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1 LP -
1C 069-1466931 - (p) 1983
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1 CD - 8
26531 2 - (c) 2000 |
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1 CD -
CDM 7 63428 2 - (c) 1990 |
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PHILIPPE DE
MONTE (1521-1603) - Die Kunst der
Niederländer II |
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O suavitas et
dulcedo - Motette zu 8 Stimmen
- (1, 5, 7, 2 + 9, 3 + 8, 6, 10,
4) |
4' 24" |
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Parce mihi Domine
- Motette zu 6 Stimmen, in zwei
Teilen (2. Teil: Peccavi - (1,
2, 3, 6, 4, 8) |
6' 50" |
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Dolce mio caro
- Madrigal zu 4 Stimmen, in zwei
Teilen (2. Teil: Qui trar del petto)
- (1-4) |
3' 57" |
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Comme la
tourterelle - Chanson zu 5
Stimmen - (5, 1, 6, 2, 4 + 10) |
1' 32" |
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Comme
la tourterelle - Intavolierung
für Laute aus "Pratum musicum... per
Em. Hadrianum, Antwerpiensem, Pierre
Phalèse, Antwerpen, 1584" |
3' 04" |
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La
Déèsse Venus - Chanson zu 5
Stimmen, in vier Teilen - (1, 5
+ 9, 6, 2, 10) |
3' 56" |
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La
dolce vista - Madrigal zu 6
Stimmen, in zwei Teilen - (1, 8
Flöte, 7, 2, 3, 4) |
2' 12" |
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Missa 8 vocum "La
dolce vista" - Motette zu vier
Stimmen - (Chor I: 1, 6, 2, 10
& Chor II: 5, 7, 3, 4, + 8) |
24' 07" |
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- Kyrie |
3' 55" |
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Gloria |
5' 02" |
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- Credo |
7' 44" |
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Sanctus |
1' 55" |
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Benedictus |
2' 45" |
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Agnus Dei |
2' 40" |
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THE HILLIARD
ENSEMBLE |
KEES
BOEKE CONSORT |
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1.
David James, Kontratenor |
5.
Bruce Dickey, Zink (Philippe
Matharel, Toulouse, 1978) |
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2.
Paul Elliott, Tenor |
6.
Charles Toet, Tenorposaune
(Meinl & Lauber, nach
Sebastian Hainlein, Nürnberg, 1627)
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3.
Leigh Nixon, Tenor |
7.
Titia de Zwart, Gambe (David
Rubio, London, 1973)
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4.
Paul Hillier, Baß |
8.
Kees Boeke, Gambe (David Rubio,
London, 1973), Renaissance-Baßflöte (Hermann
Moeck) |
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9. Toyohiko Satoh, Renaissance-Laute
(Kazuo Sato, 1980, nach Giovanni
Hieber, 16. Jh.) |
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10. Richard Lister, Baßposaune
(Meinl & Lauber, 1971 nach
Sebastian Hainlein, Nürnberg, 1622)
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Luogo
e data di registrazione |
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Doopsgezinde
Gemeente Kerk, Amsterdam (Olanda)
- 12-18 dicembre 1981 |
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Registrazione: live /
studio |
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studio |
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Producer / Engineer |
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Gerd
Berg / Hartwig Paulsen |
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Prima Edizione LP |
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EMI
Electrola "Reflexe" - 1C
069-1466931 - (1 lp) - durata 50'
49" - (p) 1983 - DMM (Digitale) |
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Prima Edizione CD |
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EMI
"Classics" - CDM 7 63428 2 - (1
cd) - durata 50' 49" - (c) 1990 -
DDD |
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Edizione CD |
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EMI
"Classics" - 8 26531 2 - (1 cd) -
durata 50' 47" - (c) 2000 - DDD |
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Note |
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Aufgenommen
in Zusammenarbeit mit WDR. |
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PHILIPPE DE
MONTE
“Should Your Grace ever
desire to have a good
composer, methinks I know
whither I should look to
procure You one. There is a
gentleman in Engelland inthe
King’s Chapel by the name of
Philippus de Monte - he was
born von Mechel, but has spent
most of his life in Italia - I
am well acquainted with him
and may say that he is a
quiet, reserved person, demure
as a maiden. In the Italian
language he is as skilled as
it he were a native, and not
only in speaking but in
writing too, so that he might
well work as a secretary;
besides which he has a goodly
command of Latin, French and
Dutch. Indeed he is altogether
the best composer in the whole
land, principally for the New
Style and musica reservata."
Thus the Imperial
Vice-Chancellor Georg
Sigismund Seld in a letter
dated 22nd September 1555 from
Brussels to Duke Albrecht V of Bavaria.
As he states in his letter,
Seld knew de Monte personally:
he probably met him in 1554 or
1555 when de Monte was in the
Netherlands and England in the
retinue of Philipp II of
Spain. His opinion of de
Monte’s talent as a composer
was based on the first book of
madrigals, which appeared in
print in 1554. At this time de
Monte could already look back
on a twelve-year period of
service as music teacher to
the children of Cosimo
Pinelli in Naples.
