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Winter
Anonymous

Corina Marti

Winter

Price: € 19.95
Format: CD
Label: Ayros
UPC: 5902768283105
Catnr: AYCD 04
Release date: 07 February 2020
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Label
Ayros
UPC
5902768283105
Catalogue number
AYCD 04
Release date
07 February 2020

"... it seems as if the music is sometimes is lifted and you are floating along in the spectrum with the thin sounds."

Music Frames, 04-3-2020
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Artist(s)
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About the album

The path that all interested listeners are about to follow leads to the deep and as yet not fully explored woodlands of the instrumental music of the latter half of the fifteenth century in or around southern Germany. It will zig-zag from one repertoire to another, from one manuscript to another, and of course from one ‘soundscape’ to another by presenting different combinations of instruments, in dialogue or simply allowing some of them stand alone to speak for themselves so that at the end of their sonic journey, listeners can fully enjoy a panoramic view of this rich and fascinating tradition.

The major part of the repertoire presented here is culled from three important manuscripts, all copied in the second half of the fifteenth century: the Buxheim organ book (Bux, ca. 1470), the Lochamer song book (Loch, ca. 1460), and the Glogauer partbooks (or Zagan partbooks, to use the title favoured in some recent studies). All three of the books are treasure troves of delightful and unexpected discoveries. Among the composers presented in the French section of this recording are some of the most eminent and wellknown musicians of the fifteenth century: Guillaume Du Fay, Gilles Binchois, Antoine Busnois.

The works are interspersed with Buxheimer’s free instrumental improvisations, redeuntes and preambula. The former consist of a highly ornamented upper voice flowing against a sustained (or repeated) note in the lower, whereas the latter are essentially fantasia-like pieces divided into several parts with contrasting rhythms and textures. Although the rendition here is purely instrumental, words are constantly there at a subliminal level, creating yet another semantic and sonic layer – imperceptible, but always present in the background.

Winter, een album dat haast niet anders genoemd kan worden, zo past het bij het jaargetijde. Het pad dat alle geïnteresseerde luisteraars op het punt staan te volgen, leidt naar de diepe en nog niet volledig ontdekte bossen van de instrumentale muziek uit de tweede helft van de 15e eeuw in of rond Zuid-Duitsland. Het zigzagt van het ene naar het andere repertoire, van het ene manuscript naar het andere, en natuurlijk van het ene ‘klanklandschap’ naar het andere. Door het gebruik van verschillende combinaties van instrumenten, in dialoog, of soms door enkele ervan voor zichzelf te laten spreken, kunnen luisteraars aan het einde van deze reis genieten van een panoramisch overzicht van deze rijke en fascinerende traditie.

Gekopieerd uit de 15e eeuw

Het grootste deel van het repertoire op dit album komt uit drie belangrijke manuscripten, allen gekopieerd in de tweede helft van de 15e eeuw: het Buxheimer Orgelbuch (Bux, ca. 1470), het Lochamer-Liederbuch (Loch, ca. 1460) en het Glogauer Liederbuch. Alle drie de boeken zijn schatten met heerlijke en onverwachte ontdekkingen. Onder de componisten in het Franse deel van deze opname zijn enkele van de meest toonaangevende en bekende componisten van de 15e eeuw: Guillaume Du Fay, Gilles Binchois en Antoine Busnois.

Vrije instrumentale improvisaties

De werken worden afgewisseld met Buxheimers vrije instrumentale improvisaties, reduentes en preambula. De eerste bestaat uit een rijk versierde bovenstem op een aangehouden (of herhaalde) noot, terwijl de laatsten in wezen fantasia-achtige stukken zijn, verdeeld over verschillende secties met contrasterende ritmes en texturen. Hoewel de muziek op deze opname zuiver instrumentaal is, zijn woorden altijd onderbewust aanwezig. Deze creëren nog een extra laag – niet waarneembaar, maar altijd aanwezig op de achtergrond.
Der Weg, den alle interessierten Zuhörer hier beschreiten werden, führt in die tiefen und noch nicht vollständig erforschten Wälder der Instrumentalmusik der zweiten Hälfte des fünfzehnten Jahrhunderts in oder um Süddeutschland. Im Zickzack von einem Repertoire zum anderen, von einem Manuskript zum nächsten und natürlich von einer Klanglandschaft" zur anderen, (indem verschiedene Kombinationen von Instrumenten vorgestellt werden, im Dialog oder einfach nur einige von ihnen für sich selbst sprechen zu lassen). Am Ende ihrer klanglichen Reise können die Zuhörer den vollen Panoramablick auf diese reiche und faszinierende Tradition genießen.
Der größte Teil des hier vorgestellten Repertoires stammt aus drei wichtigen Handschriften, die alle in der zweiten Hälfte des 15. Jahrhunderts kopiert wurden: das Buxheimer Orgelbuch (Bux, ca. 1470), das Lochamer Liederbuch (Loch, ca. 1460) und die Glogauer Stimmbücher (oder Zagan-Stimmbücher, um den in einigen neueren Studien bevorzugten Titel zu verwenden). Alle drei Bücher sind Schatzkammern voller reizvoller und unerwarteter Entdeckungen. Unter den Komponisten, die in der französischen Sektion dieser Aufnahme vorgestellt werden, befinden sich einige der bedeutendsten und bekanntesten Musiker des fünfzehnten Jahrhunderts: Guillaume Du Fay, Gilles Binchois, Antoine Busnois.
Die Werke sind durchsetzt von Buxheimer's freien Instrumentalimprovisationen, Reduntes und Preambula. Erstere bestehen aus einer stark verzierten Oberstimme, die gegen einen gehaltenen (oder wiederholten) Ton in der Unterstimme fließt, während letztere im Wesentlichen phantasieartige Stücke sind, die in mehrere Teile mit kontrastierenden Rhythmen und Texturen unterteilt sind. Obwohl die Wiedergabe hier rein instrumental ist, sind die Worte ständig auf einer unterschwelligen Ebene vorhanden, wodurch eine weitere semantische und klangliche Ebene geschaffen wird - nicht wahrnehmbar, aber immer im Hintergrund präsent.

