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    Pro Cantione Antiqua, Ulsamer Collegium - Music of the Renaissance (1994)

    Posted By: ArlegZ
    Pro Cantione Antiqua, Ulsamer Collegium - Music of the Renaissance (1994)

    Pro Cantione Antiqua, Ulsamer Collegium - Music of the Renaissance (1994)
    EAC | FLAC | Image (Cue & Log) ~ 266 Mb | Total time: 66:27 | Scans included
    Classical | Label: Deutsche Grammophon | # 439 457-2 | Recorded: 1972-1976

    The word Renaissance, meaning rebirth, is applied to the era that spans the Thirteenth to the Seventeenth Centuries, an era characterized by a cultural awakening, the world breaking free from the Dark Ages, looking brightly to the future. Originally used in the art world, “renaissance” has since been applied to all endeavours of mankind. For us, 1450 to 1600 is considered to be the Musical Renaissance; an era that witnessed the invention of movable type, Columbus’ voyage to the New World and Martin Luther presenting his 95 Theses, driving a wedge into The Church and rendering unto the good Renaissance folk a new world order.
    So how did the composers of the age react to all this change? Quite creatively, as it turns out!
    Vocal music was still written to glorify God, with the Mass being the formal way of doing so. The Renaissance Mass is a work written in parts, usually 3 to 5 voices, a voice referring to a part, not the actual number of people singing the piece. William Byrd (1543 – 1623), wrote his Missa tres vocum (Tracks 13 – 17) for tenor, bass and cantus, the cantus being the high voice. Byrd’s mass is also known as an Ordinarium, Ordinary Mass; a mass written for a typical Sunday in July if you will. Masses written for specific occasions are known as Proprium, or Proper Masses; ones heard at Easter and Christmas. In both types the text was pre-set by the church; the creativeness was in the setting of those texts.
    The motet is another variety of vocal music common to the Renaissance. It may be written with secular, or non-sacred, texts, but during the Renaissance the motet became a vehicle for liturgical use and though the text was not pre-set as in the mass, it was religious in content. Comparing John Dunstable’s (ca.1390 – 1453) Veni Sancte Spiritus (Come Holy Spirit) to Machaut’s motet on CD 1, one is struck by the rhythmic freedom of Dunstable, his music full of bounce. (Track 2 – 2:35).
    Guillaume Dufay (ca. 1400 – 1474), in writing his motet Flos Florum (Flower of Flowers – Track4) uses instruments as both harmonic support and soloists. By 1495, when Josquin (ca.1440 – 1521) writes his Déploration sur la mort d’Okeghem (Lament on the Death of Ockeghem – Track 9),the music has become more complicated and thick with interweaving vocal lines. Palestrina (ca.1525 – 1594), while being dismissed by Igor Stravinsky as an “establishment composer” has been lauded for his technical mastery, the Super flumina Babylonis (On the Rivers of Babylon – Track 11) being an example of his art.
    The dances (Tracks 6 – 8) are called basse danses, and do not refer to the range of the notes played. Rather, basse refers more to class status – basse meaning low, or folk music. Imagine those Bruegel wedding paintings, contemporaneous to this music; imagine this music as the soundtrack to those festivities.
    On two other instrumental pieces, the Istampita Cominciamento di gioia (The Beginning of Joy – Track 3) and the Fantasia of John Dowland (1563 –1626 –Track 12) we are hearing the stirrings of a virtuoso style. Picture the performer of the Istampitia as the original guitar shredder! - while the Fantasia, from a simple opening becomes quite a complex work.

