#graindelavoix

[turangalila]

George de La Hèle (1547 - 1586) Missa Praeter rerum seriem [(CLXXXIX) Octo missae quinque, sex et septem vocum. (Antwerp, Plantini, 1578)] (RISM A/I L 285)

— Kyrie. — Sanctus. — Agnus Dei.

Music For An Antwerp Church - International Polyphony In Antwerp Around 1600. Graindelavoix, Björn Schmelzer. (2016, Glossa Platinum – GCD P32111)

[thedaysofdisorder]

Graindelavoix performs Musae Jovis, epitaph for Josquin des Prez, by Nicolas Gombert Björn Schmelzer with Andrew Hallock, Albert Riera, Andrés Miravete, Marius Peterson, Adrian Sîrbu, Tomàs Maxé, Arnout Malfliet, Lukas Henning (lute) and Philippe Malfeyt (cittern)

[ralphbutler]

In Josquinum a Prato "Musae Jovis"

[lesser-known-composers]

Graindelavoix performs Philippe de Monte - Crudel, aspro dolore - madrigal for eight voices

[permease23]

https://www.studiovocale.ee/en/event/graindelavoix-josquin-the-undead/

😁 @derangedrhythms 

[hardcorefornerds]

Missa Pro Defunctis: I: Requiem Aeternam - Orazzio Vecchi, Graindelavoix, Björn Schmelzer (2017)

For his latest Glossa CD with Graindelavoix, Björn Schmelzer takes his lead from the funeral rites for the Flemish Baroque painter Peter Paul Rubens in 1640 – which might well have encompassed the Requiem Mass by Orazio Vecchi as recorded here – to demonstrate the coexistence in Baroque Antwerp of two apparently contradictory, but interconnected facets.

One of these facets was the continuing presence of prima prattica polyphony; the city was a major centre for music printing and Vecchi’s Requiem was brought out there – as were works by other composers represented on this disc: George de La Hèle, Duarte Lobo and Pedro Ruimonte (the recording ends with three successive Agnus Deis!). The other facet is that of the image of Rubens’s art: full of energy, seductive, optimistic and scintillating. The Northern Baroque par excellence.

Orazio Vecchi Requiem - glossamusic.com

[nekomacbeth]

ok this goes on my main bc it's not exactly like new art is being used here but

album list and explanations:

Characters, left to right: Galileo, Willemina, Kepler, Giacomo.

Galileo: 'Rondeaux' (Noël Akchoté), 'Harmonice Musicaes Odhecaton' (Fretwork), 'Danserye 1551' (New London Consort), 'Vincenzo & Michelangelo Galilei: Musice per liuto' (Christian Zimmerman).

Most if not all include plucked string instruments. There's straight up one album that includes Vincenzo Galilei's (father of Galileo Galilei) lute music. I included the Noël Akchoté album of Dufay's chansons for fun, despite its general out-of-place-ness within the otherwise 16th century repertoire. At least, I think he would really fuck with the idea. (And him introducing it to Willemina would be priceless.)

Willemina: 'Chansonnier Cordiforme' (The Consort of Musicke), 'Johannes Ockeghem Complete Songs (vol. 1)' (Blue Heron), 'Straight from the Heart: The Chansonnier Cordiforme' (Ensemble Leones), 'Leuven Chansonnier (vol 3&4) (Solazzo Ensemble).

Entirely Franco-Flemish secular polyphony, with a (more or less?) consistent approach of 1) using instruments alongside voices and 2) vocalizing the untexted passages of chansons. (Some of the notes don't have text in the sources, so that's a way performers can compensate.) I realize there are two albums devoted to the same songbook (Chansonnier Cordiforme), but both approaches are classy enough for her, I think. She would like instruments with the singing, at least.

Kepler: 'Orient-Occident' (Hesperion XXI), 'Elizabethan Songs and Consort Music' (Rose Consort of Viols + Catherine King), 'A Polish Renaissance' (Folger Consort) (ok, this one's a concert, not an album...), 'Cypriot Vespers' (Graindelavoix).

Straight up just stuff from everywhere. Obligatory Jordi Savall album mention: that director has done a lot of albums covering music from different non-Western traditions. Anyway, Kepler travels a lot, so I think he would like to think that he has a wide musical taste. And then he'd be smug about it to Willemina and Galileo.

