Cantigas

Track Listings

1. Uirapurú, (Waldemar Henrique)

2. Manha - Nungára, (Waldemar Henrique)

3. Tamba Tajá, (Waldemar Henrique)

4. Rolinha, (Waldemar Henrique)

5. Cobra Grande, (Waldemar Henrique)

6. Entrentanto, Eu Canto, (Waldemar Henrique)

7. Morena, Eu Canto, (Waldemar Henrique)

8. Hei de Morrer, (Waldemar Henrique)

9. Côco Peneruê, (Waldemar Henrique)

10. Trem do Alagôas, (Waldemar Henrique)

11. Maracatú, (Waldemar Henrique)

12. Canção Nômade, (Waldemar Henrique)

13. Abaluaiê, (Waldemar Henrique)

14. Canção Do Poeta Século XVIII, (Heitor Villa-Lobos)

15. Nesta Rua, (Heitor Villa-Lobos)

16. Vióla Quebrada, (Heitor Villa-Lobos)

17. Azulão, (Jaime Ovale)

18. Dentro da Noite, (Lorenzo Fernândez)

19. Cantigas, (Alberto Nepomuceno)

20. Cradle Song, (Xavier Montsalvatge)

See all 21 tracks on this disc

Editorial Reviews
David Stone, Classical Music UK, July 4, 2002
A beautiful and evocative collection of Brazilian songs.

Album Description
In addition to thirteen songs by Waldemar Henrique, Cantigas includes songs by his mentor and advisor Heitor Villa-Lobos (1887 – 1959), probably the best known of all Brazilian composers.

Like Waldemar Henrique, Jaime Ovale (1894 – 1955) was born in Belém in the Amazonian state of Pará. He worked closely with the Brazilian poet Manuel Bandeira and wrote a number of significant works for the Oboe.

Lorenzo Fernandez (1897 – 1948) was born in Rio de Janerio and studied at the National Institute of Music with Francisco Braga, Enrique Oswald and Frederico Birth. A great admirer of the work of Alberto Nepomuceno, he also wrote for opera and symphony orchestra, the latter being the artistic vehicle for perhaps his masterwork Symphonic Variations.

Alberto Nepomuceno (1864 – 1920) was born in Cortaleza and settled in Rio de Janeiro. He played a major role in the development of musical nationalism in Brazil and his vocal works include over fifty songs with Portuguese texts.

Spanish composer and critic Xavier Montsalvatge was born in Gerona in 1912 and studied at the Barcelona Conservatory with Millet, Morera, Costa and Pahissa. His work in the 1940s and 50s included simple operas and songs for children.

Brazilian Soprano Annette Celine studied in Milan with Mercedes Llopart and Elvira de Hidalgo and made her European debut at the Teatro Reggio di Parma in a programme of Mozart arias.

In a distinguished career, she has received critical acclaim performing to thousands, with great orchestras, conductors and opera companies and at many the World’s finest venues.

Her love for the music of Brazilian composers such as Villa-Lobos and Henrique has led to her becoming one of the leading performers and interpreters of 20th Century Brazilian song.

Tracks:

Two Canticles
7th Royal Estampie
Le Ductia
Salterello
Danse
5th Royal Estampie
Royal Danse
Lonc le rieu de la fontaine-Regnat
Tant Con Je Vivrai
Or est Baiars en Hure!
Canzona la Bernardino
Fantasia
Fantasia For Two Basses
If Love Now Reigned
En vray amoure
Torre de la nina - Meu Naranjedo
'Pavana y Gallarda D'Angleterre'
Suite For Five Instruments
La Alfonsina
Canon ad Nonam
Gallicum Quoddam
Holla Hoi
Basse Danse And Tourdion
Gavotte And Branle Gai
Der Fluyten Lust-Hof: Boffons
Variations On A Figured Bass
Sonata In D Minor
Les Delices - Le Champetre
Le Rossignol en Amour
Noel VII

Customer Reviews:

GREAT!!! Just wonderful. (if you like ancient music).......2006-12-18

I was not sure about this, but saw another 5 star rating, and decided to take the gamble. This is a really nice CD. It has all sizes of recorders played, and lots of various percussion instruments of the day. This has lots of happy ancient dance songs and more solumn sounding but beautiful peices. The cover says the group is from Argentina. I am now looking for more of their CDs.

