Performers continue to explore the Renaissance choral repertory beyond the canon handed down by German musicology, and here the Viennese vocal sextet Cinquecento (which puts two singers on each of the top two lines of this four-voice music) has brought to light a major find. Jacob Regnart is compared in the booklet material to his sixteenth century contemporary Orlando di Lasso, and in general outlines the comparison holds -- Regnart, a Fleming in service of the Habsburg monarchy, had the same kind of international style ...
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Performers continue to explore the Renaissance choral repertory beyond the canon handed down by German musicology, and here the Viennese vocal sextet Cinquecento (which puts two singers on each of the top two lines of this four-voice music) has brought to light a major find. Jacob Regnart is compared in the booklet material to his sixteenth century contemporary Orlando di Lasso, and in general outlines the comparison holds -- Regnart, a Fleming in service of the Habsburg monarchy, had the same kind of international style Lassus did, writing Latin polyphony, German songs, and more. The a cappella music on this disc makes clear, however, that Regnart was no second-rate Lassus. He did not create vivid, madrigalian depictions of sacred texts the way Lassus did, but in place of those he forged a unique language that used old-style imitative polyphony as part of a larger expressive palette -- something like the way Mozart and Haydn used the old-fashioned fugue.The central work on the disc is a mass, the...
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Add this copy of Regnart: Missa Super Oeniades Nymphae to cart. $35.06, new condition, Sold by Revaluation Books rated 4.0 out of 5 stars, ships from Exeter, DEVON, UNITED KINGDOM, published 2007 by HYPERION RECORDS: CDA67640.
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