#Marcel Pérès

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Marcel Pérès & Ensemble Organum Discography: · playlist

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Giovanni Pierluigi da Palestrina (1525-1594)

Sanctus. Missa Viri Galilaei [Missarum cum quatuor, quinque, & sex vocibus. Liber duodecimus (Venezia, Girolamo Scotto , 1601)]

Palestrina – Missa Viri Galilaei Ensemble Organum, Marcel Pérès. Ensemble Vocal Europeén de la Chapelle Royale: Philippe Herreweghe. (1992, Harmonia Mundi – HMC 901388)

[apenitentialprayer]

detail of an image of Guillaume de Machaut, from a 14th century manuscript. Notice the musical notation. (x)

In the 13th century, music underwent a radical revolution, both in theory and in practice. A new musical notation system made it possible for the first time to indicate the precise duration of sounds. This was the result of efforts begun in the Carolingian period to forge tools that would enable composers to notate their music with increasing precision. Music manuscripts from the 9th and 10th centuries indicate only the articulation and ornamentation of the melody, since a system for analyzing and notating intervals was not developed until the early 11th century. In the late 13th century, musicians finally succeeded in devising a notation that also indicated every possible note-length. When these new models of notation were proposed, they began to radically alter our relationship with time. Music, a phenomenon that could previously be properly grasped only through action, became an object of contemplation. Its unfolding in time could be perceived as a mathematical or geometrical object, independent of its manifestation in sound. This "freezing" of sound made it possible to scrutinize and structure the deployment of the sound material, creating a temporal object outside of time. Musicians embraced this concept eagerly, and toward the middle of the 14th century an even more complex and sophisticated movement, later known as the Ars Subtilior, began to explore the temporal combinations that notation permitted to their furthest extreme. A far-reaching transformation took place. The mastery of numbers in the sphere of time gave men the impression that they had become something greater than mere cogs in a greater cosmic order. Thanks to the mathematical mastery of durations, music had become geometry of time. With this new ability to conceive music outside of time, musicians began to regard themselves as creators, building structures that did not exist before their intervention in the sound material. This is probably why the 14th century gave rise to the gradual emergence of named composers.

Marcel Pérès (Machaut: Messe de Nostre Dame)

[usunezukoinezu]

Guillaume de Machaut (1300-1377)

De toutes flours

Codex Faenza, Italie quinzième siècle

Ensemble Organum, dir. Marcel Pérès

[betterwatchout]

Christmas from the Choir Stall

You don't have to be holier than thou to enjoy a little choral exaltation.

The Swingles' 2016 take on Brahms's lesser-known cousin to Silent Night is gorgeous.

In 1983, Marcel Pérès and Ensemble Organum recorded a new interpretation of some 12th century polyphony. This sample of monody breaking into polyphony (at 0:45) from the Christmas Matins at Saint Martial De Limoges hints at how the church managed to get a stranglehold on the solstice for so long.

[reginadeinisseni]

Nous sommes tous des assassins (1952) Bande Annonce VF [HD]

Un soldato, ottuso e ignorante, sopravvissuto alla seconda guerra mondiale, continua a uccidere una volta finita la guerra. Quando provoca la morte di una guardia, viene condannato alla ghigliottina. Il suo difensore farà emergere durante il processo le responsabilità sociali dei suoi comportamenti devianti.

Note Cayatte, giornalista e avvocato, al 13° film affronta il suo tema prediletto: il film è un appassionata requisitoria contro la pena di morte. Alle volte un po' didascalico, ma nel complesso un'opera avvincente. Scritto dal regista con Charles Spaak. Premio speciale della giuria a Cannes.

Siamo tutti assassini (Nous sommes tous des assassins) è un film del 1952 diretto da André Cayatte, vincitore del Premio Speciale della Giuria al 5º Festival di Cannes.[1

