Guillaume Dufay, Conditor Alme Siderum, Servir Antico/ Catalina Vicens

Guillaume Dufay, Conditor Alme Siderum, Servir Antico/ Catalina Vicens

Servir Antico www.ensembleservirantico.com Catalina Vicens - organetto and artistic direction Els Janssens-Vanmunster - voice Baptiste Romain - medieval fiddle Felix Stricker - slide trumpet Excerpts of the program me "Mother & Child": Sacred music and texts from the late 14th and early 15th centuries from Austrian and Swiss sources during the reign of the Albertinian line of the Habsburg Dynasty. Guillaume Dufay (c. 1397 - 1474) Conditor Alme Siderum Live performance at Utrecht Early Music Festival 2014 Audio recording by Frans de Wolff for Radio Concertzender Nederland www.concertzender.nl

Aragonese Court of Naples : Dufay - Par le regart

Aragonese Court of Naples : Dufay - Par le regart

Florilegio Ensemble, Marcello Serafini, dir. O tempo bono - Music at the Aragonese Court of Naples. Works from Ms. Montecassino 871, compiled c.1480. Par le regart de vos beaulx yeux, et votre maintien bel et gent, A vous, belle, viens humblement moy presenter vostre amoroux. De vostre amour suis desirex E mon vouloir tout s'i consent. Par le regart.. O vous plaise, cueur grcieux, Me retenir or a present pour vostre amy entierment Et je seray vostre en tous lieux. Par le regart.. ---------------------------------------------- For the look in your beautiful eyes, And your lovely and kind manner, I humbly corne to you, my beauty, To offer myself as your lover. I am desirous of your love And my desire is whole. For the look... Now may it please you, kind heart To accept me here and now Completely as your friend And I will be yours wherever I am. For the look... Anita Camarella (voice), Maria Consigli (voice), Antonio Serafini (lute, bagpipe), Albert Crugnola (lute, hurdy-gurdy, voice), Marcello Serafini (vielle, rebec, guitar, voice), Isacco Colombo (shawms, recorders, pipe & tabor, tamorra), Alberto Ponchio (bombarde), Daniele Bicego (slide trumpet)

Guillaume Dufay: Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae (c.1454)

Guillaume Dufay: Lamentatio Sanctae Matris Ecclesiae Constantinopolitanae (c.1454)

