A composer admired by his contemporaries, Josquin Desprez (ca 1450-1521) was a solitary artist who sublimated in his chansons the melancholy character and the elegance emblematic of the Renaissance. For their first recording, Dulces Exuviae explore the intimacy of these chansons in a fresh light: the sweet melodies are embellished by ornaments and accompanied on the lute, leaving ample room for improvisation, and thus allowing music to come out all the more alive, delicate and filled with emotion. The ensemble Dulces Exuviae is baritone Romain Bockler and lutenist Bor Zuljan.

Classical Music

"Two decades following his first album of lute intabulations by the renaissance composer Josquin des Prez (the first album of its kind), celebrated lutenist Jacob Heringman returns to this rich but largely neglected part of the repertoire to present a new recording of intabulations for lute and vihuela. In celebration of his 500th anniversary, Josquin is once more the composer behind these fascinating and compelling arrangements, and this programme explores further vocal music by this most revered of early music names, including Marian motets and realisations from his Missa de Beata Virgine. As well as employing sources of various sixteenth-century lutenist-composers, Jacob has included several of his own intabulations in this captivating programme."

Classical Music

Choral Music (Sacred) - PALESTRINA, G.P. da / JOSQUIN DES PR

Simplicity, purity and clarity.

This music was composed early in Josquin’s career when he was singing in the Sistine Chapel and while the cult of devotion to the Blessed Mother was at its height.

The simplicity, purity and clarity of the singing here is immediately apparent from the opening track, in which four of the eight singers used throughout sing the Vespers motet “Ave Maria” from which the themes of this paraphrase Mass are derived. Tuning is exquisite and the blend of voices unimpeachable. The difference in texture between the motets, when four or five singers are employed to sing each part, and the Ordinary of the Mass when two voices double up each of the four lines, creates a welcome variety in the density of sound. Special mention must be made of the lead Diskant (countertenor) Franz Vitzthum who soars without strain. If I have any criticism of the singing here, it is that the bass Ulfried Staber has a touch of the groaner - I could do with a little more sap in his tone - but in general Manfred Cordes has gathered here some of the finest exponents of European Early Music.

I usually prefer a deployment of voices currently frowned upon by the purists such as the Tallis Scholars employ, whereby there are more voices, some women, per part, singing at a higher pitch - but in this case, the warmth, phrasing and musicality of the vocalists here entirely convinces me.

The musical forms employed by Josquin are surprisingly varied: there are homophonic passages of stark simplicity alternating with complex polyrhythmic patterns and intricate melismata. Despite this complexity, the singers’ exemplary diction permits the liturgical text to emerge clearly. Cordes’ direction is free, flexible and fluid; no heavy-handed bar-beating here.

Lovely though the Mass is, my favourite track here remains the first motet: the upward sweep of the opening phrase and the ensuing canon are enchanting in their simplicity, then the heavenly Ur-melody is sustained right through to the transcendent close, “O mater Dei, memento mei. Amen”.

The sound engineering is admirable; just the right amount of air and space around the voices. The gold packaging is very attractive. The booklet provides Latin texts with German and English translations and a code to permit identification of which singers are singing what; unfortunately the notes tell you nothing about the music, only about the history and development of the Marian cult.

-- Ralph Moore, MusicWeb International

Classical Music

The Chanson L'Homme armé has been the fundament for numerous Renaissance composers to realise aesthetic mass compositions. One of the most outstanding versions is coined by Josquin Desprez which is conclusively combined with chansons on this recording. The production received several awards in France.

Dr. Rebecca Stewart together with the vocal ensemble Seconda Pract!ca explores the music of Josquin Desprez and his contemporaries Brumel and Willaert, commemorating the 500th anniversary of his death. The central piece of this recording is the famous Missa Mater patris by Josquin. Founded in 2012 by international musicians gathered in The Netherlands for their studies, Seconda Prat!ca has become one of the leading ensembles of the new generation of early music performers. The ensemble’s main goal is to bridge the gaps between performers and audience, revitalizing western musical heritage by bringing it back to a shared living experience. We achieve this through a continuous mixing of media, performance, research and musical excellence. Since 2013 Seconda Prat!ca has become part of the EEEmerging project, an initiative of the European Comission to support young developing ensemble specializing in Early Music.

2021 sees the 500th anniversary of the death of Josquin Des Pres, the most celebrated composer of his day. Dominique Visse and the Ensemble Clément Janequin are recording a selection of his chansons from one of the most important editions of his works, Tylman Susato’s Septiesme livre de Chansons published in 1545. This edition bears witness to the diversity of Josquin’s chanson writing, but above all to the melancholy and sorrow so present in his works, and is clearly a tribute, as is also evident in the two Deplorations on his death, Musae Jovis by Nicolas Gombert and O mors inevitabilis by Hieronymus Vinders. This recording endeavors to present a Josquin legacy, a post mortem illustration of his chanson oeuvre, in remembrance of his musical genius. It has also enabled Dominique Visse and the Ensemble Clement Janequin to express their profound musical passion for this major Renaisance composer who has accompanied them for more than 40 years.