naissance de la Polyphonie

La naissance de la Polyphonie

     
 

La naissance de la Polyphonie is a handy collection found in Harmonia Mundi's Century Series as Volume 5; it covers the rise of polyphonic music from its humble origins in eleventh century Aquitanian neumes through fragmentary thirteenth and fourteenth century English sources utilized by Anonymous 4 to construct the "English…  See more details below

Overview

La naissance de la Polyphonie is a handy collection found in Harmonia Mundi's Century Series as Volume 5; it covers the rise of polyphonic music from its humble origins in eleventh century Aquitanian neumes through fragmentary thirteenth and fourteenth century English sources utilized by Anonymous 4 to construct the "English Ladymass" of 1991. This is a surprisingly narrow scope, given that manuscripts -- at least through the thirteenth century -- of polyphonic music are relatively few in this period and are dwarfed by the rich range of contemporary sources extant for monophonic music. This disc progresses from a point two centuries behind the earliest Organum appears in the treatise Musica enchiriadis and ends just short of the advent of Guilluame Machaut; the only motets performed here come from the Montpelier Codex, the oldest and most comprehensive source for the earliest motets. As one might expect, with the reins on this repertoire drawn so tightly, passages of plainchant remain abundant throughout the disc, though some of these are aided through extemporized organum, drones, psalm tones, and other such devices. All of the selections save those by Léonin and Pérotin are anonymous and are performed by some of the best artists in the Harmonia Mundi stable: Anonymous 4, Paul Hillier's Theatre of Voices and Ensemble Organum under the direction of Marcel Pérès. Some of these selections are not necessarily uncontroversial choices; the shaky sounding ornaments and other radically individual effects from Ensemble Organum have elicited much comment. The tempo taken by Theatre of Voices in Pérotin's "Viderunt omnes" seems a bit zippier than might be comfortable for those familiar with this famous work, although it is appropriately festive in feeling; this piece's liturgical function is to celebrate Christmas. Nevertheless, this is an exceptionally good collection of the earliest polyphony; it doesn't hang onto to one particular area or sound long enough to inspire ennui, and its range is such that it implies that variety within this period is much greater than one might expect. It hasn't been that long since this whole era of development in polyphonic music was represented by the Notre Dame School alone.

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Product Details

Release Date:
11/08/2005
Label:
Harmonia Mundi Fr.
UPC:
0794881783427
catalogNumber:
2908167

Related Subjects

Tracks

  1. Domine labia mea aperies / Deus in adjutorium meum  -  Anonymous, Aquitanian Repertory  -  Ensemble Organum  - Charles B. Johnston  - Marcel Pérès  - David Yeld  - Willem Vrelant
  2. O primus homo coruit, versus (from Matines de Noël) (St. Martial de Limoges)  -  Anonymous, Aquitanian Repertory  -  Ensemble Organum  - Charles B. Johnston  - Marcel Pérès  - David Yeld  - Willem Vrelant
  3. Resonemus hoc natali  -  Anonymous, Aquitanian Repertory  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  4. Puer natus est nobis (with trope Gaudeamus hodie), introit (Messe de la Nativité)  -  Anonymous, 11th century French Polyphony  -  Ensemble Organum  - Charles B. Johnston  - Marcel Pérès  - David Yeld  - Willem Vrelant
  5. Kyrie  -  Anonymous, 11th century French Polyphony  -  Ensemble Organum  - Charles B. Johnston  - Marcel Pérès  - David Yeld  - Willem Vrelant
  6. Propter veritatem, gradual  -  Léonin  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  7. Viderunt omnes, organum for 4 voices  -  Pérotin  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  8. In seculum longum  -  Anonymous, Codex Bamberg  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  9. In seculum viellatoris  -  Anonymous, Codex Bamberg  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  10. In seculum breve  -  Anonymous, Codex Bamberg  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  11. In seculum d'Amiens longum  -  Anonymous, Codex Bamberg  - Paul Hillier  - Charles B. Johnston  -  Theatre of Voices  - David Yeld  - Willem Vrelant
  12. Puisque bele dame / Flos fillius eius, motet (Montpellier Codex)  -  Anonymous, Montpellier MS  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  13. Ne sai, que je die / IOHANNE, motet (Mo185)  -  Anonymous, Montpellier MS  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  14. Dame, que je n'os noumer / Amis donc est / Lonc tans a, motet  -  Anonymous, Montpellier MS  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  15. S'on me regarde / Prennés i garde / Hé, mi enfant, motet (Mo 325)  -  Anonymous, Montpellier MS  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  16. Ave Maria gratia plena  -  Anonymous  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  17. Pia mater gratie, conductus  -  Anonymous, French  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  18. Ave nobilis venerabilis, conductus  -  Anonymous, French  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant
  19. Kyrie: Orbis factor, polyphony  -  Anonymous, Gradual of Aliénor de Bretagne  -  Ensemble Organum  - Charles B. Johnston  - Marcel Pérès  - David Yeld  - Willem Vrelant
  20. English Ladymass (from Salisbury Cathedral)  -  Anonymous, English  -  Anonymous 4  - Charles B. Johnston  - David Yeld  - Willem Vrelant

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