PROGRAM NOTES: Guillaume Dufay's "Lamentation for the mother church of Constantinople" is one of the few works by a famous composer that commemorated the Fall of the Byzantine capital of Constantinople to the Ottomans in 1453. Although the Catholic See in Rome had maintained for centuries a deeply contentious relationship with the Eastern Roman Church in Constantinople, the fall of the Byzantine capitol came as a shock to Europeans who had heard about it. They saw Constantinople as the last vestige of a mythologized Roman Empire that had all but faded from Western memory by the late Middle Ages. This short, but magnificent song is a secular motet in the late French Medieval style with the Requiem (from the Latin liturgy) in the tenor line. There is some debate regarding the venue for this work. Some have speculated that it was used for the occasion of the grandiose "Banquet of the Pheasant" ordered by Phillip the Good, Duke of Burgundy, one year after the Fall. Using computer generated sounds, I am presenting two different versions of this piece. The first is a somewhat more intimate, acapella version for 4 solo voices that might have been appropriate for a small, private chamber. The second version (at time stamp 4:21 ) is a performance that one might have heard at a grand festival fit for kings where there may have been large, noisy crowds. In the second scenario, one might have heard louder instruments (such as slide trumpets and other brass instruments) accompanying a chorus that had more than one singer per part. This version, I believe, has a clearer sound than the original that I uploaded some time ago. I removed the boy soprano voice in the cantus line and replaced it with a countertenor. I think this makes for a more balanced sound with the rest of the chorus. I also added a few extra phonemes to the American English dictionary in Vocaloid to improve the pronunciation of Late Middle French. ++++++++++ French & Latin text: O très piteux de tout espoir, fontaine, Père du fils dont suis mère éplorée, Plaindre me viens à ta cour souveraine De ta puissance et de nature humaine Qui ont souffert, telle dure vilaine, Faire à mon fils qui tant m’a honorée, Dont suis de bien et de joie séparée, Sans qui vivant veuille entendre mes plaintes. À toi, seul dieu, du forfait me complains Du gref tourment et douloureux outrage Que voit souffrir plus bel des humains Sans nul confort de tout humain lignage. Tenor: Omnes amici ejus spreverunt eam Non est qui consoletur eam Ex omnibus caris ejus. English translation (from cpdl.org): Most merciful source of all hope, Father of the son whose weeping mother I am, I come to complain at your sovereign court Of your authority and of human nature, Which have allowed such harsh cruelty To be inflicted on my son, who has so honoured me; Whereby I have been parted from happiness and joy, Without any living being who will hear my complaints. To you, only God, I appeal from the sentence, From the grievous torment and painful injury That I watch the fairest of men suffer, With no consolation from your human speech. Tenor: All her friends have betrayed her: Among all her lovers there is none to comfort her. ++++++++++ Description of the photos in the order of appearance: 1. Siege of Constantinople, Anon.French, BnF ms Fr9087, c1455 2. Siege of Constantinople, Anon. Venetian, c1490 3. Marian mosaic with Emperor Constantine presenting the city, Hagia Sophia 4. Siege of Constantinople, Anon.French, BnF ms Fr2691, c1470 5. JHS (Greco-Roman abbreviation for Jesus), Andreas Ritsos, c1480 6. City view of Constantinople, Michael Wohlgemut, c1493 7. Constantinople in the 15th century with a view of the Church 8. Byzantine walls of Constantinople in the current century 9. Rampart ruins of Constantinople 10. Duke Phillip the Good, Anon. Burgundian, c1450 11. Garden of Love (wedding scene of Phillip the Good and Isabella of Portugal), c1432, 16th c copy 12. Narcissus (detail of pheasant), Anon.French tapestry c1500 13. Julius Caesar entering Rome, Anon.French tapestry, c1460. Note trumpets in the background 14. King Ahasuerus at banquet, Anon. French tapestry, 15th c 15. Jean Miélot presenting a history book to Phillip the Good, Jean le Tavernier (?), 1457 16. Coronation of the Virgin (details), Master of the Lyversberg Passion, c1463. 17. Phillip the Good in the royal bedchamber (detail from miniature), Rogier van der Weiden, c1447 18. Guillaume Dufay & Gilles de Binchois, Le Champion des Dames, Martin Le Franc, c1440

Blue Heron -- Rite Majorem (Du Fay)

Blue Heron -- Rite Majorem (Du Fay)

Boston's professional Early Music vocal ensemble performs music of Guillaume Du Fay during Festival Mozaic 2008 at Mission San Luis Obispo

San Lorenzo slideshow c Dufay 1

San Lorenzo slideshow c Dufay 1

For a classroom presentation (as a student in a language class).

Morning gig for a renaissance musician

Morning gig for a renaissance musician

Playing music from St. Johann's church tower during the Schaffhausen Ritterspiele (knight tournament), july 19th 2014. Silke Gwendolyn Schulze: shawm Ricardo Simian: busine, slide trumpet & shaky camera

Ronde du Jura 2019, Alain Girod - Franck Dufay, Citroën Saxo T4

Ronde du Jura 2019, Alain Girod - Franck Dufay, Citroën Saxo T4

Pour plus de caméras embarquées rendez vous sur ma page facebook ou sur mon site http://www.facebook.com/RBracingphotos http://rbracingphotos.wix.com/site Ronde du Jura 2019, Alain Girod - Franck Dufay, Citroën Saxo T4, ES4

Two 15th century songs arranged for lute ('Trystero Montevideo' 1998/9)

Two 15th century songs arranged for lute ('Trystero Montevideo' 1998/9)

Anon (virelai): Las je ne puis plus (Montevideo and Cezar Mateus) Dufay : Adieu ces bons vins de Lannoys (Montevideo) http://medievallute.info/

David Munrow (1976) : Music Of The Gothic Era :: The Early Music Consort Of London

David Munrow (1976) : Music Of The Gothic Era :: The Early Music Consort Of London

