Classical

Johannes Ockeghem - Missa Prolationum & Marian Motets (1993)

2014-08-25T17:06:22Z

Johannes Ockeghem - Missa Prolationum & Marian Motets (1993)

MISSA PROLATIONUM:
(1 - 8)
01 - Kyrie eleison I [1:08]
02 - Christe eleison [2:39]
03 - Kyrie eleison II [1:12]
04 - Gloria [7:35]
05 - Credo [8:07]
06 - Sanctus [1:34]
07 - Pleni sunt coeli [0:50]
08 - Osanna [0:45]
09 - Benedictus [4:07]
10 - Agnus Dei I [2:00]
11 - Agnus Dei II & III [4:20]


12 - Alma redemptoris mater [5:46]
(1 - 8)
13 - Salve regina [5:31]
(1, 3, 4, 7)
14 - Intemerata Dei mater [8:16]
(1, 3, 4, 7, 8)
15 - Ave Maria [3:36]
(1, 3, 4, 7)
16 - Salve regina [10:22]
(1 - 8)

THE HILLIARD ENSEMBLE:

 David James, alto
 Ashley Stafford, alto
 Rogers Covey-Crump, tenor
 John Potter, tenor
 Mark Padmore, tenor
 Gordon Jones, baritone
 Paul Hillier, bass
 David Beavan, bass

Paul Hillier – conductor

In April 1988, approximately four years after their successful recording of Johannes Ockeghem’s Requiem and Missa Mi-mi, the Hilliards returned to this composer, this time to record his famous Missa Prolationum and the handful of his surviving motets (all other motets accredited earlier to Ockeghem have been, it seems, proved not to be by him; even the first “Salve Regina” on this CD is probably not by Ockeghem but by a certain “Basiron”). The Missa Prolationum, says the booklet text, “ranks alongside Bach’s ‘Art of Fugue’ as the apotheosis of contrapuntal achievement. Its movements comprise a series of canons in which pairs of voices sing the same music but in different metres and separated by different melodic intervals for each movement or section”.The whole certainly makes fascinating listening, especially when performed and recorded as well as here: the interweaving voices of the eight Hilliard singers (two countertenors, three tenors, one baritone and two basses) are not only perfect in themselves (assuming that David James’s rather reedy-sounding countertenor is to your taste), but are also captured on disc in a way that makes listening a joyous task – the quality of the recording here (at Boxgrove Priory in England) is considerably improved over against the Requiem recording from 1984. Paul Hillier and his troupe take their time over every detail, creating the mystic effect for which they are, in the meantime, famous.

Both the Missa Prolationum and the Requiem (as well as the motet Intemerata Dei Mater) are contained on a Naxos recording from 1997 by the Danish mixed choir Musica Ficta, directed by Bo Holten. This disc, too, is lovely in itself and will, perhaps, be preferred by those who cannot adjust their ears to the all-male Hilliards. Holten uses fifteen singers, doubling the parts, and has female sopranos and altos, which changes the whole tessitura and makes Ockeghem sound less heavy and mystical, especially as the Danish choir sings a lot faster than the Hilliards. The Danish recording was made in the empty Kastelskirken in Copenhagen and, although very good, lacks something of the directness and transparency of the Hilliard offering. On the whole, I think the Hilliards are just about unbeatable, with the Musica Ficta version being a good runner-up. --- Leslie Richford, amazon.com

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Johannes Ockeghem - Requiem (Peres) [1993]

2014-08-22T17:01:22Z

Johannes Ockeghem - Requiem (Peres) [1993]


[01] Introit. Requiem eternam dona eis Domine                       4'35      
[02] Kyrie (Solistes: Josep Benet, Stephan van Dyck)                4'31
[03] Epistola                                                       3'30
[04] Graduale. Si ambulem in medio umbre mortis                     7'34
     (Solistes: Josef Benet, Josep Cabré) 
[05] Tractus. Sicut servus desiderat ad fontes aquarum              6'34
     Stephan van Dyek, Josep Benet (versets I,III,IV) 
     Josep Cabré (versets II,III,IV), Malcolm Bothwell (verset II) 
[06] Evangelium                                                     4'20
[07] Offertorium                                                    8'29 
[08] Praefatio                                                      3'00
[09] Sanctus                              (ANTONIUS DIVITIS)        3'11 
[10] Agnus Dei                                 (plain-chant)        1'18 
[11] Communio. Lux eterna luceat eis      (ANTONIUS DIVITIS)        2'05 
[12] Repons. Libera me, Domine, de morte eterna(plain-chant)        5'39

Ensemble Organum
Marcel Pérès - conductor

Johannes Ockeghem's Requiem is a beautiful example of the plainchant mass and is the earliest surviving polyphonic Mass for the Dead. It was most likely written in 1461 and originally consisted of the Introit, Kyrie eleison, Graduale, Tractus, and the Offertorium. All the other texts were probably sung in unembellished plainchant, following normal church practice. In this pre-Tridentine setting, the Requiem appears truncated, but to call this performance a reconstruction or a completion is not quite accurate since Ockeghem's work was as complete as he deemed necessary. However, to give this recording a semblance of completeness for modern listeners, Ockeghem's movements are presented here within the liturgical context, with the Epistle, Gospel, Agnus Dei, and Libera Me sung by Marcel Pérès and Ensemble Organum in plainchant. The Sanctus and Communio, though, are provided as supplements to flesh out the work; attributed to Antonius Divitis, they follow Ockeghem's style using the same ornamented chant lines and fauxbourdons in the lower voices. Ensemble Organum's male voices blend well, are flexible, and make the contrapuntal lines quite transparent. In the Sanctus, they are joined by three members of Les Pages de la Chapelle, whose voices add a bright luster to the otherwise somber coloration of this work. --- Blair Sanderson, Rovi