Unfortunately, we know nothing
about his education and the
years in his home town of
Mechelen. Despite Seld’s
letter of recommendation, de
Monte did not enter the
service of Duke Albrecht (this
post was taken up two years
later by his colleague Orlando
di Lasso, who retained it
until his death). Nor did de
Monte enter Philipp II’s
choir - his explanation was
that all the other singers
were Spaniards. He returned to
Italy and remained there
(Rome, Naples), supported by
various patrons, until 1568
(he was in the service - or
under the protection - of
Cardinal Flavio Orsini among
others). It
was during this period that
the first books of madrigals
and motets appeared; this was
the beginning of an impressive
œuvre
that was to make him as famous
among his contemporaries as di
Lasso and Palestrina. Philippe
de Monte’s œuvre
consists mainly of 1073
secular and 111 sacred
madrigals in 42 books, 45
chansons, 319 motets and 48
masses. In
the same way as di Lasso had
taken up the post (in Munich)
in 1557 apparently offered to
de Monte, so the latter
entered the service of Emperor
Maximilian II
in Vienna in 1568 in lieu of
Palestrina, whose financial
demands were too high. De
Monte remained Kapellmeister
of the Vienna flourishing
court orchestra for the rest
of his life. After the death
of Maximilian II, the
orchestra passed to his
successor Rudolf II, who
was able to muster but little
enthusiasm for politics, but
was all the more receptive to
matters of cultural interest
and, as a fanatical supporter
of the Roman Catholic Church,
preferred Prague to Vienna as
the centre of the Empire.
Among the many illustrious
figures present in Prague at
the time was the great
astronomer Johannes Kepler,
who later tried to form a
connection between the musical
intervals and the structure of
the solar system (Harmonicus
Mundi, 1619). De Monte
died in Prague in 1603 after a
long productive life.
The two-part motet Parce
mihi (the earliest work
dating from 1564) is based on
a cantus firmus in the
second tenor of six notes on
the text Sana me, Domine
that is still fairly simple;
this appears five times in the
first section as a kind of
ostinato, then four times in
the second section, moving,
however, in crab fashion -
i.e. backwards, beginning with
the last note.
The monumental eight-part work
O suavitas et dulcedo
first appeared in Venice in
1575 in the fourth book of
motets, and was dedicated to
Cardinal Flavio Orsini, to
whom de Monte also dedicated
his Liber V Sacrarum
canticum after 1587.
During the period when he was
working for this offspring of
the Orsini family in Rome,
de Monte composed among other
pieces a madrigal (Il
più
forte di Roma,
1558) on the occasion of Paolo
Orsini’s wedding to Isabella
de’ Medici, who possessed a
great talent for music. She
had a good education, composed
herself, and she too had a
work dedicated to her by de
Monte. She subsequently met
whith an unhappy
end: her husband murdered
her.
Yet another Medici was
honoured with a volume of
madrigals expressly
dedicated to him (1600): the
Cardinal and Grand-Duke
Ferdinand I, under whose
patronage Jacopo Peri
composed what is generally
accepted as the first opera,
Dafne (1597). Other
members of de Monte’s
illustrious circle of
dedicatees included the
banker Johann Fugger,
Archduke Karl of Austria,
Duke Wilhelm of Bavaria, the
son of Albrecht V and
employer of Orlando di
Lasso, and the Emperors
Maximilian II,
Rudolf II
and Karl IX.
The motet O suavitas
makes use of a free
combination of the eight
parts in an imitative style
- here there is (as yet) no
question of dividing the
singers into two contrasting
choirs of four voices each,
so-called cori spezzati.
Stylistically, de Monte’s Madrigali
are closer to those of
Palestrina than to the
madrigals of Orlando di
Lasso. One rarely finds the
‘modern’ stylistic elements
of ‘word painting’ and
chromaticism that are so
characteristic of di Lasso’s
madrigals. De Monte tends to
be more conservative in
approach, which may in part
be explained by the rather
cautious taste ofthe German
(Holy Roman) Emperors.
The enchanting Dolce mio
caro was published in
1587 in the composer’s
fourth book of madrigals,
which were dedicated to a
well-known contemporary
patron of the arts, Georges
de Montfort. The text comes
from Domenico Veniero.
Of the 45 chansons
of the Monte’s that we know,
some twenty appeared in a
collection published in
Paris in 1575 by Le Roy
and Ballard with the title Sonetz
de Pierre Ronsard
including Comme la
tourterelle. This must
have been quite a popular
chanson - a special version
for lute was written by the
well-known Antwerp publisher
Pierre Phalèse
and printed in his Pratum
Musicum
(‘Musical Pasture’) of 1584.
The other four-part chanson,
La Déesse
Vénus
was published in 1588. It is
particularly striking that
de Monte composed each
strophe anew, the different
sections being connected
with one another only by
related keys. La belle
Claire in the chanson
reveals herself to be the
daughter of an Antwerp
lawyer - “la vertueuse
Demoiselle Claire Gabri”.
The entire thirteen book of
five-part madrigals is
dedicated to her, a volume
which includes, strangely
enough, this
chanson too.
The six-part madrigal La
dolce vista not only
achieved such popularity
that an arrangement for lute
appeared in print as much as
35 years later (in Florida,
Joachim van den Hove,
Utrecht 1601) - it also
served as the basis for a
superbly written eight-part
mass. It
was originally printed in
the first book of madrigals
à
6, the first edition of
which has been lost. We know
only the second edition of
1569; the first must have
been brought out a few years
earlier. The date of
composition of the mass La
dolce vista is also
uncertain, but there is a
good deal of evidence to
suggest that we are dealing
with a mature work here. The
ease and freedom with which
the composer treats the
stylistic devices of parody
(this is a so-called parody
mass) and the contrasting of
cori spezzati
technique and a large
eightpart ensemble, which
often flow imperceptibly one
into the other, all lead one
to suspect the hand of the
mature master. De Monte uses
two main themes in
particular from the
madrigal, which are then
varied in every way
possible, both melodically
and rhythmically. As a
typical feature one might
mention that the bass part
in the first four-part choir
regularly descends as far as
D, which lends particular
emphasis to the deep
register within the mesh of
voices.
Kees
Boeke
Translation:
Clive Williams
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EMI Electrola
"Reflexe"
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