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2023-10-06 14:49:00
Harmonies of Heaven and Earth: music by Weelkes, Byrd and their contemporaries alongside three contemporary female composers
Luminatus is a vocal ensemble, directed by David Bray, that puts on concerts in the East Midlands and East of England. For their next concert on 28 October 2023 at Downing Place United Reformed Church, Cambridge, CB2 3EL, the ensemble is mixing Renaissance and contemporary music. The Renaissance selection features music by Byrd and Weelkes, to highlight the 400th anniversary of their death, plus music by Cipriano de Rore, Pedro de Cristo, Ippolito Baccusi, Sebastian de Vivanco and movements from the Missa Ad te levavi oculos meos by Philippe de Monte, who knew Byrd. De Monte and Byrd probably met when King Philip II of Spain brought the Capilla Flamenca, in which de Monte sang, to England for his marriage to Queen Mary I. Capilla Flamenca and the Chapel Royal sang together at the wedding, and it is assumed Byrd and de Monte met then. That they stayed in contact is indicated by their […]
2020-10-14 09:57:46
Author of Light: The Sixteen in an engaging and uplifting programme of Tudor music at Temple Church
[…] by the men with great vigour. It was a fun piece, and full of engagingly uneven rhythms. The final Thomas Campion lute song was Shall I come sweet love to thee?, sung by Alexandra Kidgell in a clear, pure soprano. The young William Byrd probably met the Flemish composer Philippe de Monte when he was in England accompanying Philip II of Spain on his marriage to Queen Mary I. Philip brought over his choir, the Capilla Flamenca in which de Monte sang, and the choir collaborated on performances with the English Chapel Royal. Thomas Tallis' Missa puer natus est was probably written for these combined forces as Tallis writing is tailored to the habits and preferences of the Spanish choir (notably no high soprano part). Byrd and de Monte seem to have stayed in touch, both were Catholics, and their mutual settings of words from the same psalm, Super flumina […]
2019-01-04 07:38:03
Tallis masses and motets from the Chapel Royal at Hampton Court
[…] The motet could date from the 1570s with the seven parts referring to the seven penitential psalms, and unusually the work was written for seven lower voices with no trebles.Or there again, the seven may link it to the music that Tallis wrote for Queen Mary in the 1550s when he wrote the Missa Puer natus est nobis for an ensemble which combined the singers from the Chapel Royal with her husband, Philip of Spain's Capilla Flamenca, with Missa Puer natus est nobis (based on a Christmas chant) referring to Queen Mary's presumed forthcoming baby. Or then again, Missa Puer natus est nobis may simply be an academic exercise and not intended to be liturgical at all!There are two final seven-part works on the disc. The motet Miserere nostri Domine was also printed in the 1575 publication, where it is the seventeenth of Tallis' seventeen contributions in honour of Elizabeth […]
2015-02-21 02:30:00
Early Music Collections
Music by De Machaut, De Gant, Ciconia, Fabri, Solage, Hasprois, De la Halle, Cordier, De Molins, Dunstable, Pyamour, Prioris, Narvaez, Jacquet, Van Weerbeke, Agricola, Isaac, Judenkünig, Compère, Capirola, Willaert, Da Milano, Werrecore, Obrecht, De La Rue, Josquin, Brumel, Regnart, De Monte, Luython, Gibbons, Byrd, Monteverdi, Philips, Bull, Dering, Hollanders, Tomkins, Amner & anonymi Performed by Capilla Flamenca, Currende, Oltremontano & Psallentes, 1999-2008 PREVIEW DETAILS Erratum: The dating of Solage in the track information of Zodiac (back and booklet) is off by a century. I corrected this in the cue file. Note: Two full renditions (vocal by Il Terzo Suono & instrumental by Philip Jones Brass Ensemble) of Werrecore's Battaglia are available in the following post: Music from the Renaissance by DutchPublisher DOWNLOAD INFO Click here MY PREVIOUS MIM POSTS
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