# Who into renaissance above everything im a rare specie no one care about renaissance?



## deprofundis (Apr 25, 2014)

Renaissance music to me was a revelation especially vocal music, like a junkie i need my daily dosee of renaissance music, it's smooth releaving, stress anxiety vanished eventually after bad feelings:

Or you abit like me Lassus or Gesualdo ease your painand stress, Brumel bring you closer to heaven and ect elaborated your experience whit renaissance music, i favor the 15-16 century for a reason that eluded me but im getting into gesualdo and merulo still.

I just order an heinrich finck cd and an Antoine Brumel new cd featuring thomas Crecquillon, this is rad, i hope to get this sonn enought and i got manuel cardoso on naxos, the pierre the manchicourt on Brabant ensemble is perhaps none available but i have Paul van Nevel Pierre de manchicourt it's good but mister van Nevel is more subtil than stephen rice is nemesis? i mean by that they cover the same artist.

What you favorite classical composer of these era, if i says the early days of franco flemish polyphony or franco flemish of italians godz or perhaps pre baroque german renaissance did i mention my good eldery classical devotee buddy who a priest find me a cd of Heinrich Finck, next on my list is Heinrich Isaac i hae two missa sparse fews song on some naxos but not full cd of motets ect, any good Isaac cd outhere?

Have a nice days guys im sleepy so i will kamikaze my way into my bed diving in my bed sweet dream everyone.

Tell me anecdote on how you discover renaissance music and became a devotee of this perriod there gotta to be someone here who into what ti am. Obscur renaissance music of quality.

:tiphat:


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## Manxfeeder (Oct 19, 2010)

I discovered it when someone said the Beethoven's Heiliger Dankesang had part writing like Obrecht. So Obrecht was my first love. I had a Renaissance phase that lasted three years. I was having a spiritual crisis, and this music was meeting me in my quest.


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## deprofundis (Apr 25, 2014)

really darn good testimony it's people like you mister Manxfeeder that make my day great anecdote of a passionated soul, Obrecht is wonderful.


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## Manxfeeder (Oct 19, 2010)

As for obscure, Lupus Hellinck isn't well known, for some reason.


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## Manxfeeder (Oct 19, 2010)

Thanks for the kind words. I appreciate your championing of this period.


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## deprofundis (Apr 25, 2014)

amen to this mister , god bless


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## LOLWUT (Oct 12, 2016)

you rare specie no one care about renaissance


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## Bruckner Anton (Mar 10, 2016)

Renaissance are important to musicologists, not to me...


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## LOLWUT (Oct 12, 2016)

Bruckner Anton said:


> Renaissance are important to musicologists, not to me...


how renaissance no important you rare specie


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## helenora (Sep 13, 2015)

LOLWUT said:


> you rare specie no one care about renaissance


many care, they just post less. majority of posters are into classic-romantic period of CM. on this forum there are at least several active posters who are into Renaissance


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## LOLWUT (Oct 12, 2016)

helenora said:


> many care, they just post less. majority of posters are into classic-romantic period of CM. on this forum there are at least several active posters who are into Renaissance












or you rare specie?


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## helenora (Sep 13, 2015)

LOLWUT said:


> or you rare specie?


hahaha. specie that care about renaissance


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## hpowders (Dec 23, 2013)

My last tour director to the Canadian Rockies was French Canadian.

Loved her madly. Would have loved to do some Renaissance dancing with her, but alas, it was not to be.

Renaissance concerts are hard to find in North America, in general.


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## isorhythm (Jan 2, 2015)

Yes, this period produced some of the most beautiful music ever written. My favorites are the Tudor composers. You're far from alone.


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## MagneticGhost (Apr 7, 2013)

I'm with you deprofundis- I also need my daily fix of Renaissance.
I often listen to one of the entries from the Eton Choirbook.
Paul Van Nevel wrote 'Only listen to one at a time, after all you'd only visit one cathedral a day.' Or something along those lines.


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## hpowders (Dec 23, 2013)

Europe would be the best place for Renaissance concerts-probably England, France, Germany, Belgium and the Netherlands.


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## Mandryka (Feb 22, 2013)

Posted in wrong place


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## Guest (Oct 24, 2016)

Deleted.............


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## Manxfeeder (Oct 19, 2010)

hpowders said:


> Renaissance concerts are hard to find in North America, in general.


I remember a few years ago the Tallis Scholars came to Nashville. I was all set to attend, but I was working in court for a judge who has no respect for the clock, and he kept the hearing going until 8:00. He didn't even ask if we had plans or anything. I'm still fuming about that one.


