Josquin Desprez - Missa D'ung aultre amer, Motets & Chansons  Ref: CD701

Josquin Desprez Missa D'ung aultre amer, Motets & Chansons 1. D'ung aultre amer (Johannes Ockeghem) (5'09) Missa D'ung aultre amer 2. Kyrie (1'50) 3. Gloria (1'44) 4. Credo (3'42) 5. Sanctus / Tu solus qui facis mirabilia (4'00) 6. Agnus dei (2'00) 7. De tous beins plaine (1'57) 8. Mille regretz (1'40) 9. Ave Maria (5'06) 10. Fortuna d'un gran tempo (1'26) 11. Planxit autem David (11'42) 12. Cela sans plus (1'55) 13. Qui belles amours (1'33) 14. Sanctus 'D'ung aultre amer' (2'56) 15. Tu lumen, tu splendor patris (1'15) 16. La Bernardina (1'25) 17. Victimae paschali laudes / D'ung aultre amer (3'58) 18. Adieu mes amours (7'46) 19. Ile fantazies de Joskin (1'43) 20. Tu solus qui facis mirabilia / D'ung aultre amer (4'01) Total time (68'27) Cover image: Christ giving his blessing, 1478 - Hans Memling (c.1430/40-1494) Norton Simon Art Foundation, Gift of Mr Norton Simon M.1974.17.P Recorded in the chapel of Magdalen College, Oxford (12 April 2007) and St Michael's Church, Summertown, Oxford (24 May & 26-27 June 2007) Produced and Engineered by Martin Souter Performing editions by David Skinner ALAMIRE Julia Doyle, soprano (tracks 9, 20) Clare Wilkinson, mezzo soprano (soloist in tracks 1, 8, 13, 18) Ruth Massey, mezzo soprano (not in tracks 9, 20) Steven Harrold, tenor Mark Dobell, tenor Christopher Watson, tenor William Unwin, tenor Timothy Scott Whiteley, bass Robert Macdonald, bass ANDREW LAWRENCE-KING DIRECTED BY DAVID SKINNER OBSIDIAN CD701 P & C 2007 Classical Communications Ltd Ita in omnia uersatile ingenium erat, ita naturae acumine ac ui armatum, ut nihil in hoc negocio ille non potuisset. His talent was so versatile in every way, so equipped by a natural acumen vigour, that there was nothing in this field which he could not do. Heinrich Glarean, Dodecachordon (Basle, 1547) Few composers of any period have enjoyed the widespread admiration and unanimous praise of countless generations as Josquin Desprez. He is considered to be the greatest creator and innovator of musical composition, bridging the gap between the so-called medieval and renaissance periods, and for some half a millennium his music has stood the test of time. With Josquin came a 'humanistic' approach to music-making, and this innate understanding of text, notation and emotion singled him out from among his contemporaries. In recent years we have been able to achieve a closer understanding of his work: first with The New Josquin Edition (although, unfortunately, this omits some compositions on the basis of quality and style), and with what has now become the standard and essential textbook on his life and music, The Josquin Companion (Oxford, 1999). But with the even more current explosion in research, led by conferences devoted to Josquin that were based at Princeton and Duke universities in the same year as the publication of The Josquin Companion, there has been constant revision of many aspects of his life and music. While the scholarship has indeed been welcome, new discoveries and observations have somewhat confused our current perception of who Josquin was and which works attributed to him are actually authentic. As David Fallows notes, 'It seems clear that there is still an enormous amount to be done … some 1,000 sources, manuscript and printed, contain works that are somewhere ascribed to Josquin.'