Without David Munrow (1942-1976): the world of early music today would have looked much differently. He was one of the most passionate and successful musicians ever lived, with an immense gift to communicate, inspire and... make music. In his short life of 33 years, with a musical career than only spanned a period of ten year, he produced over 55 records, 655 (!) radio episodes for the BBC (Pied Piper), wrote several scores for incredibly successful historical series for the BBC (e.g. the six wives of Henry VIII), films, television programs, a book, and not to forget the many tours he made with his Early Music consort in which among others also Christopher Hogwood was a prominent member of. And all of that enthusiasm with... medieval music and period instruments of the 14th, 15th... century. In a time when not even Bach on period instruments was accepted as a 'serous' field of music performances. So let that be a lesson for all of us today who believes interest and possibilities are declining! Munrow could teach us way more today than only the beautiful performances he left us... Index (extensive index below - on YouTube): 0:00 Notre Dame Period : Side A 30:47 Notre Dame Period : Side B 53:06 Ars Antiqua Motetti : Side A 1:15:10 Ars Antiqua Motetti : Side B 1:35:32 Ars Nova Motetti : Side A 1:54:00 Ars Nova Motetti : Side B This upload meets YouTube's ID and Copyright Claim requirements ================================================= One cup of ☕ makes you change the world by supporting the projects we are undertaking : ▶https://www.patreon.com/authenticsound ================================================= Join our mailing list here: 👉http://bit.ly/2loP6Gb ================================================= Subscribe for more videos 👉http://bit.ly/2mWWVB9 Website: ▶http://www.authenticsound.be ================================================ Equipment used: Turntable : Clearaudio Performance DC Clearaudio vinyl harmonizer (underlay) ADC : Benchmark USB 1.0 PC: HP Envy Capturing program: Samplitude Pro X Label: Archiv Produktion ‎– 2723 045 Released: 1976 Notre Dame Period Organa 2 Vocum A1 Viderunt Omnes – Leonin* A2 Alleluya Pascha Nostrum – Leonin* A3 Gaude Maria Virgo – Leonin* Organa 4 Vocum B1 Viderunt Omnes– Perotin* B2 Sederunt Principes – Perotin* Ars Antiqua Motetti C1 Alle, Psallite Cum Luya, 3 Voc. – Anonymus* C2 Amor Potest, 3 Voc. Anonymus* C3 S'On Me Regarde, 3 Voc. – Anonymus* C4 In Mari Miserie, 3 Voc. – Anonymus* C5 On Parole De Batre, 3 Voc. – Anonymus* C6 En Mai, Quant Rosier Sont Flouri, 3 Voc. – Anonymus* C7 Dominator Domine, 3 Voc. – Anonymus* C8 El Mois De Mai, 3 Voc. – Anonymus* C9 O Mitissima, 3 Voc. – Anonymus* C10 Hoquetus I-VII, 3 Voc.: Neuma · Virgo · In Seculum Longum · In Seculum Viellatoris · In Seculum Breve · In Seculum D'Amiens Longum · In Seculum – Anonymus* D1 Aucun Ont Trouvé, 3 Voc. – Petrus de Cruce D2 De Ma Dame Vient, 3 Voc, – Adam de la Halle* D3 J'Os Bien A M'Amie Parler, 3 Voc. – Adam de la Halle* D4 La Mesnie Fauveline, 3 Voc.– Anonymus* Ars Nova Motetti D5 Quant Je Le Voi, 3 Voc. – Anonymus* D6 Zelus Familie, 3 Voc. – Anonymus* D7 Quasi Non Ministerium, 3 Voc.– Anonymus* D8 Impudenter Circumivi, 3 Voc.– Philippe de Vitry D9 Cum Statua, 3 Voc. – Philippe de Vitry E1 Pantheon Abluitur, 5 Voc. – Bernard de Cluny E2 Clap, Clap, Par Un Matin, 3 Voc. – Anonymus* E3 Ida Capillorum, 3 Voc.– Henri Gilles de Pusiex E4 Rachel Plorat Filios, 3 Voc. – Henri Gilles de Pusiex E5 Lés L'Ormel A La Turelle, 3 Voc.– Anonymus* E6 O Philippe, Franci Qui Generis, 3 Voc.– Anonymus* E7 Febus Mundo Oriens, 3 Voc. – Anonymus F1 Lasse! Comment Oublieray, 3 Voc. – Guillaume de Machaut F2 Qui Est Promesses, 3 Voc. – Guillaume de Machaut F3 Hoquetus David, 3 Voc. – Guillaume de Machaut F4 Christe, Qui Lux Es, 4 Voc. – Guillaume de Machaut F5 Degentis Vita, 4 Voc. – Anonymus* F6 Inter Densas Deserti Meditans, 3 Voc. – Anonymus* F7 Rex Karole, Johannis Genite, 5 Voc. – Philippe Royllart Bass Vocals – Geoffrey Shaw Bells, Organ [Portative Organ], Percussion [Nakers, Tabor] – David Corkhill Bells, Psaltery – Gillian Reid (2) Conductor, Liner Notes – David Munrow Cornett – Iaan Wilson Cornett [Tenor], Trumpet [Slide Trumpet] – Alan Lumsden Countertenor Vocals – Charles Brett, David James (13), James Bowman (2) Design – Alexander Gnirke Engineer [Recording] – Hans-Peter Schweigmann, Klaus Hiemann Ensemble – The Early Music Consort Of London Fiddle – Oliver Brookes Liner Notes – Michael Freeman – Dr. Barbara Schwendowius*, Dr. Andreas Holschneider – Dr. Dieter Beyerle– Dr. Michael Freeman – Dr. Hans Heimler– Dr. Hans Heimler – Daniel Henry Lute, Cittern [Mandora] – James Tyler Organ [Portative Organ], Harp – Christopher Hogwood Rebec – Nigel North Rebec, Fiddle – Eleanor Sloan Recorder [Soprano, Alto, Tenor], Shawm [Alto, Tenor], Reeds [Tenor Cornemuse] – David Munrow Tenor Vocals – John Potter (2), John Nixon*, Martyn Hill, Paul Elliott, Rogers Covey-Crump

