Dominique Visse and his group Ensemble Clément Janequin have been involved in many outstanding projects over the years, but this 2002 Harmonia Mundi recording has to be one of the most spectacular; the Missa "Et ecce terrae motus" (aka, "The Earthquake Mass") of Antoine Brumel. Brumel is one of many mid-renaissance composers whose reputations are so far overshadowed by Josquin Desprez that – like Rodney Dangerfield – they "just don't get no respect." In Brumel's own time, however, he was considered one of Josquin's equals and his death in 1512 was widely observed in a number of "déplorations." Although the mass itself survives in only a single manuscript copy, it bears the signatures of singers who revived the work in Munich in 1570 – probably close to a century after it was first given – and among them is a bass named Orlandus Lassus.
Who was this Antoine Brumel? He was a difficult person in every respect and a selfwilled and eccentric composer. A difficult personality is not unusual for a musician, yet his idiosyncrasy was recognized even in his own lifetime.
According to the standards of his time, Brumel's music knows no boundaries, is daring and never strictly academic. Whether this concerns imaginative musical structures, the working-out of counterpoint or the writing of repetitive forms - it is always more or less "outrageous".
The most fascinating of Brumel's works is without a doubt his twelve-part mass ET ECCE TERRAE MOTUS.
Il Codice consta di 101 carte munite di tre distinte filigrane, la più antica delle quali risponde ad un tipo assai diffuso in Piemonte circa fra il 1420 e il 1475, mentre la più recente si può far risalire ai primi decenni del Cinquecento. Le composizioni - tutte a 3 o a 4 voci (salvo una che è a 2 voci) - sono complessivamente 49: 8 messe (fra cui una pro defunctis), 11 Magnificat, 14 mottetti di varia natura (inni, antifone, Salve Regina, ecc.), 2 Benedictus, 12 chansons, 1 canone enigmatico, 1 brano strumentale. Solamente per 19 di tali composizioni si conosce il nome dell'autore, il più delle volte individuato attraverso il confronto con altre fonti, e fra questi figurano Alexander Agricola, Loyset Compère, Hayne van Ghizeghem, Heinrich Isaac, Antoine de Fevin, Jacob Obrecht, Antoine Brumel e un «misterioso» Engarandus Juvenis - un nome presente esclusivamente nel Codice di Staffarda, autore di una Missa pro defunctis e di un Magnificat a 4 voci, nonchè di un Salve Regina a 3 voci -, tutti scomparsi fra la fine del XV secolo e i primi due decenni del XVI.
The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
VIVARTE is the legendary Sony Classical period music label known for producing outstanding recordings on period instruments. The recordings by legendary producer Wolf Erichson are done with the best recording technologies and by one of the best production teams in the world (Tritonus Music Production, Stuttgart). The label started producing when Sony Classical was founded (in 1989). The production came to a standstill recently when Wolf Erichson retired and DHM became the new label of period music within Sony Classical. Among the outstanding artists which recorded for Vivarte are: Anner Bylsma, Gustav Leonhardt, Jos Van Immerseel, Tafelmusik, Huelgas Ensemble and others.
As the old saying goes, "the third time's the charm." This is indeed the third time the German label Accent has issued this coupling of Domenico Scarlatti's Stabat Mater with João Rodrigues Esteves' Missa a oito voces. The first time was in 1990, when the recording by Currende under the leadership of Erik van Nevel was new, and the second in 1998 as part of a box set containing this and several recordings by Concerto Palatino. No complaints here, though, as this is one of the finest discs Accent has to offer.
The Franco-Flemish composer, Johannes Ockeghem, sang at Antwerp at the Bourbon court before joining the French royal chapel in 1451. Ockeghem spent most of his professional life at the French chapel and his output was quite prolific. He composed 14 settings of the Mass, including one of the earliest polyphonic versions of the Requiem. Ockeghem also composed numerous motets and secular songs. He was one of the most original voices in early Renaissance polyphony and his music dazzles with its ingenuity and beauty.