Author Topic: Le Miroir de Musique, B. Romain - J. TINCTORIS. Secret Consolations  (Read 192 times)

Offline O

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Si no he contado mal,
nueve cantantes
y cuatro instrumentistas.







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Re: Le Miroir de Musique, B. Romain - J. TINCTORIS. Secret Consolations
« Reply #1 on: July 17, 2017, 03:25:51 PM »
http://www.medieval.org/emfaq/cds/remarks.html
10 July 2017



Following on their album devoted to Arnold & Hugo de Lantins,
which was a secular program,
Le Miroir de Musique has released a Tinctoris album
that also includes mass movements.
The result is something I have to characterize as a Huelgas Ensemble-style program,
mixing various genres:
Although that has not been my preference,
the quality of the interpretation,
together with the quality of the music of course,
makes this release too compelling to quibble,
and so it's been added to my personal list.
The previous album listed was that by the Clerks Group,
which consisted entirely of two mass cycles.
That performance was never particularly compelling,
and actually handling these masses via excerpts seems OK.
There is certainly far more of interest in this newer program than the two masses.
Besides some motets & liturgical music,
the secular songs are featured,
and this comes on the heels of Ensemble Leones
including a couple of Tinctoris pieces
on their album Straight from the Heart
— a notable inclusion for the simple reason that they come from the Segovia Manuscript,
rather than the Chansonnier Cordiforme,
which otherwise forms the basis for the program.
Those two pieces appear again on Secret Consolations,
an album that also notes that there are no pieces
known to be from the last decades of Tinctoris's life.
Most of the music appears to date from his time in Naples,
and given the approach of performing some Latin works on instruments,
a clear comparison for this new album is in fact
Cantica Symphonia's L'homme armé cycle,
from a Neapolitan manuscript associated with Busnois.
There's no clear attribution for that cycle,
and Tinctoris as its author is not out of the question.
Anyway, although there are similarities,
Secret Consolations comes off as less grand or stately.
When this ensemble does perform an all-vocal mass movement,
they do it admirably,
showing clear potential for that sort of music.
Mass cycles still appear to be the prestige repertory for this era,
so I suppose one can expect Le Miroir de Musique
to record an album dedicated to them soon.
In the meantime, I welcome these secular pieces as well.
They come off quite coherently & with wonderfully varied sonorities.