LA MAGDALENE The cult of Mary Magdalene in the early 16th century
Graindelavoix Björn Schmelzer
GCD P32104
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Performing artists
Olalla Alemán, Patrizia Hardt, Silvie Moors, superius Yves Van Handenhove, Marius Peterson, Paul De Troyer, Lieven Gouwy, Björn Schmelzer, tenor Thomas Vanlede, Arnout Malfliet, Antoni Fajardo, bassus
Jan Van Outryve, lute & cittern Floris De Rycker, lute & renaissance guitar William Taylor, harp Thomas Baeté, viol Liam Fennely, viol
Production details
Total playing time 76:27 Recorded at Sint-Pauluskerk, Antwerp (Belgium), in December 2008 Engineered and produced by Manuel Mohino Executive producer: Carlos Céster Art direction: Valentín Iglesias Booklet essay: Björn Schmelzer English Français Nederlands Deutsch Español
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Commercial release sheet (PDF)
Traducciones (ENG FRA ESP)
Traducciones (ENG FRA DEU)
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LA MAGDALENE
The cult of Mary Magdalene in the early 16th century
I. AD MISSAM Missa de Sancta Maria Magdalena by Nicolas Champion (c.1475-1533), plus plainchant
II. CHANSONS DE LA MAGDALENE Anonymous: O waerde mont Pierre Blondeau: La Magdalena, basse danse Anonymous: Maugré danger pompera Magdalene Claudin de Sermisy: Joyssance vous donneray Anonymous: Se j’ayme mon amy Anonymous: Tous nobles cueurs, venez...
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Durante los primeros años del siglo XVI, en la Europa católica, María Magdalena era el centro de una intensa veneración y los compositores de música coral sacra – y los autores de chansons – se entregaron con entusiasmo y fervor a la celebración musical de la santa. Sin embargo, la figura de María Magdalena podría ser la compilación de tres mujeres distintas... El músico de Lieja Nicolas Champion compuso la Missa de Sancta Maria Magdalena incorporando varios cantus firmus y realizó una obra magnífica que, aparentemente, refleja esta tesis, expuesta en un controvertido tratado de Jacques Lefèvre d’Estaples.
Björn Schmelzer y Graindelavoix se han adentrado en esta compleja red de información histórica – relativa no sólo a la música sino también a la religión y a la historia del arte – para conseguir una interpretación de la misa (adecuadamente adornada) rodeándola con chansons basadas en este mismo tema, y antífonas del oficio de María Magdalena del rito parisino. Algo olvidado hoy, Nicolas Champion era apreciado tanto como lo fueron sus coetáneos Josquin Desprez, Pierre de la Rue y Alexandre Agricola: esta grabación es un importante hito en favor de su necesario reconocimiento.
For the ensemble Graindelavoix’s fifth recording for Glossa, Cecus, Björn Schmelzer has gathered together musicians from Spain, Estonia, the UK, France and Belgium to complete a triptych of recordings presenting an alternative view of performance practice from across a century of Franco-Flemish polyphony. After Joye and La Magdalene, Cecus focuses on music by Alexander Agricola and his contemporaries and concerns itself with music associated with blind players (notably two fiddlers from Bruges) and memory and commemoration (laments on the deaths of Agricola and Johannes Ockeghem) coming from the chapel of Philippe le Beau and Juana of Castile. [read more...]
“Making these old, broken stones sing is a wonderful experience”
Following Caput and Joye you are now turning to another area of the medieval musical world. What has inspired you to consider 13th-century Brabant?
After trying to show two important 15th-century composers in a different musical light, I thought it would be interesting to do a programme which is more geographical yet at the same time more “virtual”: one based only on musical remnants, traces and ruins. In this way we might try and create the sound world of an entire region: rather than producing portraits one would be able to paint full landscapes of scenes hitherto lost and in need of being invented anew. [read more...]