Browse Titles - 44 results
Assumpta est Maria
The music of the proper (lat. proprium), always occasion-specific, contains...
The music of the proper (lat. proprium), always occasion-specific, contains texts directly relating to the feast held on August 15th. The elements of the proprium include the Introitus, Graduale, Alleluia, Offe...
"Assumpta Est Maria" is a collection of ceremonial vocal music connected to the high feast day of the Assumption of Mary. With Latin plainchant and polyphonic compositions, the sequence is based on the structure of a late medieval mass.The music of the proper (lat. proprium), always occasion-specific, contains texts directly relating to the feast held on August 15th. The elements of the proprium include the Introitus, Graduale, Alleluia, Offertorium, and Communio.
The ordinary (lat. ordinarium) refers to mass elements in which the text is fixed. The Kyrie eleison (track 3) and Gloria (track 4) are taken from Marian masses, while the Sanctus (track 12) and Agnus Dei (track 13) come from other sources. The Agnus Dei, with its three-part trope Lux lucis from a unicum Scottish manuscript, demonstrates the richness of sound in the 13th century. It also functions as a bridge to the three-part Gloria (track 4) tropes from the Burgos Monastery, and to the three- and four-part Notre Dame conductus (track 1,11) Both of the four-part conductus and the two-part Alleluia (track 9) are attributed to the only composers of Notre Dame repertory known by name, Magestri Leonin and Perotin.
On this recording, the alternation of Gregorian chant and elaborate three-part music creates an effective heightening of intensity within the musical dramaturgy. Providing space for reflection upon the significance of the ritual, the paraliturgic conducti are not part of the order of the mass and thus do not have a specific location within it. Two examples are heard from the monastic Liturgy of the hours of the Assumption of Mary: the Antiphon Quae est ista (track 8), which presents Psalm 113, In exitu Israel, and the 14th century reading, Jube Domine: Consurge induere fortitudine (track 6). The mass concludes with the Benedicamus Domino (track 15).
VOX NOSTRA conducted independent musicological research to produce this recording. All music is performed using original notation, including neumes and modal notation.
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Bringing Light to the Darkness
Cancionero
This disk of medieval repertoire spans the end of the 15th and the early 16th century, in what was Spain's golden age. The music comes from two main sources - the Cancionero Palacio containing songs and instrumental music from the court of Ferdinand and Isabella; and the ma...
This disk of medieval repertoire spans the end of the 15th and the early 16th century, in what was Spain's golden age. The music comes from two main sources - the Cancionero Palacio containing songs and instrumental music from the court of Ferdinand and Isabella; and the manuscript Montecassino 871, associated with the Spanish court in Naples.
Nominated for a GRAMMY and winner of a CMA/WQXR Record Award...
Music for the Spanish Court 1470-1520.This disk of medieval repertoire spans the end of the 15th and the early 16th century, in what was Spain's golden age. The music comes from two main sources - the Cancionero Palacio containing songs and instrumental music from the court of Ferdinand and Isabella; and the manuscript Montecassino 871, associated with the Spanish court in Naples.
Nominated for a GRAMMY and winner of a CMA/WQXR Record Award, this disc was also chosen as GRAMOPHONE MAGAZINE's DISC OF THE YEAR.
What the critics have said::
'...highly attractive... Quite irresistible.'
The Sunday Times
'Easily surpasses the competition.'
BBC Music Magazine
'It is surely one of the best anthologies of this repertory to have appeared on CD...be sure to add this one to your collection...Superb.'
Gramophone
'Performed with grace and joy...a delightful recording.'
Classical Music Web
'I hope that cover's only temporary. It looks more like a Karate instruction manual.'
Peter's Mum
Canconier
The Dante Troubadours: Martin Best Mediaeval Ensemble
Mirum Sil Laeteris (Piae Cantiones 1582)
La Quarte Estampie Royal
All but one of the melodies for these songs have been lost. Where I can I have borrowed melodies from other troubadour songs. More often, I have written my own settings in the style of that time and place. The vielle accompaniment is improvised, a balance of that evening's inspiration and many hours of making music together.
- Robin Snyder, singer with Rossignol and on the album "Lenten is Come" with Briddes Roune.
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Gabriels Message - Festive Music From Medieval England
Lamento Di Tristano/Rotta
The majority of the songs on this album come from monophonic melodic lines, sometimes accompanied by text, which the band have interpreted using a stunning array of early instruments which include gothic harp, hammered dulcimer, recorder, bass viol, bagpipes, hurdy gurdy, percussion, pipe and tabor with the beautiful voices of leading early music singers Jennie Cassidy and Sophia Brumfitt. The album concludes with 'Galdrbok' a Norse word meaning 'book of sung spells' which is an original compostition by director and bagpipe player Katy Marchant and hurdy-gurdy player Steve Tyler - so linking the medieval past with our lives in the modern age.
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