The music on this disc isn't commonly heard; most of the Requiem by Antoine Brumel, according to the booklet notes, has never been recorded before. That places the music in the category of real finds. For reasons that are imperfectly understood, the Office for the Dead or requiem mass was seldom set polyphonically during the Renaissance, and the ...
The shadow cast by Josquin des Pres over the early Renaissance period is so all encompassing that it's easy to miss the fantastic, and musically very different, achievements of his contemporaries. One of them is Dutch composer Pierre de la Rue, whose remarkable music is a blend of both established techniques drawing from medieval practice in ...
Many considerations go into making a top-quality recording of Renaissance choral music. First, one needs to identify a work out of the huge and largely uninvestigated corpus of Renaissance sacred music that deserves recording. Then one needs to seek out the proper liturgical incipits that connect to the music that is being recorded, as that ...
This is a reissue of a performance from 1985 -- a time when most choirs that performed Renaissance masses started with the Kyrie and ran straight through until they finished up with Agnus Dei III and its prayer for peace. This wasn't how the music for the mass was (or is) used, but the performance mode fit the way this music, distant from us in ...
Ensemble Amarcord is a vocal group made up of grown men who once sang together in the boys' choir of the Thomaskirche in Leipzig. Their voices are extremely well matched, they are clearly relaxed singing in each other's company, and enjoy a fine ensemble blend indeed. Raumklang's Hear the Voice is the group's third recording, made in 1998-1999, ...
The German a cappella men's vocal quintet Amarcord, perhaps the latest avatar of the choral spirit of the great old city of Leipzig, has recorded an intriguing variety of music. They've done Billy Joel songs, chant, contemporary choral music, a speculative exegesis on the chorale tune Nun komm der Heiden Heiland, and now this rather wonky but very ...
"Have pity on Dufay as he sleeps," reads part of the text to Guilliame Dufay's "Ave regina coelorum," "lest he fall into the fire where sinners burn." In the fifteenth century, it was nothing unusual for a musician to compose an epitaph for one's self, and it was part of the job description for an expert composer to produce music in observance of ...
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