Excellent overview.......2000-08-18

I was introduced to this collection at an institute of The California Arts Project which focused on teaching beginning recorder. This CD has an excellent variety...using the different types of recorders, and music of different periods. This CD is good for developing listening skills and for appreciating the importance of the recorder throughout musical history.

Alfonso X "El Sabio": Cantigas de Santa Maria

Average customer rating:

One of the Gems of the Naxos Catalog
Beatiful religious music well performed
Typically good recording by Unicorn

Alfonso X "El Sabio": Cantigas de Santa Maria

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000144Y
Release Date: 1995-07-18

Tracks:

The Cantigas De Santa Maria: Prologo
The Cantigas De Santa Maria: Por nos de dulta tirar
The Cantigas De Santa Maria: Instrumental
The Cantigas De Santa Maria: Quen serve Santa Maria
The Cantigas De Santa Maria: Rosa das rosas
The Cantigas De Santa Maria: Que por al non devess
The Cantigas De Santa Maria: Entre Av'e Eva
The Cantigas De Santa Maria: Instrumental
The Cantigas De Santa Maria: Virgen, madre gloriosa
The Cantigas De Santa Maria: Instrumental
The Cantigas De Santa Maria: A Virgen, que de Deus madre
The Cantigas De Santa Maria: Aquel que de volontade
The Cantigas De Santa Maria: Epilogo

Customer Reviews:

One of the Gems of the Naxos Catalog.......2005-12-26

I remeber the first time I played this CD it captivated me from the very first note and gripped my attention all the way to the very end. The wildness of the Spanish mysticism expressed in this Marian music from 13th century Iberian peninsula recorded here exerts a hypnotic magnetism that is thoroughly engrossing.The music reflects the influence of troubadours but given the Eastern Orthodox origins of the cult of the Virgin Mary, Orthodox chant influences likely exists as perhaps do Sephardic and Muslim influences given that this region was a great cultural melting pot in its day. As usual, Ensemble Unicorn brings tremendous performing energy into the musical 're-enactment' so to speak, with an approach as far removed from the staid and academic you could possibly ask for.

As usual with Ensemble Unicorn recordings the sound quality puts that of many a major recording to utter shame. To be able to buy an audiophile grade recording at this represents a rediculous bargain indeed. That said, it is for the music you should buy this highly recommendable CD and one of the gems of the Naxos catalogue.

Beatiful religious music well performed.......2002-12-06

The Spanish King, Alfonso X, compiled the Cantigas of Santa Maria which were published into exquisitely decorated manuscripts. The songs celebrate different aspects of the virgin Mary's life and are meant as prayers and meditations.
This CD contains only a few of the over 300 songs that were complied and offers a wide variety of musical styles which are exuberantly played by the Ensemble Unicorn---which has recorded many Early Music CDs for Naxos.
As usual the Naxos program notes are excellent and offer a novice listener a better understanding of the music and the time it was composed.
In the CDs which were compiled earlier in their history, Naxos does not include the words to vocal pieces. It would be better if the words were included, but I think the performance itself deserves a top rating,

Typically good recording by Unicorn.......2001-08-29

A friend of mine commented that a male soprano is an acquired taste. The countertenor on this disc sings with a lot of conviction, and the alternation with the rich baritone make it very listenable. The instrumental improvisations get a little wild -- typical for this ensemble -- but they never sound completely improbable. These versions of Cantigas 18 and 295 in particular are possibly the best out there, and definitely the most fun.

Average customer rating:

Fantastic Cello Playing!
Two of Lindberg's best pieces together with two not so successful
Stunners from Lindberg et al.
stunning neoromanticism
Thrilling Revelations

Music of Magnus Lindberg
Salonen , and Pco
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000066SKA
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Amazon.com

Four premier recordings add up to a generous dose of Magnus Lindberg's orchestral mastery, served up in lovingly prepared, magnificently engineered performances by the composer's friend and longtime champion Esa-Pekka Salonen. Within just a few minutes into Cantigas, you're swept up by swirling pools of color chords, ticklish brass flurries both muted and open, and chattering, petulant rhythmic figures that bounce off a pliable canvas of dense sonorities. Imagine Respighi's Pines of Rome Swiss-cheesed through a kaleidoscope, and you'll get the idea. Parada reveals a more austere side of Lindberg's protean talents, while the more sparely scored Cello Concerto showcases Anssi Karttunen's virtuosity. He deftly tosses off Lindberg's zigzagging melodic lines (which the orchestral members quickly answer or comment upon) and sails through a cadenza jam-packed with twitchy pizzicato pellets, buzz saw low notes, and suspenseful silences. Lastly, Fresco is a mega-study about loud and soft, laid out in huge sound blocks that effortlessly glide from gentle to aggressive. Booklet notes include clear, insightful, and informative composer comments. --Jed Distler

Customer Reviews:

Fantastic Cello Playing!.......2007-04-25

Enough has been written in the other reviews, particularly the succinct editorial review, to give you an idea of this music,yet nobody seems to have said explicitly that you will ENJOY it, so I will. The Cello Concerto is deeply layered with compositional ideas, worth hearing many times, but it's also transparent and highly colored with virtuosic cello passages. To me this seems like "the best of both worlds" -- a composition that's musically profound but not pedantic, flashy but not trite.

Two of Lindberg's best pieces together with two not so successful.......2005-09-06

THE MUSIC OF MAGNUS LINDBERG is a Sony collection of four pieces by this great contemporary Finnish composer performed by the orchestra Philharmonia with Lindberg's old school chum Esa-Pekka Salonen conducting. Though Lindberg is still concerned with harmonies as he has been since the late 1980s, the pieces here inaugrate new techniques that set them apart from most of these earlier harmonic works. Two of the pieces here are thrilling, while the other two are fairly disappointed, so I am of mixed opinions about this disc.

"Cantigas" (1999) might be the finest piece Lindberg has written to date. While not a concerto, it gives an important role to the oboe, performed here by Christopher O'Neal. Based around the simple interval of a fifth, the piece marks a new phase in Lindberg's composition where pieces are more clearly broken into sections than before, allowing some room to breathe among the dense harmonies that Lindberg is known for. The five sections of "Cantigas" are cycles of increasing and decreasing tempos, and the music is very energetic and rhythmically compelling; Anssi Kartunnen writes that the room in which Lindberg composed the piece was littered with "empty instant espresso bags, energy drink cans, vitamin pill jars..." which explains a lot. I should note that "Cantigas" is a part of a "symphonic triptych" with "Feria" (1997) and "Fresco".

The "Cello Concerto" (1997-1999) was written for Anssi Karttunen, who performs here. Like "Cantigas", this piece is part of Lindberg's new technique of sectioning, and it is in five movements played without a break, each one of them divided into smaller sections. The concerto is similar to his early piece for cello and orchestra "Zona" in the use of a chaconne technique of continual variations. In each movement, the various sections have the same harmonic structure, which is reworked over the course of the movement. Overall, the piece makes a transition from the avant-garde to romanticism, with the cadenza serving as the bridge. The piece is representative of how Lindberg uses the concerto genre: harmonic material for the orchestra is created from ideas generated by the soloist, as when the minor third stated by the cello at the beginning comes to permeate the entire orchestra. This is a very entertaining piece, and ranks with "Cantigas" at the top of his work so far.

"Parada" (2001) came from an attempt to write a genuinely slow piece, since so much of Lindberg's oeuvre is made up of blazingly fast music. It consists of two layers of thematic material, one being a normal melodic line, and the other very, very slow-moving sounds, that don't meet each other. "Fresco" (1997) is similar in its exploration of non-intersecting contrasts, in this case inspired by the Balinese gamelan's "loud" outdoor and "soft" indoor styles of playing, but is much longer and sectioned. While theoretically interesting, the two pieces fail to excite like almost everything else Lindberg has written.

This disc is exquisitely engineered--the sound of the percussion in "Cantigas" is especially splendid. The liner notes contain a fine interview with Lindberg that helps to grasp the structure of the works. It is a pity that the material here is not entirely captivating. If you've never heard Lindberg's work before, try the more consistent Ondine disc with "Feria", "Corrente II", and "Arena" as an introduction. Fans of the composer will nonetheless want to pick this one up sooner or later since "Cantigas" and "Cello Concerto" are very worth hearing.

Stunners from Lindberg et al........2004-10-18

Sony Classical's recent release highlights three talented Finns: composer Magnus Lindberg, conductor Esa-Pekka Salonen, and cellist Anssi Kartunnen. The disc confirms Lindberg's place among those few composers who successfully combine innovation and communication, drawing the audience in to new sounds and techniques that other composers just aren't able to combine in as immediately attractive a way.

