{"title":"CAPELLA ALAMIRE: THE MUSICAL HERITAGE SOCIETY RECORDINGS","description":null,"products":[{"product_id":"ockeghem-josquin-des-prez-masses-capella-alamire","title":"Ockeghem \u0026 Josquin des Prez: Masses - Capella Alamire","description":"\u003cp\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eThe early music 'movement\" of the last efforts of instrument builders and players; however, most of the music written before 1600 was primarily vocal in conception. As a result, in the 1960s and '70s, early music ensembles tended to use a great variety of instruments -- sackbuts, shawms, recorders cornetti, and even crumhorns -- in their performances of sacred music of the Renaissance. The old \"a cappella” ideal, the norm for the performance of sacred music by Palestrina and Lassus since its revival in the 19th century, was reversed for Franco Flemish composers such as Josquin, Ockeghem, and Obrecht. More recently, there has been a swing back to the a cappella ideal; musicology has been at work, dispelling the idea that the panoply of Renaissance instruments took part in church services at all. The swing continues today, as even the notion of the choir is being questioned in favor of soloists. \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003ePerhaps the swing away from instrumental use has gone too far, since there are many pieces from the 15th century in which one line of the texture seems well-suited for instrumental performance, or simply ill-suited for vocal performance. Cantus firmus construction abounds in 15th-century music in which one voice stands out from the rest, generally quoting a preexisting melody, often in slower note values. In the L’homme armé Mass by Ockeghem, the notes of the tenor, the cantus firmus-bearing voice, are so few in number that it is not possible to fit the entire text if it were sung. Alejandro Planchart (1981) suggested that the organ and slide trumpet were used in the court of Savoy for such lines in Masses by Dufay and Ockeghem. For our recording of Ockeghem's Mass, we have chosen to use a sackbut, a relative of the modern trombone and a late 15th-century advance on the slide trumpet.\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49272964677940,"sku":"f5bfef7b-d0c1-4968-84ae-7970fbff8aff","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork9db5cf62-408f-4171-a96d-eb5e22ee4a8a-LARGE.jpg?v=1788212564"},{"product_id":"des-pres-fayrfax-masses","title":"Des Prez \u0026 Fayrfax: Masses","description":"\u003cp\u003eOf all the Franco-Flemish composers of the high Renaissance, only Josquin des Prez has begun to make an impression on today's wider listening public. Yet despite fame in his time and ours, his biography is very sketchy indeed; and the style of the music, outside of two or three \"standards” is not well understood Experts cannot reliably distinguish Josquin’s music from that of his contemporaries, nor can we discover where, when, or why he created most of his music without a more secure life history. Josquin traveled south to earn his living at the rich courts and churches of Italy as did many Flemish musicians of the time. After holding positions in Milan he joined the papal choir in Rome. Around 1500, his whereabouts are uncertain; but it is likely that he worked for the French royal court After a brief stay in Ferrara he ended up in a small town in northern France near nis birthplace for the last decade of his life.\u003c\/p\u003e\n\u003cp\u003eIn contrast with this Flemish Mass, we are also presenting a large-scale votive antiphon by the English contemporary of Josquin, Robert Fayrfax a member of the Chapels Royal of Henry VII and Henry VIII. It is often stated that English composition of this period was quite insulated from continental influences and had developed its own late medieval style distinct from the Renaissance spirit of Josquin and contemporaries.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49330605719860,"sku":"885288862768","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork5c9f7d07-14be-43cd-9cb5-46b8f9d166c1-LARGE.jpg?v=1791916852"}],"url":"https:\/\/themusicalheritagesociety.com\/collections\/capella-alamire-the-musical-heritage-society-recordings.oembed","provider":"The Musical Heritage Society","version":"1.0","type":"link"}