Jacob Obrecht - Tugend And Untugend [CD]

Name: Jacob Obrecht - Tugend And Untugend [CD]
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SKU: 758396
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Ensemble Villanella The century from 1450 to 1550 brings an awakening, anestablishment and a golden age of German music. The Fundamentum organisandiby the Nuremberg organistConrad Paumann and the Buxheimer Orgelbuch areevidence of the German pioneering work in the field of keyboard music. Thenewly discovered polyphonic possibilities of the lute are explored by Germanmusicians and starting with Lied manuscripts such as the Lochamer Liederbuchand the Glogauer Liederbuch, the Lied reaches new heights. Among theprincipal composers and innovators in the art of the Lied are Heinrich Isaac, PaulHofhaimer and Ludwig Senfl, while the development of printing soon led in Germanyto the introduction of music printing. The Franco-Flemish composer Heinrich Isaac wasparticularly active in Italy and in Austria, where between 1497 and 1514 heheld the position of court composer to Maximilian I. From 1480 to 1492 heserved Lorenzo de Medici in Florence, where he was cathedral organist,thereafter moving to Innsbruck and then to Vienna in the imperial service. Hespent the last three years of his life in Florence, where he died in 1517. Oneof the most skilled and prolific composers of his time, he composed, in additionto large scale Masses and motets, songs and instrumental music. The song on whichthe five-part Carmen [1] is based has not been found, while the musicalone survives of the popular song In meinem Sinn [5,7,8]. Songs byIsaac included are Greiner, Zancker [ll], Mein Freud allein[16), an instrumental prelude on Ich stund an einem Morgen [26], acontrapuntal piece on the notes La Mi La Sol (A-E-A-G) [30] and aversion of a song Las rauschen [35], the words of which, preserved in a quodlibetby Wolfgang Schmetzel from 1544, are about love-making in a field of clover. Paul Hofhaimer was born in Radstadt in 1459 andestablished himself as an organist of international reputation, becomingorganist to Maximilian I in 1490 and from about 1520 to 1537 organist to thePrince-Archbishop of Salzburg. He was also distinguished as a teacher,numbering among his pupils Hans Kotter. The lyrical qualities of his music areevident in the examples of his work here included, Erst weis ich, was die Liebeist [6), Greiner, Zanner [14], Mein einigs A [31 and 32] and Zucht,Eer und Lob [33 and 34]. Another musician in the service of Maximilian I wasHeinrich Finck, who served in his time three Polish kings. From 1510 to 1513 hewas Kapellmeister to Duke Ulrich in Stuttgart, then court musician toMaximilian I in Augsburg. In 1520 he was appointed composer to the chapter ofthe Cathedral in Salzburg and in 1525 and 1526 was court Kapellmeister to theEmperor Ferdinand I in Vienna. He died in 1527. Famous for his liturgicalcompositions, he also won a reputation for his secular tenor songs, most often usinghis own melodies. These give evidence of the highest level of feeling formelody and contrapuntal skill. Greiner, Zanner [12] uses the song for aninstrumental piece and Gloria, l

German Secular Songs And Instrumental Music From The Time Of Luther: Carmen a 5

German Secular Songs And Instrumental Music From The Time Of Luther: Stat ('tsatt) ein meskin

German Secular Songs And Instrumental Music From The Time Of Luther: Will niemand singen

German Secular Songs And Instrumental Music From The Time Of Luther: Ein Maidlein zue dem Brunnen gi

German Secular Songs And Instrumental Music From The Time Of Luther: In meinem Sinn

German Secular Songs And Instrumental Music From The Time Of Luther: Erst weis ich, was die Liebe is

German Secular Songs And Instrumental Music From The Time Of Luther: In meinem Sinn

German Secular Songs And Instrumental Music From The Time Of Luther: Dort oben auf dem Berge

German Secular Songs And Instrumental Music From The Time Of Luther: Zenner greyner

German Secular Songs And Instrumental Music From The Time Of Luther: Greiner zancker

German Secular Songs And Instrumental Music From The Time Of Luther: Greiner Zanner

German Secular Songs And Instrumental Music From The Time Of Luther: Die Megdlein sind von Flandern

German Secular Songs And Instrumental Music From The Time Of Luther: Greiner Zanner

German Secular Songs And Instrumental Music From The Time Of Luther: Nun wollt ihr horen neue mar

German Secular Songs And Instrumental Music From The Time Of Luther: Mein Freud allein

German Secular Songs And Instrumental Music From The Time Of Luther: Ich soll und muess ein'n Buehle

German Secular Songs And Instrumental Music From The Time Of Luther: Oho, so geb der Mann

