 2015.
La última pista es del Calixtino (cc 79).
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S / Duo Seraphîm - Symphonia Celestia (2014)
« Last post by 0 on Yesterday at 05:10:13 PM »



http://www.sonusantiqva.org/i/S/DuoSeraphim/2014SymphoniaCelestia.html




Una escucha distraída te hace pensar que estás oyendo un disco de new age (¿sigue existiendo eso?) de esos con cantante (femenina) y arpa. Más si también hay algo de Hildegard. Pero... como dicen en esta reseña, una hora con los ángeles:
https://www.lanouvellerepublique.fr/actu/symphonia-celestia-une-heure-avec-les-anges

A Carole Matras la conocemos sobre todo de Ligeriana y Millenarium y Manolo González de Absalon. No sé a qué viene la grafía 'Duo Seraphîm', porque también usan la más corriente 'Duo Séraphim'. En el libreto falta la pista 13 (el texto cantado) con el canto de la Sibila ocupando su lugar.

Es complicado comentar o destacar algo, porque hay mucho material extático, orgásmico. Por ejemplo, esa pista ausenta del libreto, que es la que estoy oyendo ahora, con las dos voces y el organetto en pedal. Pero es que el Laude jocunda de San Marcial es arrebatador, con su preludio y acompañamiento de arpa, Carole en la voz organal y Manolo en la voz tenor, casi un pedal fundido con el organetto. En el preludio el arpa toca la melodía, claramente reconocible, pero en otras pistas muchas veces repite breves frases rítmicas, casi un ostinato, como en el acompañamiento a la voz de Manolo en el deslumbrante Pax in nomine Domini. Cuando empecé a escuchar la canso me pareció que iba a ser una intepretación 'blandeguilla', new age, pero me fue ganando hasta el punto de tener que repetirla antes de pasar a la siguiente pista. Probablemente sea la versión menos 'auténtica' que recuerdo (entre las más o menos decentes), pero es igual de probable que me parezca la más hermosa. La voz de M. González hace a veces aquello tan típico de Esther Lamandier, a medio camino del melisma y el tartamudeo; y, extrañamente, en otras ocasiones su forma de cantar me ha hecho recordar un par de canciones del glorioso In the Court of Crimson King (cantadas por Greg Lake).

Tenemos una versión instrumental (organetto) del primer Benedicamus Domino del Calixtino. Y muchas otras cosas muy atractivas, pero no voy a citar todas. No sé que versión de la Sibila intepretan, pero nunca como aquí el estribillo me ha recordado tanto al Allá se me ponga el sol de Ponce en el Cancionero de Palacio.

El disco puede convertirse en adictivo. No es monótono en ningún momento: la variedad está asegurada con las voces (soberbias) cantando juntas o por separado, con o sin instrumentos. Aparte de los que cita el libreto me ha parecido oír campanas y campanillas en el Armonia Celestia, seguramente una invención 'nuevamente compuesta' que sirve de 'præludium' a Laude Jocunda; pero puede ser algún arpa, porque en otras ocasiones alguna de ellas me ha sonado a sitar.

Pax in nomine Domini ...
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Grabaciones · Releases / Re: Beauty Farm - BAULDEWEYN. Masses
« Last post by 0 on Yesterday at 08:20:09 AM »
http://www.medieval.org/emfaq/cds/remarks.html
7 November 2017

With their fourth album — nearly two hours of four masses by Noel Bauldeweyn — Beauty Farm heads off into unknown repertory, after largely mimicking The Sound and the Fury with two Gombert albums followed by an Ockeghem album. (The latter was also released this year, so they're increasing their pace too.)

They also seem to have confirmed an emphasis on mass cycles once again, an emphasis that doesn't necessarily thrill me, given the ample repertory that is correspondingly (& badly) neglected, but I do understand: Not only are these mass cycles impressive monuments, but emphasizing a single genre has allowed these (related) ensembles to focus on counterpoint & personality, and (technical) details in general, without worrying so much about different genres & texts. So it makes sense, but hopefully soon e.g. some other motet albums will appear.

The previous album — and perhaps The Sound and the Fury's last? — where the repertory per se made such an impression on me (as opposed to the interpretation of relatively known repertory) was the Pipelare double album, and in that case, I had every reason to rue not having paid more attention to Pipelare previously: There were previous albums devoted to his music, although none had managed to make a big impression on me. (That changed in significantly, given the sheer originality, scope & quality involved in the tantalizing selection of four complete masses.)

