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In the company of choral director Jeremy Summerly, Donald Macleod goes in search of that elusive Renaissance master, Josquin des Prez. Today, the scant facts of the composer's life.
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The first two programmes have been excellent - not only is the Music brilliant, but the joint presentation between DMacC and Jeremy Sommerly has been exemplary. AND, joy of joys, more discussion of the technical side of the Music than has been the case in recent months - because there's not very much biographical material available, I presume.
Excellent in itself, but also the best thing on R3 in the past week.
[FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]
The first two programmes have been excellent - not only is the Music brilliant, but the joint presentation between DMacC and Jeremy Sommerly has been exemplary. AND, joy of joys, more discussion of the technical side of the Music than has been the case in recent months - because there's not very much biographical material available, I presume.
Excellent in itself, but also the best thing on R3 in the past week.
For me, still familiarising myself with music from early periods, this COTW on Josquin has to have been the best - the music the richest in detail of all the late Mediaeval/early Renaissance composers, even possibly including Ockeghem; Donald's in-depth approach setting the standard appropriate to it's subject, and quite a few others one might have wished to have been afforded such!
For me, still familiarising myself with music from early periods, this COTW on Josquin has to have been the best - the music the richest in detail of all the late Mediaeval/early Renaissance composers, even possibly including Ockeghem; Donald's in-depth approach setting the standard appropriate to it's subject, and quite a few others one might have wished to have been afforded such!
A guitar standard, from the vihuela original, is Luís de Narváez's "Cancion del Emperador" of 1538, allegedly Emperor Charles V's favourite tune, and subtitled by the composer 'sobre "Mille Regretz" de Josquin'. We got Mille Regretz yesterday, tho' I'm not sure I recognised it.
There are approx. 100 milion versions on You Tube, but here is Julian Bream's
A most enjoyable and informative programme. I very much appreciate Jeremy Summerly’s explanations which are scholarly in content yet accessible to non-specialists in the way it is delivered.
Another truly magnificent series on Josquin - this time from a different angle from 2 years ago, one showing the parallels between Josquin's music and in particular Italian Renaissance paintings contemporary with it, with indispensable input from art historian Andrew Graham-Dixon guiding us through the National Gallery, some of whose paintings are shown on these links. Utterly fascinating stuff - it would appear that "serious" European music in the late 15th century was even more internationalist than it was in the 1950s and 60s! And there are other parallels as well. This was the time before Obrecht, Palestrina and others introduced the cliché of choral music written in minor modes resolving onto major triads upon concluding, and in general tidied up and standardised procedures to the point where a Gesualdo and a Monteverdi were needed to come in and begin to shake things up for the future!
Caught today’s, having been away. Definite catch-up listening
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
Another truly magnificent series on Josquin - this time from a different angle from 2 years ago, one showing the parallels between Josquin's music and in particular Italian Renaissance paintings contemporary with it, with indispensable input from art historian Andrew Graham-Dixon guiding us through the National Gallery, some of whose paintings are shown on these links. Utterly fascinating stuff - it would appear that "serious" European music in the late 15th century was even more internationalist than it was in the 1950s and 60s! And there are other parallels as well. This was the time before Obrecht, Palestrina and others introduced the cliché of choral music written in minor modes resolving onto major triads upon concluding, and in general tidied up and standardised procedures to the point where a Gesualdo and a Monteverdi were needed to come in and begin to shake things up for the future!
I was only able to listen in bits and pieces this week and without the images to hand but what struck me was that AGD's contribution was so engaging that not seeing the image under consideration didn't matter - it would have been a bonus rather than a necessity. In a rather irritating twist I saw the images for Friday's broadcast but wasn't able to listen to the programme.
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