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11,95 €

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10,15 €

Guillaume de Machaut
Misa de Notre Dame [Alpha Collection]


REF.: ALPHA 351
EAN 13: 3760014193514
Si realiza el pedido hoy, este producto estará listo para ser enviado el lunes 17/12/2018

Guillaume de Machaut was born around 1300 in the environs of Reims, which at that time was a fl ourishing royal city with a population of almost 20,000, famous throughout Europe for its textile workshops and trade fairs. Like most cathedrals of Western Europe, Reims is built on the site of an earlier edifi ce. The Rouelle altar, on the left in the nave, adjacent to the choir screen, was dedicated to the Holy Spirit. But in 1343 a magnifi cent statue of the Virgin Mary was placed there. In 1341 Archbishop Jean de Vienne established a plainchant Votive Mass for the Virgin, to be performed each week before the Rouelle altar. The Marian Mass was introduced by Guillaume de Machaut and his younger brother Jean, also a canon of the cathedral, as a perpetuation of the archbishop’s wish, and it was for that particular liturgy, which was sung every Saturday throughout the year, that Guillaume wrote his famous polyphonic Mass. 

FECHA DE PUBLICACIÓN
31/08/2018

INTÉRPRETES
Diabolus in Musica
Antoine Guerber, dirección


CONTENIDO

Guillaume de Machaut:

1 Introït : Rorate celi de super 
2 Kyrie
3 Gloria
4 Graduel : Qui sedes domine 
5 Alleluia : Ostende nobis domine 
6 Séquence : Ave Maria gratia plena 
7 Credo 
8 Rex Karole/Leticie/Contratenor/Virgo prius (motet de Philippe Royllart)
9 Offertoire : Ave Maria gratia plena
10 A vous Vierge/Ad te Virgo/Regnum Mundi (motet anonyme) 
11 Préface 
12 Sanctus 
13 Agnus Dei 
14 Communion : Ecce Virgo concipiet 
15 Zolomina/Nazarea/Ave Maria - motet anonyme 
16 Ite missa est

1 CD - DDD - 60'55'


RESEÑA (La Quinta de Mahler)

Guillaume de Machaut was born around 1300 in the environs of Reims, which at that time was a fl ourishing royal city with a population of almost 20,000, famous throughout Europe for its textile workshops and trade fairs. Like most cathedrals of Western Europe, Reims is built on the site of an earlier edifi ce. The Rouelle altar, on the left in the nave, adjacent to the choir screen, was dedicated to the Holy Spirit. But in 1343 a magnifi cent statue of the Virgin Mary was placed there. In 1341 Archbishop Jean de Vienne established a plainchant Votive Mass for the Virgin, to be performed each week before the Rouelle altar. The Marian Mass was introduced by Guillaume de Machaut and his younger brother Jean, also a canon of the cathedral, as a perpetuation of the archbishop’s wish, and it was for that particular liturgy, which was sung every Saturday throughout the year, that Guillaume wrote his famous polyphonic Mass.

Until the fourteenth century, it is clear that Reims did not favour the practice of polyphony, which nevertheless, following the example of the French Papal Chapel at Avignon, was becoming widespread by then. But in 1352 Clement VI issued a bull transforming twelve chaplaincies at Reims Cathedral into vicariates, thus providing the Chapter with the fi nancial means to engage twelve choirmen of a high standard, capable of singing not only the daily plainchant but also the solo versicles and polyphony. Thus, from 1352 Guillaume had access to the singers he required for the performance of his most complex music, and we know that (with only one exception) all his liturgical works in Latin were composed from that date onwards. His famous Mass was written between 1363 and 1365.

The Messe de Nostre Dame, as it is called in only one of the fi ve surviving manuscripts, is the fi rst complete preserved polyphonic mass known to be by a single hand. It includes the fi ve movements of the Ordinary plus the four-voice Ite missa est. The Mass is not strictly speaking a unifi ed cycle, but there is nevertheless great coherence in its rhythmic and harmonic languages. The succession of movements shows a broad construction and a harmonious and carefully established stylistic progression, from the Kyrie with its strong harmonic structure to the Agnus Dei with its melodic lyricism. Here we are clearly in the presence of an immensely talented composer, who consciously structured the whole of his work in a more sophisticated manner than is generally accredited to medieval musicians. Machaut appears to have had a very clear idea beforehand of the chord progressions he intended to illustrate. Often he appears to have been more concerned about those progressions than about strict respect for the Gregorian melodies of the tenors, which are nevertheless supposed to provide the fi xed musical structure of these works. Other aspects of the musical technique employed underline the singularity of Machaut’s genius: his control of consonance is perfect, while an extensive use of dissonance creates an unusually large number of tensions; the often interchangeable roles of the voices lead to changes in colour, whereas the whole of the fourteenth century, including Machaut himself in the rest of his oeuvre, remained more faithful to the usual functions of Tenor, Contratenor, Motetus and Triplum. Finally, the many unconventional intervals and the important part played by musica fi cta are exceptional in this highly unusual work.

We present a reconstruction of a complete Votive Mass to the Virgin Mary as intended by Machaut for performance at the Saturday offi ce before the Rouelle altar. The polyphonic Ordinary composed by Guillaume de Machaut, with male soloists singing a cappella, following the practice that was strictly observed everywhere in the fourteenth century, alternates with the melodies of the Gregorian Proper from a Marian Votive Mass, taken from the manuscript now in Reims Municipal Library. Particular attention was paid to two elements that are very important in a historical-musical reconstruction: pronunciation and musica fi cta.

Finally, to complete this Mass to the Virgin Mary, we have included two anonymous Marian motets from the famous Ivrea manuscript (Ivrea Codex, Biblioteca Capitolare), which is a major source for fourteenth-century French and Italian repertory, and a motet by Philippe Royllart taken from the equally famous Codex Chantilly (Musée Condé, ms1047).

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