In the case of Bauldeweyn (ever Baldwin?), however, there had been almost nothing to hear, making him quite obscure today, and so in that sense, his music is even more of a revelation. Like Pipelare, Bauldeweyn (who was apparently younger, but didn't live as long, although all of this is sketchy) was apparently a contemporary of La Rue, with his most important works also documented by the Alamire scriptorium. In that case, he's also a direct contemporary of Josquin (again maybe not by age, but by years of peak activity), and whereas the notes suggest that Bauldeweyn is something of a bridge between Obrecht & Gombert — a perfectly good suggestion, although I don't really hear much Obrecht, personally — his music also shows some of the same rhetorical or discursive skill & focus.

The previous comparison is related to the general density of Bauldeweyn's writing (at least here), which doesn't show the same predilection for rests or reduced forces as Josquin, but the textual orientation nonetheless suggests similar concerns. (One might think e.g. of a less motivically insistent version of the Josquin of Missa Malheur me bat et al. — otherwise the most Obrechtian Josquin, I suppose.) The resulting style is distinctive, and so Bauldeweyn must enter conversations regarding the greatest polyphonists of the greatest age of Western polyphony — and the album is duly added to my personal list. Beyond Pipelare, whose style shows even more vitality & variety, La Rue's Missa Incessament — one of his masterpieces, and one that would benefit from an updated interpretation — comes to mind by way of comparison for Bauldeweyn's opening Missa En douleur en tristesse, perhaps the biggest highlight. Impressive. So who or what does Beauty Farm have in store to reveal next?
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Pourquoy non?
University of New Hampshire Chamber Singers - William Kempster





http://www.medieval.org/emfaq/cds/unh0516.htm
https://cola.unh.edu/faculty-member/william-kempster
https://www.ncco-usa.org/wp-content/uploads/2017/01/TCS_v5n2_d-Kempster.pdf



Quote
The album itself is by a student ensemble, and mostly features contemporary choral music (although only a slight majority by duration), but I did want to mention William Kempster's argument for accepting the title Missa Pourquoy non for the La Rue mass that Honey Meconi calls Missa Almana and lists first in her hypothetical chronology. Kempster's upcoming article in The Choral Scholar makes a good case for the "pourquoy non" assignment, and potentially raises interest in the mass. (Kempster also characterizes the masses as the "core" of La Rue's output, and I feel a need to register some disagreement there: That would be the chansons, despite that they don't possess a scholarly edition. That several masses derive from chansons, not the other way around, illustrates this point.) Anyway, it's nice to hear these investigations continuing, and I've modified the discography accordingly.

http://www.medieval.org/emfaq/cds/remarks.html
8 April 2016



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Of Saints and Seers
University of New Hampshire Chamber Singers - William Kempster
http://www.medieval.org/emfaq/cds/unh0617.htm

Quote
I should also note William Kempster's most recent La Rue mass premiere — on a compilation album of mostly 20th century (& some 21st?) choral music by a student ensemble. Although not as crucially placed in La Rue's oeuvre as the Missa Pourquoy non? of Kempster's previous student choral album, the Missa de Sancto Antonio of this latest release is nonetheless highly appealing, with an enticing combination of sonic beauty & technical intrigue. It's a relatively easy mass to appreciate.

http://www.medieval.org/emfaq/cds/remarks.html
29 October 2017


Por el comentario ("an enticing combination of sonic beauty & technical intrigue") parece que Todd M. McComb ya ha escuchado la grabación. Porque según otras fuentes la presentación del disco y su venta se ha retrasado:
https://cola.unh.edu/pcac/event/postponed-123-unh-chamber-singers
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http://www.medieval.org/emfaq/cds/remarks.html
16 October 2017

Although it was some of the first repertory from the c.1600 period that I really enjoyed, I've yet to hear an amazing performance of Gibbons' consort music for viols, so I decided to give the recent L'Achéron disc a listen. There's a nice tone... a certain delicacy one might say... that could also be characterized as being tentative. The recording requires active listening to engage, which isn't necessarily a bad thing, but still lacks punch or impact. It probably seems like a particular letdown after Phantasm's recent Tye album, so I'm sorry if I'm being unfair to this (new to me) ensemble. I'll still dream of that perfect Gibbons album, though.
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