Music Of The Gothic Era :: The Early Music Consort Of London :: David Munrow

Music Of The Gothic Era :: The Early Music Consort Of London :: David Munrow

Slowing down with David Munrow and "The Early Music Consort Of London" (and Christopher Hogwood playing the harp ! ) ---- Subscribe to this channel: https://www.youtube.com/channel/UCul8BAaAR4q2NZAVxsCrzFA?sub_confirmation=1 ---- All videos according to YouTubes ID and Copyright Claims --- + 2 hours of music of a really long time ago... Label: Archiv Produktion ‎– 2723 045 Format: 3 × Vinyl, LP Box Set Released: 1976 Notre Dame Period Organa 2 Vocum A1 Viderunt Omnes – Leonin* A2 Alleluya Pascha Nostrum – Leonin* A3 Gaude Maria Virgo – Leonin* Organa 4 Vocum B1 Viderunt Omnes– Perotin* B2 Sederunt Principes – Perotin* Ars Antiqua Motetti C1 Alle, Psallite Cum Luya, 3 Voc. – Anonymus* C2 Amor Potest, 3 Voc. Anonymus* C3 S'On Me Regarde, 3 Voc. – Anonymus* C4 In Mari Miserie, 3 Voc. – Anonymus* C5 On Parole De Batre, 3 Voc. – Anonymus* C6 En Mai, Quant Rosier Sont Flouri, 3 Voc. – Anonymus* C7 Dominator Domine, 3 Voc. – Anonymus* C8 El Mois De Mai, 3 Voc. – Anonymus* C9 O Mitissima, 3 Voc. – Anonymus* C10 Hoquetus I-VII, 3 Voc.: Neuma · Virgo · In Seculum Longum · In Seculum Viellatoris · In Seculum Breve · In Seculum D'Amiens Longum · In Seculum – Anonymus* D1 Aucun Ont Trouvé, 3 Voc. – Petrus de Cruce D2 De Ma Dame Vient, 3 Voc, – Adam de la Halle* D3 J'Os Bien A M'Amie Parler, 3 Voc. – Adam de la Halle* D4 La Mesnie Fauveline, 3 Voc.– Anonymus* Ars Nova Motetti D5 Quant Je Le Voi, 3 Voc. – Anonymus* D6 Zelus Familie, 3 Voc. – Anonymus* D7 Quasi Non Ministerium, 3 Voc.– Anonymus* D8 Impudenter Circumivi, 3 Voc.– Philippe de Vitry D9 Cum Statua, 3 Voc. – Philippe de Vitry E1 Pantheon Abluitur, 5 Voc. – Bernard de Cluny E2 Clap, Clap, Par Un Matin, 3 Voc. – Anonymus* E3 Ida Capillorum, 3 Voc.– Henri Gilles de Pusiex E4 Rachel Plorat Filios, 3 Voc. – Henri Gilles de Pusiex E5 Lés L'Ormel A La Turelle, 3 Voc.– Anonymus* E6 O Philippe, Franci Qui Generis, 3 Voc.– Anonymus* E7 Febus Mundo Oriens, 3 Voc. – Anonymus F1 Lasse! Comment Oublieray, 3 Voc. – Guillaume de Machaut F2 Qui Est Promesses, 3 Voc. – Guillaume de Machaut F3 Hoquetus David, 3 Voc. – Guillaume de Machaut F4 Christe, Qui Lux Es, 4 Voc. – Guillaume de Machaut F5 Degentis Vita, 4 Voc. – Anonymus* F6 Inter Densas Deserti Meditans, 3 Voc. – Anonymus* F7 Rex Karole, Johannis Genite, 5 Voc. – Philippe Royllart