Giacomo: 'Homage to Johannes Ciconia' (Project Ars Nova), 'A Renaissance Wedding Gift: Music from the Medici Codex of 1518' (Rutgers Collegium Musicum), 'The Splendour of Florence' (Gothic Voices), 'Music of the Italian Renaissance' (Shirley Rumsey).

Stuff heard in Italy. Not all of it is by Italians. Can you tell I was itching to put an album with Nuper rosarum flores in there somewhere.

[toccata11]

Graindelavoix sings Absalon fili mi by Lodovico Agostini, live in Potsdam

[namurnsd]

Carlo Gesualdo, Plange Quasi Virgo (Tenebrae Responsoria), GRAINDELAVOIX

[amoebo-id]

I've been enjoying following along with this list (it makes me want to ask if you have a rateyourmusic.com account). I love starting with contemporary French church organ, BUT I do feel like if your goal is simply to blow peoples' tits clean off, and if, as the Mingus inclusion implies, you're not just thinking about 'a piece' in the abstract but talking actually about specific performances/recordings, then I might suggest Gagaku, rural north Chinese shawm bands, Mauritanian classical electric guitar, or any of a variety of western free-improv / noise / electroacoustic traditions before heading to, like, Borodin...

However if I interpret your project as one of showing people things OSTENSIBLY in categories they THINK they like and understand, but which are in fact too flavorful and challenging for their sensibilities, then my top picks might be something more like Graindelavoix's take on 'early music' or Wolfgang Rubsam's Bach. Links to follow

in the list I'm imagining i'm mostly trying to stick to pieces that deliberately pose an aesthetic challenge to the listener but: what do we think? Increasingly I think that works like the Chopin Barcarolle, or even the 1st movement of the Borodin quartet, really, if they were forced to really listen, would be too much musical flavor for your average whitebread tumblr user

[turangalila]

Pierre de Cambrai & Gérard de Saint-Quentin (?) Offices for Elizabeth of Hungary [Cambrai MS 38 (olim 40) Le Labo. Médiathèque d'agglomération. Cambrai]

– Sub Conrado Dei viro. Responsorium II – Nocturnus II.

R/ Sub Conrado dei viro quem timebat metu miro vovens castimoniam / acquisiti male cibi cum ancillis parca sibi horret alimoniam V/ Exsecrans illicitum solum quaerit licitum propter continentiam

– Ante dies exitus ejus collo. Responsorium V – Nocturnus II.

R/ Ante dies exitus ejus collo caelitus avis modulatur / a qua voce modula dulce cum avicula melos decantatur V/ Jam vicino transitu prophetali spiritu Elisabeth dona

– Cui nec apex neque iota. Responsorium VI – Nocturnus II.

R/ Cui nec apex neque iota mandatorum deperit / ut amica pulchra tota mortis horam comperit cui mox Christus aperit V/ Ecce inquit instat hora in qua vigor deperit meliorem sine mora migrans vitam reperit

– Tantae signa gloriae. Responsorium IX– Nocturnus II.

R/ Tantae signa gloriae venerentur hodie recreata cuncta / cujus vita recitat quod octonos suscitat mortuos defuncta V/ Post laborem operum ad quietem superum transit mater pauperum Marthae vice functa //

De convalle paupertatis ad aeternae quietem gloriae transit mater pietatis Elisabeth gemma Ungariae cujus membris unctionis liquor manat sub roris speciae quo diversae lesionis dolor omnis sanatur variae o mira vis virtutis hujus sanctae regalis vidue quae salutem caecis mutis surdis claudis confert assiduae defuncta.

_ Ossuaires – Office for Elizabeth of Hungary by Pierre de Cambrai - Villard de Honnecourt métier, memoires and travels of a 13th-century cathedral builder. Vol.1 Graindelavoix, Björn Schmelzer (2012, Glossa – GCD P32107)

[lesondesmusicales]

NYMPHES DES BOIS of Josquin Desprez, performed by GRAINDELAVOIX - Björn...

[caviarsonoro]

Nymphes des bois, NJE 29.18

[ralphbutler]

Was Binchois a mystic? Get the answer in Deventer on 9 & 10 February 202...

[lesser-known-composers]

Hieronymous Vinders (c.1520 -c.1560) - O, Mors Inevitabilis

Ensemble Graindelavoix - Björn Schmelzer.