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## Klassic (Dec 19, 2015)

deprofundis, you are indeed rare my friend. I certainly appreciate you.


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## Guest (Oct 24, 2016)

Manxfeeder said:


> I remember a few years ago the Tallis Scholars came to Nashville. I was all set to attend, but I was working in court for a judge who has no respect for the clock, and he kept the hearing going until 8:00. He didn't even ask if we had plans or anything. I'm still fuming about that one.


I get strange images when I read your posts.


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## Dirge (Apr 10, 2012)

My favorite recordings of works by Heinrich ISAAC are spread out here and there on as many different albums, so I can't get myself to recommend one all-Isaac album.

_Quis dabit capiti meo aquam_ • Turner/Pro Cantione Antiqua [Archiv]




This lament is marked by a strong reliance on the plaintive descending melody associated with the text "Et requiescamus in pace" ("And may we rest in peace"). Isaac uses every rhetorical trick in the book to produce a mournful atmosphere suggestive of weeping, etc., including canon-like echoing of voices and archaic-sounding paralleling of voices-this and a somewhat declamatory style of presentation lend a certain neo-Medieval quality to the proceedings. Most famously (this is a well-known work by Renaissance standards), in the middle section, at the point in the text when the laurel tree (representing the deceased) is struck down by lightning, the laurel goes silent and one of the voices drops out … the others continue on without him in the musical analogue to The Missing Man formation of a military flyover. All the while, the bass is repeating the text "Et requiescamus in pace," which strongly resembles and evokes the plainsong melody of "Requiem aeternam dona" ("Grant them eternal rest"); the bass sings the chant five times, starting a step lower each time in a sort of descending ostinato. Whatever you might expect from all of Isaac's contriving, the result sounds inexplicably sincere and affecting.

_Tota pulchra es_ • Hilliard Ensemble [Hyperion]




 (substitute: Pro Cantione Antiqua)
In this Song of Songs motet, Isaac treads the precipitous ridge between sacred devotion and earthly love with the skill of a mountain goat, causing lovers to pray and prayers to blush. If the seeming incongruity between risqué text and religious context isn't entirely resolved by Isaac's setting, any uneasiness that remains only spices things up from an entertainment standpoint. An interesting aspect and turning point of the motet is the conspicuous shift from the very tight, canon-like relationship between voices in the first part to the much freer relationship in the second-you can almost feel yourself relax and breath easier after the changeover.

_Virgo prudentissima_ • Henry's Eight [Etcetera]




This grand and almost audacious twelve-minute motet was written for the coronation of Maximilian I as Holy Roman Emperor, and it harmoniously embraces both the ceremonial and the celebratory aspects of that glorious occasion. The music generally alternates between sublime duets & trios and splendiferous six-voice celebrations, sounding appropriately august all the while. Stylistically, Isaac is fond of fluid, long-breathed contrapuntal lines, and he tends to lean (however moderately) away from polyphonic rigorousness and toward a concern for sonority for sonority's sake, away from constant invention and toward eloquent rhetoric-you won't mistake _Virgo prudentissima_ for a work of Isaac's great contemporary, Josquin, but it's very compelling in its more populist/everymonk sort of way. Writers of liner notes are fond of pointing out the contrasting but complementary musical natures of Isaac and Josquin, often casting Isaac as Handel and Josquin as Bach; justified or not, this dubious comparison/analogy is much to my liking. In such a context, _Virgo prudentissima_ might be heard as the Renaissance ancestor of Handel's Coronation Anthems.

The work seems to be performed with windy instrumental support (organ, sagbutts, cornetts, etc.) more often than not, but I prefer "not": the instruments add sonic splendor to the proceedings in a modest pre-Gabrieli sort of way, but they tend to overwhelm the voices, severely muddy textures, and undermine the intricacy of it all, at least in the recordings that I've heard.

_Angeli, archangeli_ • Wickham/The Clerks' Group [Gaudeamus/ASV]




This bright, high-lying, cheerful-sounding six-voice motet is immediately accessible and features one of the great hooks in all of Renaissance sacred music: a vocal bell-tolling sequence (just after the five-minute mark) that would bring a smile of recognition to even the most uncultured Renaissance ditch-digger-very ap*pealing*. The cantus firmus is taken from the pleasant little ditty "Comme femme desconfortée" by Binchois, which is also the seed for a full-scale mass by Isaac.

"Innsbruck, ich muß dich lassen" • Stimmwerck [Christophorus]




This is Isaac's most popular work and one of the most popular songs of the period; it's nothing fancy, really, just a very likable tune in a very well-crafted setting. Stimmwerck risks being plainspoken, but the singing is so accomplished and the voices so well balanced that it comes off.


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