Oh Flanders Free
Music of the Flemish Renaissance
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Naxos 8.554516
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| Bestel |
2. Preludium | Anon. (Zegere van Male Songbook, 1542)
3. Laus Deo | Anon. (Zegere van Male Songbook)
4. Ach Vlaendere vrie | Thomas Fabri (fl. 1400-1415)
5. Alleluya | Antoine Busnois (c. 1430-1492)
6. Falla con misuras | Guglielmo (Ebreo da Pesaro ?)
7. Ma maistresse | Johannes Ockeghem (c. 1410-1497)
8. Ach Vlaendere vrie | Thomas Fabri
9. D'ung aultre amer | Johannes Ockeghem
10. Bacco, Bacco | Mattio Rampollini (1497- c. 1553)
11. El grillo | Josquin des Prez (c. 1440-1517)
12. Innsbruck, ich muss dich lassen | Heinrich Isaac (c. 1450-1517)
13. Sergonta Bergonta | Anon. (MS copied by Ludovico Milanese, 1502)
14. Kyrie (Missa 'La sol fa re mi') | Josquin des Prez
15. Guillaume se va chaufer | Josquin des Prez
16. Cueurs desolez | Anon. (Album of Margareta of Austria, c. 1430)
17. D'ung aultre amer | Anon. (c. 1430)
18. D'ung aultre amer/Lhomme arme|Philippe Basiron (early XVth C)
19. Pastime with good company | Henry VIII (1491-1547)
20. Passe & Medio/Den iersten gaillarde | Tielman Susato (c. 1500-1563)
21. Ogn'hor per voi sospiro | Philippe Verdelot (1470/80-before 1552)
22. Mijn hert altijt heeft verlanghen | Pierre de La Rue (c. 1460-1518)
Bacco, bacco - M. Rampollini
Preludium - NN Songbook Seghere van Male
Preludium - NN Songbook Seghere van Male
Oh Flanders Free - American Record Guide - Oct 2000
'Flemish Renaissance music seems quite fashionable at the moment. But, unlike most fads, it's actually worth all the attention it's getting. In our last issue I reviewed Piffaro's wonderful new Flemish release and mentioned At the sign of the Crumhorn by way of comparison. Now I am happy to talk about this charming release in more detail.
'Oh Flanders Free has even more of a vocal emphasis than Crummhorn; well over half the number are for voice. Capilla Flamenca has all-male singers with instruments. This program represents all kinds of Renaissance music: Gregorian chant, parts of the Mass, motets, madrigals, chansons, and dance music. Most of the names are familiar, including Johannes Ockeghem, Josquin des Prez, Henry VIII, Tielman Susato (one piece only), and Pierre de La Rue. The tone is set at the beginning with an excerpt from the Requiem Mass, so the entire program is generally rather grave and introspective. It balances out the more extroverted and boisterous dance music onCrummhorn. And I enjoyed Capilla Flamenca as much as I did Gothenburg's Convivium Musicum.
'Both discs have excellent sound and very attractive booklets, with plenty of information, texts, and translations.
Bron : Ardella Crawford in American Record Guide, Oct 2000 - http://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.554516&languageid=EN
Oh Flanders Free - La Scena Musicale
The Flemish vocal and instrumental consort Capilla Flamenca is a wonderful discovery, singing a mix of 15th century Latin, Flemish and French a cappella and accompanied sacred and profane music, by Verdelot, Ockeghem, des Prez, Fabri, and of course, Anon. The tenor, countertenor, and bass voices blend beautifully with the spare accompaniment of descant, treble and tenor recorders and viola da gamba. The resonant, churchy recorded sound adds atmospheric lustre. Notes in English, French, and Spanish.'
Bron : Philip Anson in La Scena Musicale, August 2000 - http://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.554516&languageid=EN
'Flemish Renaissance music seems quite fashionable at the moment. But, unlike most fads, it's actually worth all the attention it's getting. In our last issue I reviewed Piffaro's wonderful new Flemish release and mentioned At the sign of the Crumhorn by way of comparison. Now I am happy to talk about this charming release in more detail.
'Oh Flanders Free has even more of a vocal emphasis than Crummhorn; well over half the number are for voice. Capilla Flamenca has all-male singers with instruments. This program represents all kinds of Renaissance music: Gregorian chant, parts of the Mass, motets, madrigals, chansons, and dance music. Most of the names are familiar, including Johannes Ockeghem, Josquin des Prez, Henry VIII, Tielman Susato (one piece only), and Pierre de La Rue. The tone is set at the beginning with an excerpt from the Requiem Mass, so the entire program is generally rather grave and introspective. It balances out the more extroverted and boisterous dance music onCrummhorn. And I enjoyed Capilla Flamenca as much as I did Gothenburg's Convivium Musicum.
'Both discs have excellent sound and very attractive booklets, with plenty of information, texts, and translations.
Bron : Ardella Crawford in American Record Guide, Oct 2000 - http://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.554516&languageid=EN
Oh Flanders Free - La Scena Musicale
The Flemish vocal and instrumental consort Capilla Flamenca is a wonderful discovery, singing a mix of 15th century Latin, Flemish and French a cappella and accompanied sacred and profane music, by Verdelot, Ockeghem, des Prez, Fabri, and of course, Anon. The tenor, countertenor, and bass voices blend beautifully with the spare accompaniment of descant, treble and tenor recorders and viola da gamba. The resonant, churchy recorded sound adds atmospheric lustre. Notes in English, French, and Spanish.'
Bron : Philip Anson in La Scena Musicale, August 2000 - http://www.naxos.com/reviews/reviewslist.asp?catalogueid=8.554516&languageid=EN