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The manuscript Bologna Civico Musco Bibliografico Musicale MS Q15 contains a collection of works crucial to the understanding of 15th century music and its development. It represents a large number of composers and a wide range of musical forms, and being compiled in three stages (including some parts being removed, cut up and re-used) it demonstrates the changes in musical tastes over a period of around fifteen years up to c. 1440 at a time of major changes underway in composing styles.
The programme on this disc by Dufay, a composer who straddled two musical eras of the later Middle Ages and early Renaissance, is fully representative of such new developments. There are a selection of four of his isorhythmic motets (incidentally see the Huelgas Ensemble's Dufay: O Gemma Lux for a disc containing all thirteen of these, in a somewhat different experience to this current recording) which were composed over a period of a quarter of a century, including Dufay's innovation as well as his use of existing and earlier techniques. Two further motets abandoning the isorhythmic principle are also presented.
There are several Mass Ordinaries here too. The full cyclic Mass had not yet appeared at this time, but there were plenty of paired Gloria/Credo and Sanctus/Agnus Dei settings, of which there are one of each pairing here, plus a Kyrie (with accompanying appropriate plainchant) and another Gloria. Four voices were not yet standard - there were three and four voices pieces to which the fourth voice could be added or taken away according to taste or resources. The Gloria & Credo here appear to have been originally three voice pieces to which the fourth has been added. "We cannot assume", say the notes, "that the fourth voice was not also by Dufay" and thus the four voice versions are sung on this disc, with one voice per part. The Sanctus/Agnus Dei however are three voice and here sung with two voices per part.
Director Edward Wickham is honest enough to include in his notes mention of a scholarly article he came across after this recording was completed, suggesting emendations to the motets which "ought to be included in future editions and recordings" and not to continue such "mistakes" in the future. He does however state that these should have no great impact of the experience of the listener.
Wickham is partly experimental in following the suggestions of a couple of academics by interpreting signs usually determined to be rests as being "cantus coronatus", an improvised ornamentation of a style found early Italian Baroque but which "was presumably influenced by earlier Renaissance practice".
The Clerks' Group as always sing the repertoire with such assured familiarity with the pieces, delivering them with lucid sonic clarity. The booklet provides notes in English, French & German plus full Latin sung texts with translations in those languages.
The programme on this disc by Dufay, a composer who straddled two musical eras of the later Middle Ages and early Renaissance, is fully representative of such new developments. There are a selection of four of his isorhythmic motets (incidentally see the Huelgas Ensemble's Dufay: O Gemma Lux for a disc containing all thirteen of these, in a somewhat different experience to this current recording) which were composed over a period of a quarter of a century, including Dufay's innovation as well as his use of existing and earlier techniques. Two further motets abandoning the isorhythmic principle are also presented.
There are several Mass Ordinaries here too. The full cyclic Mass had not yet appeared at this time, but there were plenty of paired Gloria/Credo and Sanctus/Agnus Dei settings, of which there are one of each pairing here, plus a Kyrie (with accompanying appropriate plainchant) and another Gloria. Four voices were not yet standard - there were three and four voices pieces to which the fourth voice could be added or taken away according to taste or resources. The Gloria & Credo here appear to have been originally three voice pieces to which the fourth has been added. "We cannot assume", say the notes, "that the fourth voice was not also by Dufay" and thus the four voice versions are sung on this disc, with one voice per part. The Sanctus/Agnus Dei however are three voice and here sung with two voices per part.
Director Edward Wickham is honest enough to include in his notes mention of a scholarly article he came across after this recording was completed, suggesting emendations to the motets which "ought to be included in future editions and recordings" and not to continue such "mistakes" in the future. He does however state that these should have no great impact of the experience of the listener.
Wickham is partly experimental in following the suggestions of a couple of academics by interpreting signs usually determined to be rests as being "cantus coronatus", an improvised ornamentation of a style found early Italian Baroque but which "was presumably influenced by earlier Renaissance practice".
The Clerks' Group as always sing the repertoire with such assured familiarity with the pieces, delivering them with lucid sonic clarity. The booklet provides notes in English, French & German plus full Latin sung texts with translations in those languages.
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