Music of the Flemish Renaissance

Recorded in association with the Government of Flanders A diverse selection given vivid and idiomatic performances, at super-bargain price, but occasionally spoilt by needless errors

Record and Artist Details

Composer or Director: Mattio Rampollini, Anonymous, Josquin Desprez, Tielman Susato, Johannes Ockeghem, Philippe Basiron, Philippe Verdelot, Antoine Busnois, Heinrich Isaac, Pierre de La Rue, Guglielmo Ebreo da Pesaro, Thomas Fabri, King of England Henry VIII

Label: Naxos

Media Format: CD or Download

Media Runtime: 55

Mastering:

DDD

Catalogue Number: 8 554516

Tracks:

Composition Artist Credit
Gregorian Chant Requiem Mass Anonymous, Composer
Anonymous, Composer
Capilla Flamenca
Preludium Anonymous, Composer
Anonymous, Composer
Capilla Flamenca
Laus Deo Anonymous, Composer
Anonymous, Composer
Capilla Flamenca
Ach Vlaendere vrie Thomas Fabri, Composer
Capilla Flamenca
Thomas Fabri, Composer
Alleluya Antoine Busnois, Composer
Antoine Busnois, Composer
Capilla Flamenca
Falla con misuras, or, '(La) bassa castiglia' Guglielmo Ebreo da Pesaro, Composer
Guglielmo Ebreo da Pesaro, Composer
Capilla Flamenca
Ma maistresse et ma plus grant amye Johannes Ockeghem, Composer
Capilla Flamenca
Johannes Ockeghem, Composer
D'un autre amer Johannes Ockeghem, Composer
Capilla Flamenca
Johannes Ockeghem, Composer
Bacco, Bacco Mattio Rampollini, Composer
Capilla Flamenca
Mattio Rampollini, Composer
(El) grillo è buon cantore Josquin Desprez, Composer
Capilla Flamenca
Josquin Desprez, Composer
Innsbruck, ich muss dich lassen Heinrich Isaac, Composer
Capilla Flamenca
Heinrich Isaac, Composer
Sergonta Bergonta Anonymous, Composer
Anonymous, Composer
Capilla Flamenca
Missa, 'La sol fa re mi' Josquin Desprez, Composer
Josquin Desprez, Composer
Guillaume se va chauffeur Josquin Desprez, Composer
Capilla Flamenca
Josquin Desprez, Composer
Cueurs desolez Anonymous, Composer
Anonymous, Composer
Capilla Flamenca
D'ung aultre amer Anonymous, Composer
Anonymous, Composer
Capilla Flamenca
D'ung aultre amer/Lhome arme Philippe Basiron, Composer
Capilla Flamenca
Philippe Basiron, Composer
Pastyme with good companye King of England Henry VIII, Composer
Capilla Flamenca
King of England Henry VIII, Composer
Danserye, Movement: Passe et medio Tielman Susato, Composer
Capilla Flamenca
Tielman Susato, Composer
Danserye, Movement: Die iersten gaillarde Tielman Susato, Composer
Capilla Flamenca
Tielman Susato, Composer
Ogn'hor per voi sospiro Philippe Verdelot, Composer
Capilla Flamenca
Philippe Verdelot, Composer
Mijn hert altyt heeft verlanghen Pierre de La Rue, Composer
Capilla Flamenca
Pierre de La Rue, Composer
It seems, on the face of it, an odd notion to begin a recording bearing this title with the opening plainsong of the Mass for the dead. The disc’s subtitle, ‘Music of the Flemish Renaissance’, is a truer indicator of its aims. It signals Naxos’s desire to introduce a wider public to the greatest possible variety of styles, genres and scorings, both vocal and instrumental, secular and sacred, to be found in early music. Those already converted to the cause may find this eclectic butterflying mildly irritating, but one can hardly fault the intention. Alongside some well-known pieces like El grillo and Isbruck, ich muss dich lassen (the latter very lyrically interpreted) are lesser-known gems such as Busnois’ very short Alleluya: verbum caro (of which this is the first recording, as far as I know), and Ockeghem’s Ma maistresse sung an octave below the usual register, a unique version transmitted in one of the few surviving Flemish sources of the French song-repertory.
At their best (as in the above-mentioned Busnois motet), Capilla Flamenca typify Flemish singing at its richest and most earthy (this last, in the purest sense). The Kyrie of Josquin’s Mass La sol fa re mi makes one hope for more substantial Mass recordings from this ensemble: Naxos please take note! Not all selections are quite on this high level, but that might almost be expected in such a diverse programme.
And, once again, it would be silly to pretend that cost is not an issue: at this price, one can hardly grumble – except when editorial standards are allowed to slip in print and in the studio. The insert-notes and tracking information contain a few clunkers: the date (1430) given for the Chansonnier of Margaret of Austria is out by a good 70 years; and both of Ockeghem’s songs are performed with one of their verses omitted. This sort of solecism still happens more often than one would like, and makes a hash of the pieces’ forms. More to the point, it spoils otherwise fine interpretations (especially that of Ma maistresse). But I said I wouldn’t grumble ...'

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