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拉佛: 神聖的歌(星期六的彌撒曲) 傑瑞米·庫勒 指揮 昆提納合唱團 Jeremie Couleau, La Quintina / Nicholas Ludford: Heavenly Songs



拉佛: 神聖的歌(星期六的彌撒曲) 傑瑞米·庫勒 指揮 昆提納合唱團	Jeremie Couleau, La Quintina / Nicholas Ludford: Heavenly Songs
拉佛: 神聖的歌(星期六的彌撒曲) 傑瑞米·庫勒 指揮 昆提納合唱團	Jeremie Couleau, La Quintina / Nicholas Ludford: Heavenly Songs
專輯編號: PTY220191
專輯類型: 單CD
發行年份: 2020
國際條碼: 3760213651785
音樂廠牌: Paraty Productions (PTY)
庫存狀態: 有庫存
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尼可拉斯.拉佛: 神聖的歌 (星期六的彌撒曲) - 謝謝英國 / 我遵守希望 / 彌撒星期六 等宗教歌曲
傑瑞米·庫勒 指揮
昆提納合唱團

The life of Nicholas Ludford (ca. 1490-1557), also styled Nycolace Ludfoorthe, is no mystery today. This son of a musician from the Fraternity of St Nicholas was destined from a young age to a distinguished career in music. Unlike other musicians of his time, who set off to develop their curriculum vitae in distant lands, our composer made his way within the very restricted confines of Westminster, the political and ecclesiastical centre of London and of England during the Renaissance. While Nicholas Ludford benefits today from renewed interest, notably thanks to the works and recordings of David Skinner, some of his works are yet to be discovered. Less exuberant than the masses Lapidaverunt Stephanum or Benedicta, the Lady Masses, dedicated to the Virgin and designed to be sung in the small chapels of great ecclesiastical institutions, are attractive in their singularity. Among the eleven extant complete masses by Nicholas Ludford the unusual musico-liturgical interest of the seven masses contained in British Museum MSS Roy. App. 45-48 has singled them out for especial attention. For instance, they comprise the only complete system of daily votive Masses of the Virgin remaining in English music; they include Alleluias and Sequences of which English music has all too few in polyphonic settings; they are based on cantus firmi of quite remarkable interest belonging to a special repertory which has come to be known as "squares"; and they are of a type known as alternatim in which sections for a soloist alternate in performance with sections of three-part polyphony. The implications of the last two features combine to make the matter of performance something of a problem, for it is the curious character of the "squares" as soloist's material which first raises doubts as to their intended mode of presentation, whether they were to be sung, or played on the organ either monophonically as they stand or as cantus firmi for improvisation.

1 Anonyme Deo gracias anglia 00:04:19
2 Ludford Missa Sabato: Kyrie 00:05:20
3 Ludford Missa Sabato: Gloria 00:07:25
4 Ludford Missa Sabato: Alleluya 00:02:29
5 Ludford Missa Sabato: Sequentia hodierne lux diei 00:05:25
6 Anonyme Glose sur Edi beo thu hevene quene 00:05:51
7 Ludford Missa Sabato: Credo 00:08:32
8 Ludford Missa Sabato: Sanctus 00:06:20
9 Ludford Missa Sabato: Agnus dei 00:04:44
10 Anonyme Ite missa est 00:01:12
11 Anonyme Glose sur There is no rose 00:06:30
12 Anonyme Abide I hope 00:02:35

 

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