Jean Cuvelier Video
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2024-05-15
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Jean Cuvelier Nakamura Paul Van Nevel Guillaume Machaut Ensemble Organum 1372
*Sounds a tone lower than score* Se Galaas et le puissant Artus (ballade in honour of Gaston Febus from the Codex Chantilly) Composer: Johannes (Jean) Cuvelier [Jacquemart le Cunelier] (fl. ca. 1372-87) Performers: Ensemble Organum, dir. Marcel Pérès Score transcription: N. Nakamura / "[...] Febus is compared to a legendary figure, this time from the early Middle Ages. The refrain contains one of Gaston's slogans. The composer uses all kinds of rhythmical novelties to produce a miniaturized, pointillistic effect." "[...] in the latter half of the fourteenth century, the artist was able to free himself from certain Scholastic characteristics, and, free from any academicism, to attain a personal identity, to express spontaneously and clearly both the spirit of the age and his individual aesthetic values. Ars Subtilior music partook of these features as well. [...] This art contains the meticulous detail of a miniature, and at times these details overshadow the effect of the whole. The mannerism and decadence of this style are the perfect reflection of a society which was losing its stability; and as the end of the fourteenth century approached, the decadence of the temporal and clerical elite was revealed. This explains the emphasis placed on pushing everything to the limits. An improved system of notation, for example, allowed the most complex rhythmical combinations to be set down; and as the next century saw the simplification of the polyphonic system, it was to be centuries before the same compact rhythmical combinations were again heard in Western music. The fatalistic atmosphere manifests itself even more in the harmony: for the first time, the medieval concept of tonality, based on the ecclesiastical modes, was challenged by the frequent use of chromaticism, a feature which contributes to the exotic atmosphere of the compositions. Such example of harmonic sophistication are typical of the Ars Subtilior." ~Paul Van Nevel "In many respects the hermetism of the music of the late fourteenth century is fascinating. The musician of the twentieth century who wishes to revive it is at once disconcerted, for his first impression is confounded by the maze of complexities which must be explored in order to reach the reality of the music. The first and not the least of the difficulties to be resolved is that of reading the musical notation, which is of a rare complexity. It is the culmination of a tradition stemming from the speculations of the late twelfth century on the arithmetical proportions of musical time. In the course of the thirteenth and fourteenth centuries, musicians succeeded, by gradually perfecting their systems of notation, in creating a tool which allowed them to write down the most eccentric turns that a line of music could take. The rules set out by the theorists sometimes recall the rules of chess: here was a parlour game which tested the singers' perspicacity and keenness of mind. But, however enthralling this system of notation may appear to us today, the ultimate object of our research must be to rediscover the dynamic and the sonorities of this music. The practice of learned music was the point of contact between oral and written transmission. We have only what was written, but for the musicians of the period the oral element was in the music's realisation. They felt they had considerable freedom in relation to the written text, and did not hesitate, when the occasion presented itself, to modify, correct or even entirely transform the received text. The borderline between vocal and instrumental music was not as firmly drawn as some would like to think. The use of accompanying instruments depended more on what happened to be available than on aesthetic dogmas. Guillaume de Machaut tells us that in his time performers did not consider a composition as an untouchable entity, but as the vehicle of their creativity. [...] In order fully to grasp the phenomenon which this music expresses, we must constantly hear in mind the extravagant taste for paradox cultivated by the artists of this period and their contemporaries. Here, perhaps, lies the chief difficulty: to go beyond a deliberately complicated system of notation, back to the initial freedom and grace of the music. Even more than the achievement of the required virtuosity, this has been our principal concern: to sound the appropriate tone for this music, the tone which embraces the spontaneity and the complexity, the nobility and the extravagance of this most courtly art." ~Marcel Pérès / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
Loup Haag Vermeulen Nunez Watillon Laine Cuvelier André Ernest Modeste Grétry Christoph Willibald Gluck Joseph Haydn Giuseppe Gazzaniga Domenico Cimarosa 1714 1732 1741 1743 1749 1786 1787 1790 1801 1809 1813 1818 2016
mercredi 6 juillet 2016 EGLISE SAINT-LOUP, NAMUR Direction Guy Van Waas Aurore Bureau mezzo-soprano Kamil Ben Hsaïn Lachiri baryton Leader Rémy Baudet Violons Madoka Nakamaru, Catherine Ambach, Dirk Vandaele, Katalin Hrivnak, Ingrid Bourgeois, Marie Haag, Dirk Vermeulen, Rafaël Nunez. Altos Hayo Bass, Brigitte de Callatay, Emmanuelle Watillon-Laine Violoncelles Bernard Wolteche, Herlinde Verheyden Contrebasse Géry Cambier Hautbois Benoît Laurent, Isabelle Delory Basson Alain Deryckere, Wannes Cuvelier Cors Jean-Pierre Dassonville, Rozanne Descheermarker Flûte Jan Van den Borre André Ernest Modeste Grétry +••.••(...)) : Le Huron : Ouverture Air Qu’on mette à prix le cœur d’Hortense Air Ma bonne amie Air Dans quel canton est l’Huronie ? Christoph Willibald Gluck +••.••(...)) Iphigénie en Tauride Air Dieux qui me poursuivez Orphée et Euridice Ballet des Ombres heureuses Récit et air J’ai perdu mon Euridice Air de Furies (orchestre) André Ernest Modeste Grétry +••.••(...)) La Caravane du Caire : Tambourin Danse Egyptienne Air Oui, oui, toujours j’aimai la France Pause Joseph HAYDN +••.••(...)) Fac me vere tecum flere, extrait du Stabat Mater Hob.XXa :1 Giuseppe Gazzaniga +••.••(...)) Cavatina di Alcina Dans " l'isola di Alcina" (1786) Domenico Cimarosa +••.••(...)) Air de Merlina Dans " L'impresario in Angustie" (1790) Air de Giannina Dans " Giannina e Bernardone" Joseph Haydn +••.••(...)) Symphonie 24, en ré majeur Allegro Adagio Menuetto e Trio Finale: Allegro
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- cronologia: Compositori (Europa).
- Indici (per ordine alfabetico): C...