Machaut was a major contributor to the motet as practiced in fourteenth-century France. This was a different genre than motets known to singers and listeners of. It is probably the first devoted to Machaut’s motets, containing no fewer than 18 of the 23 that survive. It is certainly the first to present them in the order in which. Guillaume de Machaut Motets The Hilliard Ensemble David James counter-tenor David Gould counter-ternor Rogers Covey-Crump tenor.
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Guillaume de Machaut Motets.
Peter Laenger Produced by Manfred Eicher. As one who spent a good part of his formative Renaissance listening digesting the music of Guillaume de Machaut c.
I venture to say that others may have the same reaction, but the rewards for immersing oneself in this ECM treatment are revelatory. It is perhaps for this reason that the Hilliards present their program in chronological order, as if to show us how Machaut grew behind and through its trajectory. Gerold, where the session was recorded. The music is often anchored by dominant lines e.
Thus the movable nature of Machaut is so well suited to the Hilliards, for a likeminded meticulousness of vocal color and rhythmic staggering O livoris feritas truly distinguishes these singers from the rest. Like so much of what we encounter moteys our listening lives, these sounds come and go, lost even as they are experienced.
The Hilliard Ensemble: Guillaume de Machaut – Motets (ECM New Series 1823)
That being said, I cannot help but believe that they leave discernible traces in the body, in the very synapses of the brain. In a world so bound by linear time, what currency does immediacy carry anymore?
Rather, I have increasingly tried to look at the specks macuaut permanent change that Machaut, here and elsewhere, has lodged in me. Looking back on the experiences that led me to him in the first place, I know that fortune has indeed whispered into my ears with his texts and melodies from so many centuries ago.
Guillaume de Machaut: Motets – The Hilliard Ensemble | Songs, Reviews, Credits | AllMusic
If I may interrupt this stream of thought with a technical one, this was the first recording I ever heard with tenor Steven Harrold, who signed on with the Hilliard Ensemble in And while the colors of John Potter are certainly missed, Harrold delivers a fresh and slightly brighter tone at the risk of undoing my earlier assertion, may I point your attention to his gorgeousness in the Veni creator spiritus.
If each motet is a series of numbers, then the Hilliards have provided us with legible solutions. Like a proof, each is filled with potential diversions and dead ends, but through this singular recording we are given a full map machatu we do well to follow with our eyes closed and our ears walking, open-armed. You are commenting using your WordPress. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via macchaut. Notify me of new posts via email.
Peter Laenger Produced by Manfred Eicher As one who spent a good part of his formative Renaissance listening digesting the music of Guillaume de Machaut c.
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