# The outstanding Dufay legacy he is the mozart off era &english paralel whit flemish



## deprofundis (Apr 25, 2014)

*The outstanding Dufay legacy he is the mozart off era &english paralel whit flemish*

Marked my words whiteout Guillaume Dufay, english genioso polyphony sutch as Dunstable and Frye i.e ..would not had occured ,magnificiant english polyphony own a lot to franco-flemish godz,, i just order a Dufay consort music for viol whit chansons from 1953, i said to you guys, my LP collection whit be minimal all essential of alte musik.

Dufay started something , Josqquin pick up up were influeeence forttthis behemot of franco ffleemish and refined iiit, we could says or argue Josquin is to franco-flemish polyphony what La JACONDE PAINTING IS TOl LEONARDO DA vINCI , IN OTHER WORD PURE GENIOUS.

:tiphat:


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## Mandryka (Feb 22, 2013)

Bjorn Schmelzer says something interesting about Dufay's motet _Gaude Virgo, Mater Christi_, in the course of his discussion of Thomas Ashwell's mass. I mention it because the cross fertilisation of British music and Franco-Flemish polyphony may go beyond Dunstable and Fry. Also because I find Schmelzer's way of thinking here very inspiring.



> The fact that this mass is written for the Feast of the Annunciation creates other interesting musical implications. This Feast is probably the most impor- tant acoustical event of Christianity: the Angel Gabriel visits the Virgin Mary and announces that she will conceive and give birth to the Son of God, Jesus Christ. Theologians often came up with virtuosic explanations designed to make the mystery as acceptable as possible, inventing the idea of a con- ceptio per aurem, a conception through the ear. In this sense, it is not far-fetched to be able to understand how Ashwell turned the conception itself - secundum imaginationem - into a psycho-acoustic event. Is it not this mystery, which would allow for the extreme writing with so many weird leaps, syncopations, dis- sonance, etc.?
> Maybe there is an interesting precedent here, in the motet Gaude Virgo by Guillaume Dufay, com- posed more than fifty years beforehand, probably in Italy. The first strophe of this hymn is: "Gaude Virgo, mater Christi, quae per aurem concepisti, Gabriele nuntio." The composition as transmitted seems to be an impossibility for musicologists because the combi- nation of the four voices produces harsh clashes and inexplicable dissonants. It is believed that the lowest fourth voice cannot be by Dufay and was added later. Even if this voice proves not to be by Dufay himself, shouldn't we understand this addition as a means to make the mystery of the Incarnation audible, making it material in its embodied sfumato-like rendition?
> On the other side of the English Channel, paint- ings of the Annunciation demonstrate an extremely complex virtuosity in order to portray the miracle of the Incarnation. In van Eyck's "Ghent Altarpiece" there is an open window between the Angel and the Virgin Mary, looking onto a busy Ghent street, articulating the transformation of noise into voice. Another Annunciation scene, from 1523, by the Flemish painter known as Frei Carlos, shows the marble col- umn, not as usual between angel and the Virgin, but at the end of a wall, behind which three angels are making music: the psycho-acoustic expression of the experience of the ear receiving the message of con- ception. What Flemish and Italian artists explored on a visual plane, English artists did so in architectural and musical spaces.


The motet has been commercially recorded by Cantica Symphonia, Ensemble Musica Nova and René Clemencic (my fave.) You'll find a concert recording by Graindelavoix on YouTube.


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## deprofundis (Apr 25, 2014)

Mandryka said:


> Bjorn Schmelzer says something interesting about Dufay's motet _Gaude Virgo, Mater Christi_, in the course of his discussion of Thomas Ashwell's mass. I mention it because the cross fertilisation of British music and Franco-Flemish polyphony May go beyond Dunstable and Fry. Also because I find Schmelzer's way of thinking here very inspiring.
> 
> The motet has been commercially recorded by Cantica Symphonia, Ensemble Musica Nova and René Clemencic (my fave.) You'll find a concert recording by Graindelavoix on YouTube.


Thank you first and foremost for the info, your always welcome on my post you know your classical music mister


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