Wydawnictwo: Raumklang
Nr katalogowy: RK 2208
Nośnik: 1 CD
Data wydania: marzec 2007
EAN: 4018767022087
Nr katalogowy: RK 2208
Nośnik: 1 CD
Data wydania: marzec 2007
EAN: 4018767022087
Dufay: Triste plaisir and the music of Burgundy
Raumklang - RK 2208
Kompozytor
Guillaume Dufay (1397-1474)
Guillaume Dufay (1397-1474)
Wykonawcy
Lena Susan Norin, voice
Susanne Ansorg, Randall Cook, fiddle
Lena Susan Norin, voice
Susanne Ansorg, Randall Cook, fiddle
Utwory na płycie:
- 1 Belle, veullies moy retenir.mp3
- 2 Pour l amour de ma doulce amye.mp3
- 3 Qui latuit in virgine.mp3
- 4 Je me complains piteusement.mp3
- 5 La plus grant chiere.mp3
- 6 Quel fronte signorile.mp3
- 7 Resvelons nous.mp3
- 8 He, compaignons.mp3
- 9 Et c est assez.mp3
- 10 Triste plaisir.mp3
- 11 Mort en merchy.mp3
- 12 Je languis en piteux martire.mp3
- 13 La plus belle et doulce figure.mp3
- 14 J ai grant doulour.mp3
- 15 Lune tres belle.mp3
- 16 Vergene bella.mp3
- 17 Adieu, adieu, mon joieulx souvenir.mp3
- 18 Seignor Leon.mp3
- 19 Paugartner.mp3
- 20 Adieu, adieu, mon joieulx souvenir.mp3
Under the dukes of Valois during the 15th century, Burgundy became one of the strongest political powers of Western Europe, and its capital, Dijon, one of the great centers of music. The sound of this music was so innovative and independent that today it is known as “The Burgundian School”. The musicians at the Burgundian court came from all over, and among them was Guillaume Du Fay, not only one of the greatest composers of his own time, but of all time. Like many of his colleagues, he travelled to the South – singers trained in the Northern cathedral schools were sought after by the courts of Italy, including the papal chapel. Borrowing from all the various styles in his musical environment, Du Fay developed these ideas and even surpassed them. Beloved for his artfully beautiful melodies and unique instinct for the harmonious balance of musical phrases, he achieved the closest thing to musical perfection in his time. The three musicians of this recording came together to explore this refined repertoire, whose immanently singable quality and sweet melancholy have given it a prominent place amongst the masterpieces of late medieval song. As opposed to common practice today, they have chosen to use the most minimal of instrumentation – one singer and two stringed instruments – to best do justice to the intimacy of these miniature masterpieces.