Ave ...
Hortus Musicus, Early Music Consort






erpmusic.com
erdenklang.de


2005: Estonian Recording Productions ERP
2009: Erdenklang EK 61143


C









1. Danse real   [2:35]   13th c.

2. Ave donna   [5:07]   14th c.

3. Benedictus  (an., 13th c.)   [1:56]   13th c.

4. La flour d'iver   [7:03]   Guillaume LE VINIER, 13th c. | chanson

5. Saltarello   [3:16]   13th c.

6. Santa Maria amar   [9:35]   13th c.   CSM  7

7. L'autrier m'iere levaz     [2:18]   12th c. | pastourelle

8. De bonté, de valour   [2:10]   Guillaume de MACHAUT, 14th c. | virelai

9. Deo confitemini ~ Domino     [1:45]   14th c. | double motet

10. Amours et ma dame aussi   [2:14]   Adam DE LA HALLE, 13th c. | rondeau

11. Or est Baiars en la pasture   [0:55]   Adam DE LA HALLE, 13th c.

12. Belicha   [9:46]   13th c. | istampitta

13. Au renouvel du tens   [5:29]   13th c. | pastourelle

14. Estampie real  V & VI   [4:55]   14th c. | royal dances

15. Chanterai por mon coraige   [2:57]   Guiot de DIJON, 12th c. | chanson

16. Ave Maria  (an., 15th c.)   [2:41]   15th c.






Hortus Musicus
Andres Mustonen


Helle Mustonen – soprano
Joosep Vahermägi – tenor
Jaan Arder – tenor / baritone
Riho Ridbeck – bass, percussion

Neeme Punder – recorder, transverse flute, crumhorn
Olev Ainomäe – bombardone, recorder, crumhorn
Tõnis Kuurme – dulcian, crumhorn
Valter Jürgenson – trombone
Andres Mustonen – violin, viola da gamba, recorder
Peeter Klaas – viola da gamba
Imre Eenma – violone
Ivo Sillamaa – positive organ



Recorded at Tallinn Merchant Guild and Estonia Concert Hall, 1998
Engineered by Priit Kuulberg and Maido Maadik
Designed by Piret Mikk
Recording producer – Peeter Vähi

Stereo, DDD / Original dynamics recording, no equalization, no editing (!)
© 2005 Hortus Musicus, ERP





Ave . . .



In memoriam Helle Mustonen (1950-2005)






Musica humana, das ist die Harmonie des Mikrokosmos, die sich im Verhältnis zwischen Körper und Seele, auch zwischen “geistigen und seelischen Kräften” äußert. In Anwendung pythagoreischer und platonischer Gedanken baut die Seele auf konsonierenden Zahlen auf und kann durch Musik ethisch beeinflußt werden. (Boethius)

Cantare amantis est. (Augustinus)

Qui bene cantat, bis orat. (Augustinus)

Muusikas kätkeb midagi muud kui vaid lihalik ja mööduv mõnu, temas on igavese hüve juur. (Augustinus)

Sacred music should be characterized by liturgical values of higher level: sanctity, perfection of form that spontaneously give birth to its second feature – universality. (Pius X)

Man hatte nähmlich bemerkt, das die fünf Finger der menschlichen Hand genau so viele Glieder zählten, als das System Guidos, vom großen G bis zum zweigestrichenen d gerechnet, Töne umfaßte. (Emil Naumann)

erpmusic.com






Although valued as an important aspect, for HORTUS MUSICUS authenticity in terms of music history has always been a means to an end, not a goal! Authenticity of this kind can be learned, and humbly approached. But if the hearts, heads and hands of the musicians are directed by self-knowledge and self-determination, the results will be different. For 28 years now, the Estonian Ensemble for Ancient Music has followed its vision of a unique manner of interpretation.

In medieval written music nothing is left out deliberately which would be regarded as stylistically undue or as not matching the traditional "bon ton". But keeping their eyes ahead, behind, up and down, the musicians are discovering new things all the time which inspire them to extend the sparse written material. The hands have been "educated by age" and want to juxtapose contemporarity against theoretical education. The head knows about the cultural and music historical interconnectedness with our remote neighbours in the Islamic countries, in Asia Minor, India and the Far East, and about what our music owes to their music. And the hearts are the hearts of full-blooded young musicians who want to play medieval music in a way that the contemporary listener will find it understandable and pleasant, and maybe even necessary.

The result is a spirited, sparkling music which is newly born in every performance, understandable not only to the expert but to every benevolent listener who is longing for something fresh and inconceivable. This is the "musical garden" of the 21st Century.

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