Author Topic: Odhecaton - COMPÈRE et al. Missa Galeazescha (2005)  (Read 44 times)

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Odhecaton - COMPÈRE et al. Missa Galeazescha (2005)
« on: September 22, 2017, 08:19:15 AM »

Aunque es una muy antigua grabación, la ha reeditado Arcana y ha merecido el honor de los remarks en

It's actually a recording made back in 2005, but I wanted to note the Compère Missa Galeazescha recently released on Arcana. I had forgotten about it, but this production directed by Paolo Da Col, bringing together multiple ensembles, was included in the first issue of the music magazine Classic Voice. I did have a pointer to the recording here at the FAQ, courtesy of information from Da Col, but hadn't sought out the magazine to hear it. Anyway, I don't know what became of the magazine, or if it's still around, but this is an impressive production worth remembering.

The mass by Compère is from his time in Milan, from the local tradition cultivating masses with alternative texts, rather than those of the usual mass ordinary — a mass of motets, as it's often called. This is not the first time such repertory has been explored, particularly since there's material of this type with Josquin's name on it (although now thought to be by a different Josquin), but this is an especially lavish production. I'm not into the big fanfares, but some of the instrumental tracks are quite enjoyable & direct, and the performance in general is first rate. The cycle itself shows a real majesty that I hadn't heard much from Compère's music in the past. (The more recent Orlando Consort recording does open with a Magnificat about which similar comments could be applied.)

This was obviously meant to be showy music, and it's given a showy production here (not so unlike e.g. Cantica Symphonia's Dufay albums with various instruments, although here with even more). Many of the intervening tracks aren't by Compère, with some of the best moments coming from Agricola, and there is also a relatively extensive investment in Weerbecke's music — also from Milan, and a composer who has yet to be truly featured on a commercial album (and in fact, Odhecaton was already one of the few ensembles to program one of his motets): His music comes off as some of the most straightforward here, with clear phrasing & linear momentum. The Compère cycle is more involved, and is projected here with excellent energy, as well as strong melodic & rhythmic sense. This album should have been less obscure already.
17 September 2017

Parece que hubo una edición en Cantus:

Y por estos lares la conocimos dentro de de una colección de libros dedicados a las ciudades italianas. Estaba precisamente en el primer volumen, La Milano degli Sforza: