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Manfred Cordes, Weser-Renaissance - Festive Hanseatic Music (2001)

Posted By: ArlegZ
Manfred Cordes, Weser-Renaissance - Festive Hanseatic Music (2001)

Manfred Cordes, Weser-Renaissance - Festive Hanseatic Music (2001)
EAC | FLAC | Image (Cue & Log) ~ 343 Mb | Total time: 74:00 | Scans included
Classical | Label: CPO | # 999 782-2 | Recorded: 2000

The term “Hanseatic” in this program titled Festive Hanseatic Music originates from the word Hansa, which simply means a company of merchants trading overseas. The selections here were mostly composed during the waning years of the so-called Hanseatic league–an alliance of primarily prosperous northern European cities that began in the 13th century and ended in the 17th. While commerce for the Hanseatic league may have been on the decline during this period, the quality of the works offered on this new CPO CD clearly gives the impression that its musical life was thriving.

Manfred Cordes, Weser-Renaissance Bremen - Hassler: Cantate Domino, Motets & Organ Works (2000)

Posted By: ArlegZ
Manfred Cordes, Weser-Renaissance Bremen - Hassler: Cantate Domino, Motets & Organ Works (2000)

Manfred Cordes, Weser-Renaissance Bremen - Hassler: Cantate Domino, Motets & Organ Works (2000)
EAC | FLAC | Image (Cue & Log) ~ 326 Mb | Total time: 72:42 | Scans included
Classical | Label: CPO | 999 723–2 | Recorded: 1999

Lovers of high-Renaissance polyphony will find much to enjoy with this new CPO release of works by the German composer Hans Leo Hassler (1564-1612). Like his contemporary and friend Giovanni Gabrieli, Hassler’s advanced use of polychoral techniques (which would acheive ultimate fruition in the settings of Heinrich Schütz) earned him great fame and recognition in his day. While it’s unlikely that Hassler ever heard his music performed in a program like this, one that intersperses various combinations of solo, instrumental, and choral works, the performances nevertheless provide a fascinating musical glimpse into the work of this rarely recorded master.

Manfred Cordes, Weser-Renaissance Bremen - Andrea Gabrieli: Madrigali e Canzoni (1999)

Posted By: ArlegZ
Manfred Cordes, Weser-Renaissance Bremen - Andrea Gabrieli: Madrigali e Canzoni (1999)

Manfred Cordes, Weser-Renaissance Bremen - Andrea Gabrieli: Madrigali e Canzoni (1999)
EAC | FLAC | Image (Cue & Log) ~ 290 Mb | Total time: 68:12 | Scans included
Classical | Label: CPO | 999 642–2 | Recorded: 1998

Andrea Gabrieli (c. 1510-1586) was one of the first native Venetians to hold the positions of Second and then First Organist in the basilica of San Marco. These were the highest musical appointments in the city, and their holders was expected to compose much of the music they played. In the event, like his predecessor Merulo and his successor (his nephew Giovanni Gabrieli), Andrea was adept at all musical forms, especially the new and up-to-date (very secular) madrigal, a sort of vocal chamber music. A splendid selection of these, interspersed with instrumental canzoni (in which one can see the influence he had on his more-famous nephew) that offer welcome contrast to the vocal music. Manfred Cordes leads Weser-Renaissance Bremen in pungent period-instrument performances.

Manfred Cordes, Weser-Renaissance Bremen - Leopold I: Il Sagrifizio d'Abramo, Miserere (2020)

Posted By: ArlegZ
Manfred Cordes, Weser-Renaissance Bremen - Leopold I: Il Sagrifizio d'Abramo, Miserere (2020)

Manfred Cordes, Weser-Renaissance Bremen - Leopold I: Il Sagrifizio d'Abramo, Miserere (2020)
EAC | FLAC | Image (Cue & Log) ~ 324 Mb | Total time: 76:00 | Scans included
Classical | Label: CPO | 555 113-2 | Recorded: 2016

Leopold I assigned music a central place in the cultural life of his times. He encouraged the production of music at his Vienna court and composed over 150 arias in Italian, some German-language oratorios and musical comedies, and many sacred works. His oratorio Il Sagrificio d’Abramo occupies a special place among Viennese Passion compositions because the figure of Isaac is described as a prefiguration of Christ. Since the librettist, Conte Caldana, places the sacrifice scene in the foreground in the first part of his text, an entirely new level of meaning is created. As a result, Ubidienza (Obedience) and Humanità (Humanity) become Abraham’s partners in dialogue from the very beginning.

Manfred Cordes, Weser-Renaissance - Philipp Dulichius: Sacred Motets (2012)

Posted By: ArlegZ
Manfred Cordes, Weser-Renaissance - Philipp Dulichius: Sacred Motets (2012)

Manfred Cordes, Weser-Renaissance - Philipp Dulichius: Sacred Motets (2012)
EAC | FLAC | Image (Cue & Log) ~ 307 Mb | Total time: 64:46 | Scans included
Classical | Label: CPO | 777 352-2 | Recorded: 2008

Dulichius composed 232 finely crafted and tonally beautiful motets. During his lifetime they circulated throughout Europe, but today they are hardly known at all. The present programme aims to offer a representative cross section of the composer’s oeuvre. He cultivated the style of contrapuntal stamp associated with Orlando di Lasso.

Manfred Cordes - Psalm Settings (2012)

Posted By: varrock
Manfred Cordes - Psalm Settings (2012)

Manfred Cordes - Psalm Settings (2012)
WEB FLAC (tracks) - 307 MB | Tracks: 7 | 70:24 min
Style: Classical | Label: CPO

Following Desprez's mass Ave Maris Stella, Bremen under Manfred Cordes now turns to a selection of psalm settings by the same composer.- Josquin Desprez, not only one of the first but also one of the most influential among them, assumed the task of Latin psalm composition and like many after him chose psalms with a first-person perspective.

Manfred Cordes - Praetorius: Easter Mass (2012)

Posted By: varrock
Manfred Cordes - Praetorius: Easter Mass (2012)

Manfred Cordes - Praetorius: Easter Mass (2012)
WEB FLAC (tracks+booklet) - 282 MB | Tracks: 16 | 68:18 min
Style: Classical | Label: CPO

This reconstructed Easter Mass consists exclusively of compositions by Praetorius following the Wolfenbüttel Church Constitution of 1569—a document that enables us to experience an Easter Mass in the order and with the parts that it would have celebrated during Praetorius’ term as chapel master. A finely elaborated concept! This album inaugurates the first of 4 albums in a new CPO series entitled Renaissance in the North.

Manfred Cordes - Hessen-Kassel: Sacred and Secular Works (2014)

Posted By: varrock
Manfred Cordes - Hessen-Kassel: Sacred and Secular Works (2014)

Manfred Cordes - Hessen-Kassel: Sacred and Secular Works (2014)
WEB FLAC (tracks+booklet) - 341 MB | Tracks: 29 | 71:12 min
Style: Classical | Label: CPO

Moritz von Hessen-Kassel, ""Maurice the Learned"", ruled Hessen-Kassel from 1592-1627. He had a broad interest in the arts and sciences and felt urged toward artistic expression. In his own compositions he initially imitated Franco-Flemish composers with whom he had become acquainted. The art-loving landgrave also developed his taste from works dedicated to him by Praetorius, Schütz and others. The WESER-RENAISSANCE ensemble led by Manfred Cordes here present some of his sacred and secular works.

Manfred Cordes - Michael: Musicalische Seelenlust (2017)

Posted By: varrock
Manfred Cordes - Michael: Musicalische Seelenlust (2017)

Manfred Cordes - Michael: Musicalische Seelenlust (2017)
WEB FLAC (tracks+booklet) - 321 MB | Tracks: 17 | 65:34 min
Style: Classical | Label: CPO

Tobias Michael succeeded Johann Hermann Schein as the Music Director at the St. Thomas School in Leipzig in 1631, and Sebastian Knüpfer was Michael’s successor in this post in 1657. Many different kinds of parallel developments occurred in the life stories of Schein and his direct successor Michael; the former exercised a model function in the latter’s music, and there were documented contacts involving collegial exchange. Michael’s extant oeuvre includes two volumes of motets and sacred concertos entitled Musicalische Seelenlust (1634-37), from which a selection is heard on this CD.

Manfred Cordes - Hanseatic Wedding Motets (2000)

Posted By: varrock
Manfred Cordes - Hanseatic Wedding Motets (2000)

Manfred Cordes - Hanseatic Wedding Motets (2000)
WEB FLAC (tracks+booklet) - 293 MB | Tracks: 20 | 60:48 min
Style: Classical | Label: CPO

The richest transmission of printed wedding compositions comes from the prosperous Hanseatic cities. From this rich trove we have recorded for the first time a marvelous selection of interpretations by Manfred Cordes and his WESER RENAISSANCE ensemble: motets, sacred concertos, and ensemble songs, true to the motto: 'The wedded state originated in an ancient land; it was instituted in Paradise by God’s command'.

Manfred Cordes - Festive Hanseatic Music (2002)

Posted By: varrock
Manfred Cordes - Festive Hanseatic Music (2002)

Manfred Cordes - Festive Hanseatic Music (2002)
WEB FLAC (tracks) - 356 MB | Tracks: 18 | 73:59 min
Style: Classical | Label: CPO

The term "Hanseatic" in this program titled Festive Hanseatic Music originates from the word Hansa, which simply means a company of merchants trading overseas. The selections here were mostly composed during the waning years of the so-called Hanseatic league–an alliance of primarily prosperous northern European cities that began in the 13th century and ended in the 17th. While commerce for the Hanseatic league may have been on the decline during this period, the quality of the works offered on this new CPO CD clearly gives the impression that its musical life was thriving.

Manfred Cordes, Weser-Renaissance - Camilla de Rossi: Il Sacrifizio di Abramo (1996)

Posted By: ArlegZ
Manfred Cordes, Weser-Renaissance - Camilla de Rossi: Il Sacrifizio di Abramo (1996)

Manfred Cordes, Weser-Renaissance - Camilla de Rossi: Il Sacrifizio di Abramo (1996)
EAC | FLAC | Image (Cue & Log) ~ 387 Mb | Total time: 74:56 | Scans included
Classical | Label: CPO | # 999 371-2 | Recorded: 1995

Camilla de Rossi, Romana was one of four women who composed oratorios in Vienna in the early 1700s. She likely had musical training on stringed instruments, as evidenced by the exploration of unique instrumental colors in her compositions. All of her oratorios were written for solo voices and orchestra, alternating throughout between recitatives and arias. Four of de Rossi’s oratorios, written for Holy Week and other church celebrations at the Imperial Chapel in Vienna under Emperor Joseph I, and one cantata, have survived. Her first oratorio, Santa Beatrice d'Este (1707), was commissioned by the Emperor and later performed in Perugia in 1712. Il Sacrifizio de Abramo was written for Holy Week in 1708 and employed a single reed woodwind, the chalumeau, for interesting effect.