Artist(s)

Corina Marti (recorder)

The world-renowned recorder and harpsichord virtuoso, Corina Marti, is recognized internationally for her “strikingly superior and expressive” interpretations (Toccata), and “infallible” performances (Diapason). She leads an active life, performing as a soloist and chamber musician throughout Europe, both North and South America, the Middle East and Asia.  She has appeared with numerous early music ensembles and orchestras (including Hespèrion XXI, Coro della Radiotelevisione Svizzera Italiana and the Helsinki Baroque Orchestra), and is co-director and founding member of La Morra, an award-winning late medieval and early renaissance music ensemble which “never fails to keep the listener’s attention alive” (Gramophone). Her extensive discography, ranging from fourteenth-century istanpitte and intabulations to solo concertos and chamber music of the high baroque, reflects the breadth of her musical interests and technical skills.  She is a...
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The world-renowned recorder and harpsichord virtuoso, Corina Marti, is recognized internationally for her “strikingly superior and expressive” interpretations (Toccata), and “infallible” performances (Diapason).
She leads an active life, performing as a soloist and chamber musician throughout Europe, both North and South America, the Middle East and Asia. She has appeared with numerous early music ensembles and orchestras (including Hespèrion XXI, Coro della Radiotelevisione Svizzera Italiana and the Helsinki Baroque Orchestra), and is co-director and founding member of La Morra, an award-winning late medieval and early renaissance music ensemble which “never fails to keep the listener’s attention alive” (Gramophone).
Her extensive discography, ranging from fourteenth-century istanpitte and intabulations to solo concertos and chamber music of the high baroque, reflects the breadth of her musical interests and technical skills. She is a leading pioneer in the development of late medieval and early renaissance keyboard instruments*, working with makers on creating reconstructions and and spending many hours in libraries researching repertoire. This work has contributed substantially to the present-day revival of these instruments. Immediately after studying she was invited to become the first teacher of medieval recorder at the Schola Cantorum Basiliensis in Basel and a few years later she went on to build up a class for medieval keyboard instruments, teaching organetto, clavisimbalum, clavicytherium and renaissance harpsichord. She enjoys spreading her knowledge, experience and enthusiasm to the next generation of players, both through her teaching at the Schola Cantorum Basiliensis and also at master classes and music courses throughout the world.

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Roger Helou (organ)

Composer(s)

Press

... it seems as if the music is sometimes is lifted and you are floating along in the spectrum with the thin sounds.
Music Frames, 04-3-2020

Play album Play album
01.
Portigaler (after Guillaume Du Fay Or me veult bien Esperance mentir)
04:02
(Anonymous) Corina Marti, Roger Helou
02.
Redeuntes In Idem mi de eadem mensura
02:30
(Anonymous) Corina Marti, Marie Nishiyama
03.
Ave stella matutina
01:35
(Anonymous) Corina Marti, Marie Nishiyama
04.
Ein buer gein holtze
01:29
(Jacobus Viletti) Corina Marti, Roger Helou
05.
Se la phase pale (after Guillaume Du Fay Se la face ay pale)
02:54
(Anonymous) Corina Marti, Marie Nishiyama
06.
Redeuntes In fa
02:08
(Anonymous) Roger Helou
07.
Redeuntes In ut
01:09
(Anonymous) Corina Marti
08.
Magnificat Octani toni
02:35
(Anonymous) Corina Marti
09.
Sequuntur Redeuntes In Idem
01:40
(Anonymous) Marie Nishiyama
10.
En soustenant vostre querelle
02:12
(Antoine Busnoys) Corina Marti, Roger Helou
11.
Praeambulum super f
01:22
(Anonymous) Corina Marti, Marie Nishiyama
12.
Annavasanna (upon anon. Une foys avant que morir)
02:30
(Anonymous) Corina Marti, Marie Nishiyama
13.
Der Winter will hin wichen
02:02
(Anonymous) Corina Marti, Marie Nishiyama
14.
Christus surrexit mala nostra texit...
01:52
(Anonymous) Corina Marti, Roger Helou
15.
Bohu sve?mu krali nebeske?mu
01:39
(Anonymous) Corina Marti, Marie Nishiyama
16.
Ich sah ein bild in blauwer weyt
01:54
(Anonymous) Corina Marti
17.
Gross senen
01:43
(Anonymous) Corina Marti, Roger Helou
18.
A vous sans aultre
01:34
(Antoine Busnoys) Corina Marti
19.
Verlangen tut mich krencken
02:25
(Anonymous) Corina Marti, Marie Nishiyama, Roger Helou
20.
Ich sachs eyns mols den lichten morgensterne
01:20
(Anonymous) Corina Marti, Marie Nishiyama
21.
Adyen matres belle (upon Gilles de Bins dit Binchois Adieu mes tres belles amours)
02:03
(Anonymous) Corina Marti, Roger Helou
22.
Redeuntes In la
02:46
(Anonymous) Corina Marti
23.
Parleregart/Ad huc semel (after Guillaume Du Fay Par le regart de vos beaulx yeulx)
02:38
(Anonymous) Corina Marti, Marie Nishiyama
24.
Qui vult messite (after Gilles de Bins dit Binchois Qui veut mesdire)
04:17
(Anonymous) Corina Marti, Roger Helou
25.
Praeambulum super sol
09:16
(Anonymous) Corina Marti, Marie Nishiyama, Roger Helou
show all tracks

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