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Kerll, Fux and Lassus

 

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(EN)
“This recording presents two Austrian requiems of totally different character. Johann Joseph Fux wrote his Requiem in 1720 for the funeral of Eleonora von Neuburg, widow of the Holy Roman Emperor Leopold II. Composed by a musician reputed for his theoretical skill, it impresses with the quality of the polyphonic writing combined with a very rich instrumental fabric comprising cornetts, trombones and bassoon in addition to violins, instruments also benefiting from concertante interventions. This requiem was played on numerous occasions for official ceremonies, including again for the funeral of Karl VI in 1740. On the other hand, Johann Caspar Kerll’s version is presented in a much more intimist way. As he himself stated in the preface to the edition, this requiem was written «for my soul’s peace». It is scored for an ensemble of five voices backed up by a quartet of viols. In a more archaic style, its intense emotion is doubtless influenced by the music of his Roman master, Giacomo Carissimi.” Source : Ricercar

(NL)
Deze opname stelt twee Oostenrijkse Requiems voor met een een sterk contrasterend karakter. Beide zijn belangrijke muzikale ontdekkingen met veel verve verdedigd door Vox Luminis.

(FR)
Cet enregistrement présente deux Requiems autrichiens aux caractères fort contrastés. Une découverte musicale significative, superbement défendue par Vox Luminis.

Source : La boîte à musique

Vox Luminis

 

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(EN)
“At the height of the Renaissance, the music of Orlande de Lassus frequently combines the emotion of secular music with sacred compositions. With their erotic connotations, the texts of The Song of Songs are an ideal source for bringing together sacred and profane feelings. Based on his most famous song, Lassus wrote one of his unitary masses: Suzanne un jour. Along with the Magnificat that he composed on De Rore’s madrigal Ancor che col partire, here are two religious compositions of which the themes are borrowed from evocations of amorous turmoil.”
source : Ricercar

(FR)
L’oeuvre de Lasus associe fréquemment l’émotion de la musique profane aux compositions sacrées. Avec leurs connotations érotiques ou de troubles amoureux, ces textes brassent les sentiments.

(NL)
Het werk van Lassus verbindt vaak emoties van de wereldlijke muziek aan die van religieuze composities. De teksten, met hun erotische bijklank of liefdesproblemen, broeien van emoties.

Source : La boîte à musique

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