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University of New Hampshire Chamber Singers - Pourquoy non? (2016) {UNHCS0516}

Posted By: ruskaval

Date: 1 Oct 2016 05:15:57

University of New Hampshire Chamber Singers - Pourquoy non? (2016) {UNHCS0516}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 342 Mb | MP3 @320 -> 176 Mb
Full Artwork @ 600 dpi (jpg) -> 31 Mb | 5% repair rar
© 2016 University of New Hampshire Choirs | UNHCS0516
Classical / 16th Century / Early Music / Spiritual / Modern Classical / Renaissance / Vocal / Sacred Works

Pierre de la Rue’s Missa Pourquoy non:
A Case for Re-Evaluation
William Kempster
The last twenty-five years have yielded significant insights into the life, times and most importantly the music of the Habsburg-Burgundian master Pierre de la Rue. All the sacred works are now available in scholarly editions, and many fine recordings of his music have been committed to compact disc. La Rue has also attracted a good deal of scholarly attention, even controversy, and his place as a major figure at the time of Josquin is now surely secure. There is still much work to be done, however, and not only with the secular music that has yet to be compiled and edited in its entirety. Even the Masses, the core of la Rue’s output, are only superficially known. Of the thirty Mass settings that are securely attributed to la Rue, nearly a third have never been recorded, and recordings of half of the remaining Masses are either no longer available or problematic for other reasons. Until we have recordings of all of these Masses, and multiple recordings of the finest examples, this fascinating repertoire will probably still remain elusive for anyone outside this specific area of musicological research. One of these lesser-known Masses of la Rue is the so-called Missa Almana.

It will be the purpose of this paper to argue that this work has been incorrectly named, and should be re-titled Missa Pourquoy non , after the chanson of the same name by la Rue himself, on which it will be shown to be based. The naming of Masses according to the original title of the pre-existing material on which they were based has long been the accepted scholarly practice. Honey Meconi has thoroughly documented this for the Masses of la Rue, so no further discussion on conventions relating to the practice is necessary here. What is interesting, however, is the rejection by modern scholars - Meconi included - of a sixteenth-century ascription indicating that the Mass in question is based on the Pourquoy non chanson, and therefore justifying it being named accordingly.

This disc is listed entirely for the La Rue mass (which occupies 36 and a half minutes of the program).

The sound on this recording is rather distant, and it takes more effort than it sometimes does to really "get into" the performance. It's a student ensemble performing highly virtuosic music, and there are some lapses, but the music is still presented rather successfully in that one can still "hear through" lapses & imagine how it might sound with more experienced singers. The basic structure of the music is handled quite well in this regard, and indeed Kempster simultaneously published an article establishing this previously mysterious mass as based on La Rue's chanson.

So the music does shine through, and given the lack of performance options, this interpretation is valuable. This is generally considered to be La Rue's first mass setting, and as noted, it is a highly virtuosic setting, with the chanson infusing the polyphony very densely at times, yielding fast cascading lines. It's high energy music, and it's easy to believe that if this is actually La Rue's first mass setting, it made a big impression. As Kempster argues, this is a key work in his output, and not just for a sense of historical priority, but because of the novel style & sophistication, i.e. the quality of the music itself.

Personnel: University of New Hampshire Chamber Singers
Caitlin Baummer, Miles Burns, Angelina Giotti, Rebecca Claborn, Albert Craig, Sara Laczynski, Nicholas Laroche, Natalie Latham, Benjamin Mafera, Joseph Tang, Kathleen O'Boyle, Meghan McCrillis (2007); Eric Berthiaume, Samuel Bradley, Brett Branscombe, Rachel Burke, Greg Daigle, Alyshia Fournier, Kylie Gagnon, Colin Geaghan, Marla Gordon, Joseph Harris, Suzanne Jalbert Jones, Kayla Kenney, Morgan King, McKenzie Larson, Evanna Liu, Matthew Livernois, Courtney Magoon, Louis Mariano, Kevin Miles, Kelli Minelli, Jesse Parent, Katherine Perkoski, Kathryn Rajchel, Jessica Ross, Amanda Roswick, Audrey Thompson, Gwendolyn Trott, Nathan Wotton (2014/15)

William Kempster, conductor

Tracklist
Morten Lauridsen (b. 1932) — Madrigali: Six "Firesongs" on Italian Renaissance Poems

1. Ov'è, lass', il bel viso?
2. Quando son piu lontan
3. Amor, io sento l'alma
4. Io piango
5. Luci serene e chiare
6. Se per havervi, oime

William Kempster (b. 1957)

7. You may Bury Me in de Eas' (First Recording)

Clare Maclean (b. 1958)

8. Et Misericordia (Kelli Minelli and Audrey Thompson, soloists)

Spiritual arr. William Kempster

9. Steal Away (First Recording)

Pierre de la Rue (c. 1452-1518) — Missa Pourquoy non (First Recording)

10. Kyrie
11. Gloria (Nicholas Laroche, intonation)
12. Credo (Nicholas Laroche, intonation)
13. Sanctus
14. Agnus Dei

EAC log

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EAC extraction logfile from 1. July 2016, 11:39

University of New Hampshire Chamber Singers / Pourquoy non?

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