Production on the disc is excellent. The liner notes feature an informative, somewhat technical interview with the composer that touches upon important structural aspects of each work. Martin Anderson nails Lindberg's style when he writes: "...this surface busy-ness and longer-term harmonic evolution seem to exist as two parallel worlds - almost as if you have to look underneath the exterior of the music to see what's really going on." The fact that Lindberg creates such a gorgeous exterior out of such rigorous and intellectual planning is stunning. Sound quality is demonstration-worthy, the loudest, most complex counterpoint springing vibrantly to life (this is also, no doubt, due to the virtuosity of the Philharmonia and the dedication and ability of Salonen in music like this).

The first work on the disc, "Cantigas", was composed for the Cleveland Orchestra. The tempo relationships, intervallic content (focusing upon that very "tonal" interval, the perfect fifth) and "fundamental, open function of the bass" combine to make the piece instantly accessible. The piece is typically busy, in Lindberg's style from Corrente and other works from the 90s, and several listens reveal fascinating details and interconnections. It's amazing how virtuosic some of the writing is, and the wind and brass of the Philharmonia have a heyday. My jaw dropped several times. The fantastic oboe soloist, Christopher O'Neal, is justly credited on the album cover, and his solos that introduce the "A" material at the beginning and return a little over halfway through the work would serve as excellent introductory guide posts to someone uninitiated to contemporary music. Similarly, when the oboe's opening, perfect fifth idea returns in the brass (after having been skewed throughout) at around 15:50, one feels a wonderful sense of harmonic arrival, similar to the feeling one gets at the recapitulation of a sonata-allegro movement. From 17:00 on, it's a roller-coaster ride, the brass punctuating wild bell-like chords, the woodwinds chattering away, and the bass line slowly prodding the entire ensemble to resolve on a gorgeously managed major triad, an arrival which the composer compares to the modulation at the end of Ravel's Bolero. The quiet ending is, admittedly, a bit of a let-down--I would have liked more time for the music to unwind.

The Cello Concerto begins with a catalogue of technique--bow pressure, harmonics, pizzicati, glissandi, etc. The orchestra gradually picks up on the harmonies implied by the soloist and the one-movement work is off. The melodic and harmonic material seems a bit harder to grasp than the very basic building blocks of "Cantigas", but the way the orchestra tends to follow and imitate the material the cello just introduced is easy to discern. The bulk of the opening of the work is gestural, with material introduced by the soloist and then developed by the orchestra beneath new material. A stratspheric interaction between high orchestral instruments, metallic percussion and celloharmonics (around 10:00) initiates a crazy sequence of events that evaporates into the bizarre cadenza. Beginning with fragmentedgestures, the cellist is joined by the orchestra in violent outbursts and the closing third of the work returns to the opening activity level, adding a beautiful lyrical melody here and there. The falling gestures that dominate the final 5 minutes of the work develop into downward glissandi from the soloist that close the work. Kartunnen's large, dark tone and flawless technique are shown in every light throughout the work. The recording balance is very natural, with the cello receding from the spotlight when necessary.

"Parada", the briefest work on the disc (12:38) is also the least "busy". Lindberg says that he tried to "make a genuinely slow-moving thing", and the harmonic motion is definitely slowed down compared to the other works on the disc, but busy-ness seems to be native to his style, and it remains here. The opening minutes of the work feature fairly anonymous chorale-like writing, but after a morph to the quick, busy second half, we are back in familiar territory. The activity subsides after a few minutes and we return to the chorale-like material. The less busy moments seemed very self-conscious and out of Lindberg's idiom to me, especially in the second half of the work where he seems to try to make up for his characteristic filigree with percussion activity. The work is the least original on the disc, but still has its interesting moments.

"Fresco" sticks to one idea throughout, "strong contrasts and clashes between chamber-like or lighter-textured music and almost harsh pillars of sound-blocks." These two musical worlds combine in every imaginable way throughout the 21 minute work and again put the orchestra to a very virtuosic test. Lindberg writesthat "there is basically no solution between these contrasts", and this may prove troublesome to some listeners, as there is no traditional conflict-resolution relationship to the work. It's definitely the hardest nut to crack on the disc, harkening back to the uncompromising world of "Kraft". One can't help but marvel at the athletics the orchestra goes through, but it would take many attentive listenings to really "figure out" this piece.

