Graindelavoix
Fri, Mar 8 2013, 1:52PM
#2
RE: Graindelavoix
Yes Parla, slowly slowly!
And I understand that the mode is given by the key. So the the mode given the reference D has an ochtochordon consisting of the notes of the D major scale except that F and C are not sharpened. And so on. Then these modes can be transposed without damage into any actual key. What led me astray was Taruskin's examples, where he wrote out the music in the keys specified (i.e. different for each mode). Of course, now I realise that he did this so that there was no need to give any key signature, which would have been necessary for three of the four if he'd written them all out in say D. Phew! How key signatures emerged from all this remains something of a mystery (for another day). Also, I wonder whether Ockeghem meant them all to be performed at the same pitch. Academic I suppose, because he would never have expected the four to be performed consecutively.
Back to Graindelavoix. I played th Missa Caput this morning to a friend who found it fascinating. When I first heard the performance I wondered how well it would survive repeated hearings, but in the end I find it growing more satisfying with each hearing.
Now Brumas, Mark, some interesting news from the Glossa website:
"A further new pathway across space and time is being created by the Antwerp-based Schmelzer when the performers of Graindelavoix bring their interpretation of Machaut’s Messe de Nostre Dame to Cuenca for the Semana de Música Religiosa festival next March."
It must be possible that a recording will follow! Parla will keep us informed, I'm sure!
Chris
Fri, Mar 8 2013, 6:33PM
#3
RE: Graindelavoix
Chris, Brumas, Machaut's Messe de Nostre Dame is a pivotal work of the period, magnificent in almost any way, particularly for its sublime polyphonic character. There are already quite a few recordings out of which at least these are worth listening:
- With Musica Nova under Lucien Kandel, on a very bright recording of Aeon.
- With Diabolus in Musica under Antoine Guerber, on an equally detailed and spacious recording of Alpha.
- With Orlando Consort, in a very strange (SACD) recording of HM (of USA), with some modern choral works too, under the impressively curious name Scattered Rhymes. Impressive recording too!
- And an old, difficult to find, but very fine recording by the Deller Consort, on DHM.
I will follow Glossa's new releases and I'll keep you posted...
Have a nice weekend all of you, wherever you might be.
Parla
Chris, I think you started getting it. The mode is the issue, which does not correspond with the traditional western music keys, that is with the pitch involved with any key. So, the reference to the letters D, E etc. do not refer to keys (tonalities), but to the 4 "authentic" sounds, based, to some extent, to Pythagorian Octachordon (8 "notes" in a row).
There are substantive differences of the function of the various modes and scales vis a vis the western ones. For example, the Gregorian (Church music) D is not the equivalent of D major (or minor) etc.
Anyway, whenever you get the CD, you may indulge in the performance and the work in its various forms.
Parla