Credits Art Direction – Elke Neuss-Burghoff* Bass Vocals – Geoffrey Shaw Bells, Organ [Portative Organ], Percussion [Nakers, Tabor] – David Corkhill Bells, Psaltery – Gillian Reid (2) Conductor, Liner Notes – David Munrow Cornett – Iaan Wilson Cornett [Tenor], Trumpet [Slide Trumpet] – Alan Lumsden Countertenor Vocals – Charles Brett, David James (13), James Bowman (2) Design – Alexander Gnirke Engineer [Recording] – Hans-Peter Schweigmann, Klaus Hiemann Ensemble – The Early Music Consort Of London Fiddle – Oliver Brookes Liner Notes – Michael Freeman (3) Liner Notes [Editing] – Dr. Barbara Schwendowius*, Dr. Andreas Holschneider Liner Notes [Französisch-deutsche Übersetzung] – Dr. Dieter Beyerle Liner Notes [French-english / French Glossary] – Dr. Michael Freeman* Liner Notes [Lateinisch-deutsche Übersetzung] – Dr. Hans Heimler Liner Notes [Latin-english Translation] – Dr. Hans Heimler Liner Notes [Traduction Latin-français] – Daniel Henry Lute, Cittern [Mandora] – James Tyler Organ [Portative Organ], Harp – Christopher Hogwood Photography By – Mike Evans* Producer – Dr. Andreas Holschneider Rebec – Nigel North Rebec, Fiddle – Eleanor Sloan Recorder [Soprano, Alto, Tenor], Shawm [Alto, Tenor], Reeds [Tenor Cornemuse] – David Munrow Recording Supervisor – Dr. Gerd Ploebsch Tenor Vocals – John Potter (2), John Nixon*, Martyn Hill, Paul Elliott, Rogers Covey-Crump Notes Recorded Godalming/Surrey, Chapel, Charter House, 4-5.4.1975 and London, Conway Hall, 22-30.10.1975 Editions: W.G.Waite, The Rhythm of XIIth Century Polyphony, New Haven 1954 The Works of Perotin, ed. E. Thurston, New York 1970 CODEX MONTPELLIER. Polyphonies du XIIIe siècle, le Manuscrit H 196 de la Faculté de Médecine de Montpellier, publié par Yvonne Rockseth, Paris 1936 CODEX BAMBERG. Cent Motets du XIIIe siècle, publiés d'après le Manuscrit ED. IV.6 de Bamberg par Pierre Aubry, Paris 1908 The Lyric Works of Adam de la Halle, ed. N. Wilkins, Corpus Mensurabilis Musicae, vol. 4, Dallas 1967 ROMAN DE FAUVEL. Polyphonic Music of the 14th Century, vol. I, ed. L. Schrade, Monaco 1956 CODEX IVREA. Polyphonic Music of the 14th Century, vol. VI, ed. F. Ll. Harrison, Monaco 1968 The Works of Guillaume de Machaut. Polyphonic Music of the 14th Century, vols. I/III, ed. L. Schrade, Monaco 1956 CODEX CHANTILLY. Polyphonic Music of the 14th Century, vol. V, ed. F. Ll. Harrison, Monaco 1968 Information from: Discogs.com

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