    Performer:
    PRO CANTIONE ANTIQUA:
    James Bowman, Paul Eswood, Keith Davis, Kevin Smith - countertenors
    Ian Partridge, James Griffett, John Elwes, James Lewingston - tenors
    David Thomas, Mark Brown, Brian Etheridge, Michael George - bass
    Bruno Turner - Direction
    ULSAMER-COLLEGIUM:
    Josef Ulsamer (Fidel; Gambe; Blockflote)
    Elza van der Ven-Ulsamer (Fidel; Gambe; Blockflote)
    Vimala Fries (Gambe; Blockflote; Krummhorn)
    Irmgard Otto (Gambe; Fidel)
    Helga Ring (Blockflote)
    Siegfried Fink (Schlaginstrumente)
    Sebastian Kelber (Blockflote; Traversflote)
    Wolf-Dieter Kollarz (Posaune)
    Alfred Sous (Schalmei)
    Laurenzius Strehl (Gambe; Kontrabassgambe; Fidel)
    Josef Ulsamer - Direction

    Track List:
    01. Anon: Lamento di Tristano - Rotta
    02. Dunstable: Veni, sancte Spiritus
    03. Anon: Istampita Cominciamento di gioia
    04. Dufay: Flos Florum
    05. Dufay: Alma redemptoris mater
    06. Anon: Basse danse La Brosse - Tripla - Tourdion
    07. Anon: Basse danse La Gatta
    08. Anon: Basse danse La Magdalena
    09. Desprez: Deploration sur la mort d'Ockegheim
    10. Anon: Passamezzo d'italye - Reprise - Gaillarde
    11. Palestrina: Super flumina Babylonis
    12. Dowland: Fantasia
    13. Byrd: Missa tres vocum - Kyrie
    14. Byrd: Missa tres vocum - Gloria
    15. Byrd: Missa tres vocum - Credo
    16. Byrd: Missa tres vocum – Sanctus - Benedictus
    17. Byrd: Missa tres vocum – Agnus Dei


    Exact Audio Copy V1.3 from 2. September 2016

    EAC extraction logfile from 20. October 2019, 14:48

    Pro Cantione Antiqua, Ulsamer Collegium / Music of the Renaissance

    Used drive : PIONEER DVD-RW DVR-218L Adapter: 1 ID: 0

    Read mode : Secure
    Utilize accurate stream : Yes
    Defeat audio cache : Yes
    Make use of C2 pointers : No

    Read offset correction : 6
    Overread into Lead-In and Lead-Out : No
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : Yes
    Used interface : Native Win32 interface for Win NT & 2000

    Used output format : User Defined Encoder
    Selected bitrate : 128 kBit/s
    Quality : High
    Add ID3 tag : No
    Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
    Additional command line options : -V -8 -T "Date=%year%" -T "Genre=%genre%" %source%


    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
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    2 | 3:31.33 | 5:54.00 | 15858 | 42407
    3 | 9:25.33 | 4:39.00 | 42408 | 63332
    4 | 14:04.33 | 4:53.00 | 63333 | 85307
    5 | 18:57.33 | 4:27.00 | 85308 | 105332
    6 | 23:24.33 | 1:57.00 | 105333 | 114107
    7 | 25:21.33 | 0:48.00 | 114108 | 117707
    8 | 26:09.33 | 2:15.00 | 117708 | 127832
    9 | 28:24.33 | 5:36.00 | 127833 | 153032
    10 | 34:00.33 | 2:41.00 | 153033 | 165107
    11 | 36:41.33 | 4:42.00 | 165108 | 186257
    12 | 41:23.33 | 3:52.00 | 186258 | 203657
    13 | 45:15.33 | 0:44.00 | 203658 | 206957
    14 | 45:59.33 | 5:08.00 | 206958 | 230057
    15 | 51:07.33 | 8:43.00 | 230058 | 269282
    16 | 59:50.33 | 3:17.00 | 269283 | 284057
    17 | 63:07.33 | 3:20.00 | 284058 | 299057


    Range status and errors

    Selected range

    Filename C:\ArlegZ\Music of the Renaissance.wav

    Peak level 97.9 %
    Extraction speed 2.1 X
    Range quality 100.0 %
    Test CRC 6C688BEF
    Copy CRC 6C688BEF
    Copy OK

    No errors occurred


    AccurateRip summary

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    All tracks accurately ripped

    End of status report

    ==== Log checksum 532FEB3139C8500C7FB3E86675DDC1FFA9A8AE60AFBA73FE1F3BE6F87A715ABA ====

    Pro Cantione Antiqua, Ulsamer Collegium - Music of the Renaissance (1994)