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Josquin Desprez: Se Congie Prens

Desprez,Josquin
Release Date: 11/19/2013 
Label:  Raum Klang   Catalog #: 3201   Spars Code: n/a 
Composer:  Josquin Des PrézGirolamo CavazzoniJohannes OckeghemMarco Antonio Cavazzoni,   ... 
Performer:  Joseph Rassam
Conductor:  Lucien Kandel
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 16 Mins. 

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Notes and Editorial Reviews



JOSQUIN DES PREZ Missa La sol fa re mi. Missa Gaudeamus Maurice Bourbon, cond; Métamorphoses; Biscantor! LIGIA LIDI 0202238-12 (65: 16)


JOSQUIN DES PREZ SE CONGIES PRENS: Chansons Lucien Kandel, dir; Ens Musica Nova RAUM KLANG 3201 (76:02 Read more Text and Translation)


When Jesse Rodin turned his doctoral dissertation on Josquin des Prez (c. 1455–1521) into a book, Josquin’s Rome (Oxford, 2012), he also recorded Music at the Sistine Chapel around 1490 ( Fanfare 37:1) in conjunction with it. That recording included one of the Masses written during Josquin’s sojourn in Rome from 1489 to 1494 and excerpts from two more. This new pair of Masses, also focused on Josquin’s time as a singer in the Sistine choir, does not duplicate anything on that disc. Missa La sol fa re mi is indeed one of the three Masses that Rodin discusses, but he relegates Missa Gaudeamus to sometime later. Bourbon’s annotator, Jacques Barbier, concedes that the dating of its sources, which are all later than Petrucci’s print of 1502, makes it difficult to establish the date of composition, but unlike Rodin, Bourbon places it in the Sistine period on this disc. The two Masses recorded here are the fourth and sixth versions, respectively, on record. In the past, both have been recorded superbly by Capella Pratensis under Rebecca Stewart, but neither of her discs may be easy to find. Missa La sol fa re mi was also outstanding on a Tallis Scholars disc (10:1). Hence this coupling would seem to be a useful addition to a short list of recommendable recordings. It follows Bourbon’s earlier coupling (just too late to mention in the summary just cited) of the pair of Masses on L’homme armé (34: 5), a disc that was well received at the time. Bourbon’s recent series, “Josquin l’Européen,” includes two other discs not received here for review, though oddly all four are on as many different labels.


Bourbon uses two of the vocal ensembles that he founded. Eight mixed voices form Métamorphoses, while six voices are added from the young training ensemble that he organized in 2005, Biscantor! (The punctuation is his own.) The group actually sounds like a smaller vocal ensemble than it is and renders these two Masses on a par with Rebecca Stewart’s interpretations. This is high praise indeed, for she achieves remarkable homogeneity of tone standing among her associates singing before a large choir book mounted on a stand. It may be noted that Bourbon’s Métamorphoses consisted of nine male voices in his earlier pair of Masses. It’s not clear to me why a director would not have a consistent view of a body of music, using either mixed or equal voices but not one type of ensemble after the other. Yet after all this, it hardly matters, for his pair of L’homme armé Masses was well received here, and these two Masses are also fine, barely faster than Stewart’s tempos, imperceptibly so in Missa Gaudeamus . While Stewart is no longer active, Peter Phillips (the other competitor in Missa La sol fa re mi ) is in the midst of a projected complete set of Masses, which also seems to be Bourbon’s purpose in the 10-disc project that his notes mention.


Of the 20 Masses formerly attributed to Josquin des Prez, two are no longer attributed to him and two more are dubious. (Jesse Rodin, above, page 32, also doubts the authenticity of Missa ad fugam , a work first recorded recently by Peter Phillips.) The other 16 are all well served on disc, sometimes by more than one fine version. The rundown in Fanfare 32:1 is still valid provided the list is completed by the first recording of Missa D’ung aultre amer, by David Skinner (33:1). Adding this new disc to the list of preferences is further indication that Josquin des Prez is now well served in his recorded Masses.


The composer’s chansons are approaching a similar, if not equal, position in the catalog. Lucien Kandel has recently given us a remarkable group of recordings, as a search of his name in the Fanfare Archive will demonstrate. In a slight departure from the pattern, he offers Josquin’s chansons for five and six voices, which were published in 1545 as the seventh book of chansons. These more often show up on records scattered in miscellaneous collections or mingled with his motets or a Mass (or both). The King’s Singers recorded a group of over a dozen chansons mingled with a few motets (17:5), while earlier the Ensemble Clément Janequin with lute accompaniment devoted a whole disc to the chansons (12:5). On the new disc, the 29 tracks include seven organ intabulations of songs, as well as the laments on Josquin’s death by Vinders and Gombert along with Ockeghem’s original Petite camusette , which precedes Josquin’s six-voice expansion of it. Of the 18 Josquin chansons on this disc, all but two are found on either or both of the two earlier discs. The Ensemble Clément Janequin already included most of the familiar chansons; of those missing, Baisiez moy is on this disc as well as on the King’s Singers.


The special nature of this collection is evident from the start. The notes explain in detail the principles of 15th-century French pronunciation, which were not elucidated in print until the next century. He relies on a 1529 treatise as being closer to the composer than most others. Another indication of the care taken here is the use of a newly restored Jacobin convent chapel in Beaune for its special acoustics. (I believe the descriptor refers to the Dominican order, not to the political club.) The songs of this new style are compared with the fixed forms for three voices in binary format that were practiced as late as the time of Ockeghem. Josquin’s songs belong to a later era. The notes preserve a birthdate of 1440 for the composer, one calculated from his supposed arrival in Milan in 1459, no longer accepted by his biographers. There is no question that Lucien Kandel turns everything he attempts into a record worth hearing. He is a talent to watch, and I can only wonder what he will do next. If you don’t have the earlier versions, this is not to be missed. If you do have some of these chansons on disc, give a listen to what Kandel does with them.


FANFARE: J. F. Weber
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Works on This Recording

1.
Se congié prens by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 3 Minutes 40 Secs. 
2.
Adieu, mes amours by Josquin Des Préz
Performer:  Joseph Rassam (Organ)
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 43 Secs. 
3.
Coeur langoreulx, song for 5 parts by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 14 Secs. 
4.
Vous ne l'aurez pas by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 19 Secs. 
5.
Faulte d'argent by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 50 Secs. 
6.
Canzon sopra Falt d'argens by Girolamo Cavazzoni
Performer:  Joseph Rassam (Organ)
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 37 Secs. 
7.
Douleur me bat by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 38 Secs. 
8.
S'elle m'amera je ne sçay by Johannes Ockeghem
Conductor:  Lucien Kandel
Period: Renaissance 
Written: 15th Century; Flanders, Belgium 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 42 Secs. 
9.
Petite camusette by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 59 Secs. 
10.
Tribulatio et angustia by Josquin Des Préz
Performer:  Joseph Rassam (Organ)
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 41 Secs. 
11.
Nymphes des bois "La déploration de Johannes Ockeghem" by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 4 Minutes 54 Secs. 
12.
N'esse point ung grant desplaisir by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 17 Secs. 
13.
Parfons regretz by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 45 Secs. 
14.
Plus nulz regretz, song for 4 parts by Josquin Des Préz
Performer:  Joseph Rassam (Organ)
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 36 Secs. 
15.
Plusieurs regretz by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 29 Secs. 
16.
Plaine de dueil by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 5 Secs. 
17.
Incessament livré suis a martire by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 29 Secs. 
18.
Plus ne regres by Marco Antonio Cavazzoni
Performer:  Joseph Rassam (Organ)
Conductor:  Lucien Kandel
Period: Renaissance 
Written: 16th Century; Italy 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 53 Secs. 
19.
Baisez moy, ma doulce amye by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 57 Secs. 
20.
En non saichant by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 28 Secs. 
21.
Pour souhaitter by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Romantic 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 44 Secs. 
22.
Allégez moy, doulce plaisant brunette by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 16 Secs. 
23.
Je me complains by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 12 Secs. 
24.
Nymphes, nappés by Josquin Des Préz
Conductor:  Lucien Kandel
Period: Renaissance 
Written: France 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 3 Minutes 6 Secs. 
25.
O mors inevitabilis (Lamentatio super morte Josquin des Pres) by Jerome (Jheronimus) Vinde
Conductor:  Lucien Kandel
Period: Renaissance 
Written: circa 1540 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 2 Minutes 37 Secs. 
26.
Recercar Terzo by Marco Antonio Cavazzoni
Performer:  Joseph Rassam (Organ)
Conductor:  Lucien Kandel
Period: Renaissance 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 4 Minutes 57 Secs. 
27.
Musae Jovis by Nicolas Gombert
Conductor:  Lucien Kandel
Period: Renaissance 
Written: 16th Century; Flanders, Belgium 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 5 Minutes 57 Secs. 
28.
Si vous n'avez aultre, chanson for 5 voices (6 voice version mistakenly attrib. to Josquin Desprez) by Jean Le Brung
Conductor:  Lucien Kandel
Period: Renaissance 
Written: 1545 
Venue:  Couvent des Jacobins, Beaune, France 
Length: 1 Minutes 42 Secs. 

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