stunning neoromanticism.......2002-09-28

This is an outstanding recording, a great major label showcase for Lindberg's forceful orchestral style, taking everything he learned as part of the avant-garde and applying it to works that are mainly tonal, with complex harmonies and internal development as rigorous as Beethoven. My first impression of this music was that it was a sort of "generic modernism," but with repeated listening I realized that what led to this impression was the blending of romantic with modern elements. Apparently Lutoslawski was an influence, which is interesting because the Polish composer incorporated modern influences into his more traditional approach, whereas with Lindberg it is the opposite, incorporating tonality into his modernism. Elliot Carter seems to me to be an influence as well, as there is a muscular and dynamic progression in every piece, and Sibelius is no doubt a factor as well. Lindberg began as a resolutely avant composer with his first works of the early 1980s. After a retreat in the late '80s, he returned with a new sound, one he has pursued ever since. Some may lament this as a turn to the past, but the avant-garde is way out ahead of most listeners, and Lindberg is now meeting them more than half-way with music that is still complex and challenging.

Absolutely brilliant! One of the best classical recordings of the year, and a composer for our time.

Thrilling Revelations.......2002-09-01

To hear the music of Magnus Lindberg performed live, in a good concert hall, call be overwhelming - in the best sense of the word. His works contain such brilliance of ideas, pairing of orchestral choirs, sudden contrasts and evolving rhythms and colors of sound that grasping them intellectually would at first appear to be an insurmountable task. But give yourself over to the sensualist side of your brain and the experience becomes luxurious. These four works here recorded in beautifully rich sonics are all premiere recodings, and it will be a long time before anyone will match Esa-Pekka Salonen and the Philharmonia results. One may wish he had at hand his own LA Phil which has demonstrated an affinity for this composer's work, but the recording is successful all the same. At this point, for this listener, the all orchestral pieces work more successfully than the cello concerto, but that is quibbling. The incredible conversations between loud and soft in the 'Fresco', the endless spinning out of fresh thoughts in the 'Cantigas', and the multilayered beauties of 'Parada' all beg repeated hearings. All this from a composer born in 1958! Kudos to all concerned.

Average customer rating:

SEMI-SEPHARDIC HEAVEN
Brilliant

Music for Alfonso the Wise

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Muit, Amar
Ontre Todalas
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Todo Los Santos
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Bailemos Nos Ja Todas Tres
Dansa: Bailemos Nos Ja Todas Tres
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Customer Reviews:

SEMI-SEPHARDIC HEAVEN.......2007-02-15

This record is new to me, as is most music of this type, from this era. I've a taste for middle-eastern music, both Islamic and otherwise -- including Hindu -- and am wild about most Hungarian and Slavic music. The frankly Sephardic music I've heard I find rapturous and profoundly satisfying. This music of EL SABIO fits into that category, easily, and the musicality of the performers is distinctive in the best way.

A new favorite has appeared on my shelves.

Brilliant.......2006-08-02

This compilation is dedicated to the works and compositions of Alfonso X, 13th century King of Castile and Leon, and a Renaissance man long before the concept of Renaissance had even been conceived. Alfonso was responsible for a tremendous period of advancement in learning in medieval Europe, and was a remarkable scholar and composer in his own right. At a time when the Bishop of Paris enjoyed a library of only four volumes, Alfonso had sponsored a library in Castile with over 30,000, collecting the works Christians, Muslims and Jews into one massive complex devoted to learning and freedom of thought. In this latter vein, Alfonso was also a competent astrologer, and, some say, adept of the esoteric Art. Irrespective of this, he was ill favored by the Church, predominantly due to his tolerance of the Muslims and Jews, with whom the Christian residents of Castile lived in harmony in contrast to the balance of the known world of the day.

DuFay Collective are, in a word, brilliant, basically the Pink Martini of the music of the period. Their music never fails to transport you back in time. In this collaboration with the 13th century Castilian King, they have produced a phenomenal, almost mystical album, whose compositions are highly reminiscent of those of Hildegard von Bingen, and the evocative and mystical harmony of the album Diadema, by Vox.

Of all of the works by DuFay to date, this is, by far, my favorite. It takes the mind and soul to other places. It is truly a masterpiece, and a collaborative effort across 700 years between an enlightened King at the end of the Dark Ages, and master performers of medieval music in modern times.

