Die sogenannte ,,Alte Musik-Szene" ist in einer noch vor ein paar Jahren für undenkbar gehaltenen Expansion begriffen. Fast jeden Tag werden neue Ensembles gegründet und neue ,,alte" Werke zum ersten Mal der stummen Vergangenheit entrissen. Wir leben - wie wohl nie zuvor - auf Du und Du mit unserer jahrhundertealten Musikgeschichte.

The blend between the voices is finely controlled, the tone mellow and the tuning spectacularly accurate, giving rise to an organ-like sonority that is genuinely thrilling,” wrote Gramophone magazine, praising the Hilliard Ensemble’s four singers, who excelled in an extraordinary variety of music over a 40-year career. This seven-CD collection extends from the Middle Ages to the Baroque, offering music by composers from England, France, Flanders and Germany.

As with Bach’s The Art of Fugue performed by the Berlin Saxophone Quartet (9990582), this is an alternate interpretation of some early music, this time it’s the music of the Renaissance. Music by composers such as Palestrina, Dowland, Gabrielli, Frescobaldi, Desprez and many more have been arranged for four saxophones.

Musical Games of the Renaissance: A Century of Musical Ingenuity, 1410-1510,” began as a musical complement to an exhibition of fifteenth- and sixteenth-century hand-painted playing cards mounted at The Met Cloisters in early 2016. On February 21 of that year, Pomerium first presented a public performance at The Cloisters of a program that included all the works recorded here. The performance was in the Fuentideña Chapel, which adjoins the room in which the playing cards were exhibited. The juxtaposition of cards and music made clear that Renaissance society’s fascination with games—well known from fourteenth-, fifteenth-, and sixteenth-century images of people playing cards, dice, and chess—also extended to musical composition.

Josquin Desprez, princeps musicorum, the prince of musicians, as his contemporaries called him, is best known today for his sacred works, the masses and motets, which have been widely performed and recorded. Surprisingly, his chansons have received little attention from performers, except for the pieces for five and six voices, printed after his death by the Antwerp publisher Tilman Susato in his seventh book of 1545. Doulce Mémoire has chosen to focus on the chansons for three and four voices, which are probably the earliest in the Hainault master’s output; with their diversity of language and themes (sometimes folk-derived), these songs constitute a varied programme that is at once serious and bawdy, a testament to the unequalled art of Josquin Desprez.

The 16 voices of the British choir Stile Antico have a reputation for perfect blend and for programs that go beyond the favorites generally essayed by the similarly sized British choir the Sixteen. That's what's in this collection of motets (and the chanson Mille regretz) united by their connection to the Hapsburg court. It may be surprising to see Thomas Tallis under that rubric, but as the informative booklet points out, he makes the cut due to the marriage of Philip II of Spain to Mary Tudor. As that suggests, and as might be expected from a collection of pieces spanning a century, the Hapsburg factor does little to unite these pieces, even if the Emperor Maximilian does get name-checked at one point. Instead, this is simply a collection of intriguing Renaissance works that are generally beyond the ones normally heard.

The Schola Cantorum in Basel has long championed the imaginative exploration of early music, creating expertly-researched programmes and encouraging superbly-performed interpretations with a close attention also to the most appropriate recording conditions. Such was the case with Amours amours amours, a disc of lute duos starting from music composed in the fifteenth century, recorded in 2001 by Karl-Ernst Schröder and Crawford Young.

The Gesualdo Six and director Owain Park (also the group's bass) have expanded their mission quite a bit beyond performances of music by their namesake, recording Renaissance polyphony from various countries. Their precise, close-up sound is instantly appealing and arguably more emotionally involving than the classic cathedral choir recordings of repertory like that on this 2021 release. A specific aspect of Josquin's legacy is explored here: music of the composers who worked after Josquin at the court of the Este family in Ferrara. The program begins with a motet by Ockeghem, possibly Josquin's teacher, and the inspiration for Josquin's magnificent ode Nymphes des bois, memorializing Ockeghem.

Jérôme Lejeune continues his History of Music series with this boxed set devoted to the Renaissance. The next volume in the series after Flemish Polyphony (RIC 102), this set explores the music of the 16th century from Josquin Desprez to Roland de Lassus. After all of the various turnings that music took during the Middle Ages, the music of the Renaissance seems to be a first step towards a common European musical style. Josquin Desprez’s example was followed by every composer in every part of Europe and in every musical genre, including the Mass setting, the motet and all of the various new types of solo song. Instrumental music was also to develop considerably from the beginning of the 16th century onwards.

Since founding the group in 1979, Dominique Vellard has spent 35 years inspiring the Ensemble Gilles Binchois to create some of the essential contributions in the field of medieval music and the Renaissance performance. This new recording gives us the opportunity to discover the vocal music of composer Heinrich Isaac, whose brilliant compositions are both generous and captivating. Vellard leads the Ensemble Gilles Binchois in Isaac's Missa Virgo Prudentissima, performed using a manuscript preserved in the Dome of Florence.