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Ockeghem - Missa Mi-Mi, Salve Regina, Alma redemptoris mater (1994)

2017-06-05T15:19:40Z

Ockeghem - Missa Mi-Mi, Salve Regina, Alma redemptoris mater (1994)

Johannes Ockeghem
1 	Salve Regina	8:51

Missa Mi-Mi
2 	Kyrie 	2:20
3 	Gloria 	6:56
4 	Credo 	8:41
5 	Sanctus 	3:38
6 	Benedictus 	2:35
7 	Agnus Dei 	6:10

Jacob Obrecht
8 	Quod Chorus Vatum / Haec Deum Caeli		5:46
Antoine Busnois
9 	Victimae Paschali Laudes	6:03
Heinrich Isaac
10 	Angeli, Archangeli	7:10
Johannes Ockeghem
11 	Alma Redemptoris Mater	5:17

The Clerks' Group
Edward Wickham ‎- director

In choosing to explore vocal music from the early Flemish Renaissance, Wickham and The Clerks’ Group are charting waters that have remained curiously untouched in the recording studio. This is one of a series of discs centred on the music of Ockeghem, but also including works by his contemporaries – here, motets by Obrecht, Busnois and Isaac. Ockeghem’s music presents many technical and interpretative problems: long-breathed phrases offering few points of repose, and a certain lack of textural contrast, for all its austere beauty. But having thoroughly absorbed his style, Wickham is able to make perfect sense of it, directing a finely shaped and darkly expressive performance of the Missa Mi-Mi, and dramatic accounts of the motets. The young choir sings with a vigour that outweighs any flaws in intonation – indeed, such is their exuberance that some may find these performances too extrovert for the devotional nature of the music. In any case, this is a very welcome recording, bringing to life music that has too long remained on the page. ---Kate Bolton, classical-music.com

Ockeghem’s surviving music comprises two dozen songs, four motets, nine complete cyclic Masses, three partial Mass cycles, an independent Credo, and an incomplete Requiem.

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Ockeghem - Motets, Missa Caput (1995)

2018-01-30T14:49:35Z

Ockeghem - Motets, Missa Caput (1995)

Motets
1.Salve Regina
2.Intemerata Dei mater
3.Alma redemptoris mater

Missa "Caput"
4.Kyrie
5.Gloria
6.Credo
7.Sanctus
8.Agnus Dei

Requiem (excerpt)
9.Introitus

Laudantes Consort
Laure Delcampe (cantus), 
Thérèse Spitz (cantus), 
Mikiko Suzuki (cantus), 
Paul De Troyer (altus), 
Els Janssens (altus), 
Michèle Massina (altus), 
Jacques Antoine (tenor), 
Joris Bosman (tenor), 
Philippe De Clerck (tenor), 
Conor Biggs (bassus), 
Patrick Ringal-Daxhelet (bassus), 
Fabrice van de Putte (bassus).

Guy Janssens - director

The Cyclic Mass -- linking all five movements of the Mass Ordinary by musical means -- became the premiere genre for composers in the fifteenth century. Mass cycle compositions could honor specific patrons, suggest specific liturgical (or courtly) contexts, and could serve as musical communication between different composers, either as homage or one-upmanship. A rich early complex of such related Mass settings begins with an anonymous English "Caput" Mass (from the 1440s, falsely attributed to Guillaume Dufay), which apparently inspired the Missa Caput of Johannes Ockeghem. Another great Flemish composer, Jacob Obrecht, later in the century, would compose his own Missa Caput. Each of the latter two betrays intimate knowledge of its predecessors; each takes pride in more compositional complexity than the other.

Ockeghem's Missa Caput survives in two manuscript sources, the earlier one (one of the "Trent Codices") likely copied around 1462; there is some evidence, however, for an earlier lost copy. The anonymous English Mass of the same name also survives in mid-century Continental sources, and Ockeghem probably encountered it while working in the Netherlands. Both Caput Masses use a single plainchant melody as a cantus firmus to relate all five movements; the melodic source has been established as a long melisma on the word "caput" in the Sarum (English) chant "Venit ad Petrum." In straightforward practice, all movements of the English Mass contain one or two iterations of the melody, in long-notes in the Tenor voice. Ockeghem's rhythmic elaboration and structural application of the cantus firmus is nearly identical. However, he poses himself a radical compositional challenge by requiring this voice to be sung down an octave -- thus in the Bass range.

The preordained notes of the cantus firmus melisma contain very few fourths or fifths, Bass intervals which are helpful for facile harmonic progressions! Instead, the melody here provides an uncertain and often disjointed modal foundation. From the opening chords of the Kyrie, harmonic surprises reign. Furthermore, the prevalence in the melody of the pitch, B natural, causes a large number of harmonic conflicts with the pitch F. Some of these must be solved by correction to F sharp, a pitch of which the musical theory of Ockeghem's time did not acknowledge the "real" existence; many must stand as "devil's interval" tritones. It is as if the young Ockeghem was deliberately subverting his own musical system to give himself a compositional challenge. The music which results is an aurally rich, and often disturbing, creation, its harmonies proceeding under the influence of an arcane and nearly alien logic. ---Timothy Dickey, allmusic.com

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