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Brava Berganza! A Birthday Tribute

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The Way of the Pilgrim: Medieval Songs of Travel

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Fabulous Music!
Clever and exotic arrangements by the Toronto Consort

The Way of the Pilgrim: Medieval Songs of Travel
Carmina Burana Anonymous , Trouveres Anonymous , Oswald von Wolkenstein , Huon de St. Quentin , Walther von der Vogelweide , Chardon de Croisilles , Llibre Vermell de Montserrat Anonymous , David Fallis , and Toronto Consort
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Seigneurs, Sachiez
Ben Pode Santa Maria
Chevalier, Mult Estes Guariz
Quen Quer Que Na Virgen Fia
Clauso Chronos
Virent Prata
Bonum Est Confidere
Bache Bene Venies
Es Fuegt Sich
Jurusalem Se Plaint
Nu Alerst
Dame Einsi Est
Li Departirs
Los Set Gotxs Recomptarem

Customer Reviews:

Fabulous Music!.......2003-11-21

If you are a fan of early music you will LOVE the Toronto Consort. Actually, they're the group that made me a fan in the first place - with this CD!!! Since then I have puchased many more of their albums and seen them live. Excellent!

Clever and exotic arrangements by the Toronto Consort.......2002-11-25

The wanderings of troubadours and minnesingers, the crusades, and pilgrimages to sites such as Rome and Santiago de Compostela--all these journeys are touched on in this collection, and the musical flavors of French and German music blend with those of Spain and the Near East to produce fun, feel-good music that surely would have cheered any weary traveler. The spirited Toronto Consort is joined by guests Ben Grossman (percussion, ud and organistrum) and Katherine Hill (vocals, vielle and rebec) as well as former member Alison Mackay (vielle). One of the great things about medieval monophonic music is hearing how different ensembles choose to arrange and perform the same pieces. Such variety was surely common in an age where there were no recordings and rarely any scores, so that each sounding of a piece was live, unique and subject to interpretation. To listen to and compare other recordings of medieval pilgrimage music, check out "Llibre Vermell" by Sarband, "The Black Madonna: Pilgrim Songs from the Monastery of Montserrat" by Ensemble Unicorn, and "On the Way to Bethlehem: Music of the Medieval Pilgrim" by Ensemble Unicorn and Ensemble Oni Wytars. For more versions of medieval Spanish music, try "Kalenda Maya" by the group of the same name, "Alfonso X, "El Sabio": Cantigas de Santa Maria" by Ensemble Unicorn, and "Cantigas de Amigo" by Ensemble Alcatraz with Kitka and Angelorum.

Alfonso X el Sabio: Cantigas de Santa Maria, Strela do dia

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Les tres riches heures du Moyen Age: A Medieval Journey

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Excellent, but What Are the Words?
outstanding collection
Awesome
7.5 hours of superb music at a most reasonable price.

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Perotin / The Hilliard Ensemble

ASIN: B00000074R
Release Date: 1995-11-21

Tracks:

1. By Way Of A Preamble: Byzantine Chant: Alleluia - Tropaire de la venue de l'epoux (Lundi Saint) - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint: Version arabe - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint: Version grecque - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Byzantine Chant: Exapostilarion de l'Office de Mardi Saint - Version arabe - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Chants sacres Melchites (IV siecle): Hymne a la Vierge (Liturgie grecque de saint Jean Chrysostome) - MEDIEVAL JOURNEY
1. By Way Of A Preamble: Chants sacres Melchites (IV siecle): Office de la Nativite de la Mere de Dieu (Grand Canon de saint Jean Damascene) - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Chants de l'Eglise de Milanaise: Psaume: 'Tecum principium in die virtutis tue'' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Chants de l'Eglise de Milanaise: Responsorium: 'Congratulamini mihi omnes qui diligitis Dominum'' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Le Chant Beneventain: Communio: 'Qui manducaverit' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Les Chants de l'Eglise de Rome (VII-VIII siecles): Introit 'Resurrexi' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Les Chants de l'Eglise de Rome (VII-VIII siecles): Office de l'Adoration de la Croix; Improperes: 'Agios o Theos, Sanctus Deus' - MEDIEVAL JOURNEY
2. Monody Before Gregorian Chant: Le Chant Mozarabe: Cathedrale de Tolded: Sacrificium 'Vox clamantis' - MEDIEVAL JOURNEY

Tracks:

1. Gallican Chant: Versus de l'eveque Theodulfe d'Orleans: 'Gloria laus' - Deller Consort
1. Gallican Chant: Semaine Sainte: repons du 7 mode: 'Tenebrae factae sunt' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Introit: 'Requiem aeternam' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Kyrie eleison - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Graduel 'Requiem aeternam' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Trait: 'Absolve, Domine' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Sequence: 'Dies irae' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Offertoire: 'Domine Jesu Christe' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Sanctus - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Agnus Dei - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Communion: 'Lux aeterna' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Repons: 'Libera me' - Deller Consort
2. An Immense Corpus: Missa da Requiem Gregorienne: Antienne: 'In paradisum' - Deller Consort
2. An Immense Corpus: Planctus Hugonis Abbatis: 'Hug dulce nomen' pour la mort d'Hugues, fils de Charlemagne, en 844 - Deller Consort
3. The Aquitaine Tradition, Or The Problem Of Notation: Antiphona ad processionem: 'O beata infantia' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Introitus cum tropis: 'Quam queritis in praesepe - Puer natus est' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Alleluja 'Dies sanctificatus' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Communio cum tropis: 'Desinat esse dolor - Viderunt Omnes' - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Alleluia cum tropis in octava - Schola Hungarica
3. The Aquitaine Tradition, Or The Problem Of Notation: Cantio ad laudem cantoris: 'Annus novus in gaudio' - Schola Hungarica
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: Virtute multa - Ensemble Organum
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: In timore Dei - Ensemble Organum
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: 'Testamentum eternum' - Ensemble Organum
4. The Cistercian Exception: Repons de Matines pour la fete de Saint Bernard: 'Dedit Dominus confessionem sancto suo' - Ensemble Organum

Tracks:

The Art Of The Troubadours: A l'entrada del temps clar - MEDIEVAL JOURNEY
The Art Of The Troubadours: Vida - MEDIEVAL JOURNEY
The Art Of The Troubadours: Quand vei la laudeta mover - MEDIEVAL JOURNEY
The Art Of The Troubadours: Vida - MEDIEVAL JOURNEY
The Art Of The Troubadours: Sitot me soi - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 77 (Flute a bec et percussion) - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Prologue: 'Porque Trobar' - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 37 (Flute de berger et zarb) - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 7: 'Santa Maria leva' - MEDIEVAL JOURNEY
Cantigas de Santa Maria: Cantiga 100: 'Santa Maria, strela do dia' - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Bacche, bene venies' (CB 200) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'In taberna quando sumus' (CB 196) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Axe Phebus aureo' (CB 71) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Deduc Syon, uberrimas' (CB 34) - MEDIEVAL JOURNEY
Carmina Burana (XIII siecle): 'Flete flenda' (CB 5) - MEDIEVAL JOURNEY
Les Minnesanger: 'Sinc an, guldin huon!' - MEDIEVAL JOURNEY
Les Minnesanger: Ich lobe ein wip (Instr.) - MEDIEVAL JOURNEY
Les Minnesanger: 'Owe dirre not' - MEDIEVAL JOURNEY
Les Minnesanger: Wol auff, gesell (Instr.) - MEDIEVAL JOURNEY

Tracks:

1. 12th Century Polyphony In Aquitaine: 'Domine labia mea aperies' - 'Deus in adjutorium meum' (Choeur) - Ensemble Organum
1. 12th Century Polyphony In Aquitaine: Versus: 'O primus homo coruit' (a 2 voix) - Ensemble Organum
1. 12th Century Polyphony In Aquitaine: Versus: 'Veri solis radium' (a 2 voix) - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Introit trope: 'Puer natus est' - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Kyrie - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Graduel: 'Viderunt omnes' - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Sanctus (organum) - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Agnus Dei - Ensemble Organum
2. The Notre-Dame School: Messe du Jour de noel (XIII siecle) - Excerpts: Ite missa est - Deo Gratias - Ensemble Organum
3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Kyrie 'Orbis factor' - Ensemble Organum
3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Credo in unum Deum - Ensemble Organum
3. The Gradual Of Eleanor Of Brittany - A Particular Practice Of Polyphony: Sequence: 'Res est admirabilis' - Ensemble Organum
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Plus bele que flor - Quant revient - L'autrier joer - Flos Filius - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Puisque bele dame m'eime - Flos Filius - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Celui en qui - La bele estoile - La bele, en qui - Iohanne - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Amor potest - Ad amorem sequitur - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: S'on me regarde - Prennes i garde - He, mi enfant - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: Qui d'amour se plaint - Lux Magna - Anonymous 4
4. The Motets From The Montpellier Codex, Jewels Of The Ars Antiqua: On doit fin(e) Amor - La biaute - In Seculum - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Kyrie: 'Kyria christifera' - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Gloria - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Sanctus - Benedictus - Anonymous 4
5. An English Ladymass In Salisbury Cathedral (13th Century): Agnus Dei: 'Virtute numinis' - Anonymous 4