Titolo originale Nous sommes tous des assassins Paese di produzione Francia, Italia Anno 1952 Durata 115 min Dati tecnici B/N Genere drammatico Regia André Cayatte Soggetto André Cayatte, Charles Spaak Sceneggiatura André Cayatte, Charles Spaak Fotografia Jean Bourgoin Montaggio Paul Cayatte Musiche Raymond Legrand Scenografia Jacques Colombier Interpreti e personaggi Marcel Mouloudji: René Le Guen Raymond Pellegrin: Gino Bollini Claude Laydu: Philippe Arnaud Louis Seigner: abate Roussard Georges Poujouly: Michel Le Guen Louis Arbessier: avvocato del tribunale dei minori René Blancard: Albert Pichon Amedeo Nazzari: dottor Detouche (versione italiana) Jean-Pierre Grenier: dottor Detouche (versione francese) Yvonne Sanson: Yvonne Le Guen (versione italiana) Jacqueline Pierreux: Yvonne Le Guen (versione francese) Antoine Balpêtré: dottor Albert Dutoit Léonce Corne: capitano Girard Henri Crémieux: avvocato di Bauchet Jean Daurand: Girard, l'uomo della cabina telefonica Yvonne de Bray: prima cenciaiola Lise Berthier: seconda cenciaiola Guy Decomble: un ispettore Monette Dinay: la ragazza di Charles Julien Verdier: Bauchet Yvette Etiévant: moglie di Bauchet Juliette Faber: Francine Saulnier Paul Faivre: Biribi Anouk Ferjac: Agnès Paul Frankeur: Léon, capo delle guardie Renée Gardès: madre di Le Guen Jérôme Goulven: Noblet Elisabeth Hardy: madre della bambina François Joux: Saulnier Alinda Kristensen: donna svedese Charles Lemontier: procuratore Roland Lesaffre: detenuto barbiere Liliane Maigné: Rachele Daniel Mendaille: carceriere capo Eliane Monceau: amica di Dutoit Jacques Morel: Charles Jean-Paul Moulinot: direttore della Santé Lucien Nat: avvocato dell'accusa Line Noro: Louise Arnaud, madre di Philippe Marcel Pérès: Malingré André Reybaz: padre Simon Alexandre Rignault: gendarme Solange Sicard: madre di Agnès Sylvie: Laetitia Bollini, madre di Gino Georges Tabet: la pianista Jean-Marc Tennberg: Fredo André Valmy: il piccolo Louis François Vibert: madre di Mousset Henri Vilbert: signor Arnaud

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Very few liturgical manuscripts related to the Knights Templar have been preserved. The one used here is from the middle of the 12th century. It is the oldest musical manuscript for the use of the Basilica of the Holy Sepulcher of Jerusalem. It was here that the order of the Temple established the foundations of their spirituality. Marcel Pérès and Ensemble Organum have recorded a good number of marvellous discs of early music but 'Le chant des Templiers' album remains as one of their iconic marks in classical music.' Crucem sanctam' have a stronger feeling of a regular pulse than many chants, reflecting the physical, almost dance-like motions that conductor Marcel Pérès describes as being an integral part of the original performance of this repertoire.

This chant was performed by CIRMA/Ensemble Organum

Artistic director: Marcel Pérès

Website: organumcirma.com

Buy 'The Chant of the Templar' Album from Amazon.

[lesser-known-composers]

Anthonius Divitis : Communio. Lux eterna

Performed by Ensemble Organum Marcel Pérès, artistic director

[detournementsmineurs]

"La Cité de l'Indicible Peur" ou "La Grande Frousse" de Jean-Pierre Mocky (1964) - d'après le roman éponyme de Jean Ray (1943) - avec Bourvil, Véronique Nordey, Jean Poiret, Jacques Dufilho, Francis Blanche, Roger Legris, Jean-Louis Barrault, Raymond Rouleau, René-Louis Lafforgue, Virginie Valois et Marcel Pérès, mars 2023.

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La fiancée du pirate (AKA A Very Curious Girl) | Nelly Kaplan | 1969

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Remorques, Jean Grémillon (1941)

[turangalila]

Giovanni Pierluigi da Palestrina (1525-1594)

Agnus Dei. Missa Viri Galilaei [Missarum cum quatuor, quinque, & sex vocibus. Liber duodecimus (Venezia, Girolamo Scotto , 1601)]

Palestrina – Missa Viri Galilaei Ensemble Organum, Marcel Pérès. Ensemble Vocal Europeén de la Chapelle Royale: Philippe Herreweghe. (1992, Harmonia Mundi – HMC 901388)

[apenitentialprayer]

images of the interior of the Cathedral of Reims (Exterior, Interior, Sanctuary & Altar)

Guillame de Machaut, the master poet-composer of fourteenth-century France, served for many years as the canon of the great Gothic cathedral in Reims, where the kings of the realm were crowned. Machaut's most famous creation, the Messe de Nostre Dame, has a singular place in musical history, because it is an early attempt at creating a comparably sublime artifice in sound —a six-movement work in four-part polyphony, lasting well over half an hour, in which austere, granitic harmony is set against delicate contrapuntal play and spiky rhythmic motion. This Mass is, in fact, the oldest extant piece of its type to have been attributed to a single composer.

Alex Ross (Guillame de Machaut's Medieval Love Songs).

Guillame de Machaut's Messe de Nostre Dame (c. 1360-1365) began to attract great interest during the 20th century. It is the first mass composed for four voices with a known composer, and as such, it is widely considered to mark the beginning of a new era. Not only a great singer, he was also a famous poet and diplomat who lived at the center of the social and political movements of his time. He spent half of his life as the secretary of King John of Bohemia, Duke of Luxemburg, with whom he traveled to nearly every country in Europe. […] Machaut was also a priest and canon, even though the majority of his work dealt primarily with romantic rather than sacred objects. He composed the Messe de Nostre Dame toward the end of his life, but it is interesting to note that at the same time he also wrote another masterpiece, Le voir dit, a setting of his poem describing courtly love.

Marcel Pérès (Machaut: Messe de Nostre Dame)

[usunezukoinezu]

De toutes flours

Codex Faenza, Italie quinzième siècle

Marcel Pérès (clavicythérium)

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