German Secular Songs And Instrumental Music From The Time Of Luther: So trinken wir alle

German Secular Songs And Instrumental Music From The Time Of Luther: Heth sold ein meisken garn om w

German Secular Songs And Instrumental Music From The Time Of Luther: Es wollt ein Maidlein Wasser ho

German Secular Songs And Instrumental Music From The Time Of Luther: Es wollt ein Frau zuem Wein gah

German Secular Songs And Instrumental Music From The Time Of Luther: Gloria laus

German Secular Songs And Instrumental Music From The Time Of Luther: Lamentatio

German Secular Songs And Instrumental Music From The Time Of Luther: Bicinium germanicum

German Secular Songs And Instrumental Music From The Time Of Luther: Ich stund an eineum Morgen

German Secular Songs And Instrumental Music From The Time Of Luther: Ich stund an einem Morgen

German Secular Songs And Instrumental Music From The Time Of Luther: Ich stuend an einem Morgen

German Secular Songs And Instrumental Music From The Time Of Luther: Albrecht mirs schwer

German Secular Songs And Instrumental Music From The Time Of Luther: La mi la sol

German Secular Songs And Instrumental Music From The Time Of Luther: Min ainigs A

German Secular Songs And Instrumental Music From The Time Of Luther: Mein einigs A

German Secular Songs And Instrumental Music From The Time Of Luther: Zucht, eer und lob

German Secular Songs And Instrumental Music From The Time Of Luther: Las rauschen

German Secular Songs And Instrumental Music From The Time Of Luther: Es ging ein Landsknecht uber Fe

German Secular Songs And Instrumental Music From The Time Of Luther: Ich weiss nicht was er ihr verh

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Description

Please Note Not All Our New Items Are Shrink Wrapped.All items shipped within 3 working days of payment.Ensemble Villanella The century from 1450 to 1550 brings an awakening, anestablishment and a golden age of German music. The Fundamentum organisandiby the Nuremberg organistConrad Paumann and the Buxheimer Orgelbuch areevidence of the German pioneering work in the field of keyboard music. Thenewly discovered polyphonic possibilities of the lute are explored by Germanmusicians and starting with Lied manuscripts such as the Lochamer Liederbuchand the Glogauer Liederbuch, the Lied reaches new heights. Among theprincipal composers and innovators in the art of the Lied are Heinrich Isaac, PaulHofhaimer and Ludwig Senfl, while the development of printing soon led in Germanyto the introduction of music printing. The Franco-Flemish composer Heinrich Isaac wasparticularly active in Italy and in Austria, where between 1497 and 1514 heheld the position of court composer to Maximilian I. From 1480 to 1492 heserved Lorenzo de Medici in Florence, where he was cathedral organist,thereafter moving to Innsbruck and then to Vienna in the imperial service. Hespent the last three years of his life in Florence, where he died in 1517. Oneof the most skilled and prolific composers of his time, he composed, in additionto large scale Masses and motets, songs and instrumental music. The song on whichthe five-part Carmen [1] is based has not been found, while the musicalone survives of the popular song In meinem Sinn [5,7,8]. Songs byIsaac included are Greiner, Zancker [ll], Mein Freud allein[16), an instrumental prelude on Ich stund an einem Morgen [26], acontrapuntal piece on the notes La Mi La Sol (A-E-A-G) [30] and aversion of a song Las rauschen [35], the words of which, preserved in a quodlibetby Wolfgang Schmetzel from 1544, are about love-making in a field of clover. Paul Hofhaimer was born in Radstadt in 1459 andestablished himself as an organist of international reputation, becomingorganist to Maximilian I in 1490 and from about 1520 to 1537 organist to thePrince-Archbishop of Salzburg. He was also distinguished as a teacher,numbering among his pupils Hans Kotter. The lyrical qualities of his music areevident in the examples of his work here included, Erst weis ich, was die Liebeist [6), Greiner, Zanner [14], Mein einigs A [31 and 32] and Zucht,Eer und Lob [33 and 34]. Another musician in the service of Maximilian I wasHeinrich Finck, who served in his time three Polish kings. From 1510 to 1513 hewas Kapellmeister to Duke Ulrich in Stuttgart, then court musician toMaximilian I in Augsburg. In 1520 he was appointed composer to the chapter ofthe Cathedral in Salzburg and in 1525 and 1526 was court Kapellmeister to theEmperor Ferdinand I in Vienna. He died in 1527. Famous for his liturgicalcompositions, he also won a reputation for his secular tenor songs, most often usinghis own melodies. These give evidence of the highest level of feeling formelody and contrapuntal skill. Greiner, Zanner [12] uses the song for aninstrumental piece and Gloria, l