Tracks:

1. Le Roman de Fauvel (1310-1316): In mari miserie - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Vers 149 a 168 - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Ad solitum vomitum - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Porchier miex estre. Vers 250 a 280 - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): J'ai fait nouveletement - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Quoniam secta latronum - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Vers 5905-5926 - Mario, virgo viginum - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Vers 6023-6050 - Clemencic Consort
1. Le Roman de Fauvel (1310-1316): Quare fremuerunt - Clemencic Consort
2. La Messe de Tournai (c.1330-40) - Excerpts: Kyrie - Ensemble Organum
2. La Messe de Tournai (c.1330-40) - Excerpts: Gloria in excelsis Deo - Ensemble Organum
2. La Messe de Tournai (c.1330-40) - Excerpts: Sanctus - Ensemble Organum
2. La Messe de Tournai (c.1330-40) - Excerpts: Agnus Dei - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'De toutes flours' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Honte, paour, doubtance' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Honte, paour, doubtance', version instrumentale - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Che pena e quest'al cor' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: 'Imperiale sendendo fra pi stelle' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Rondeau-canon 'Tout par compas' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Rondeau 'Belle, bonne, sage' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Rondeau 'Fumeux fume par fumee' - Ensemble Organum
3. The Chansons Of The French And Italian Ars Nova: Ballade 'On voit tout' - Ensemble Organum
Sacred Music In 14th Century England: 'Campanis cum cymbalis - Honoremus Dominam' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Mater ora filium' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Edi be thu' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Gabriel From Heven-King' - The Hilliard Ensemble
Sacred Music In 14th Century England: 'Gaude virgo Mater Christi' - The Hilliard Ensemble

Tracks:

Johannes Ciconia (c. 1335-1414): 'Ligiadra donna' pour vielles - The Newberry Consort
1. 15th Century English Music: Les Carols: Alleluya: 'A Nywe werke' - Anonymous 4
1. 15th Century English Music: Les Carols: 'Ecce quod natura' - Anonymous 4
1. 15th Century English Music: Les Carols: Nowel: 'Owt Of Your Slepe Aryse' - Anonymous 4
1. 15th Century English Music: Les Carols: 'Anna Mater Matris Christi' - The Hilliard Ensemble
1. 15th Century English Music: Les Carols: 'Tota pulcra es, amica mea' - The Hilliard Ensemble
1. 15th Century English Music: 15th Century Marial Polyphony: Conduit 'O Maria stella maris' - Anonymous 4
1. 15th Century English Music: 15th Century Marial Polyphony: Sequence 'Salve virgo singularis' - Anonymous 4
1. 15th Century English Music: 15th Century Marial Polyphony: Motet 'Veni mater gracie - Dou Way, Robin' - Anonymous 4
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'Propinan de Melyor' - The Newberry Consort
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: --sans titre - The Newberry Consort
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'La Spagna' - The Newberry Consort
2. The Emergence Of Specifically Instrumental Music: Musicue instrumentale a la Cour d'Espagne: 'La Spagna' - The Newberry Consort
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Introit. 'Requiem eternam dona eis Domine' - Ensemble Organum
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Kyrie - Ensemble Organum
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Tractus: 'Sicut servus desideral ad fontes aquarum' - Ensemble Organum
3. Johannes Ockeghem (c. 1420-1497) - Requiem - Excerpts: Sanctus - Ensemble Organum
Lute Music: Ricercar 'L'autre jour' - Paul O'Dette
Lute Music: 'Nous bergiers' - Paul O'Dette
Lute Music: Ricercar No. 33 - Paul O'Dette
Lute Music: 'Il est bel et bon' - Paul O'Dette

Customer Reviews:

Excellent, but What Are the Words?.......2006-07-04

This is a wonderful collection of music spanning many centuries, some of which you are unlikely to encounter anywhere else. The performances are beautiful, too. The one drawback is that the liner notes contain very few song text translations, a big problem for a large CD set with music that is primarily vocal.

outstanding collection.......2002-09-27

I have quite a number of CDs with Medieval Age polyphony, byzantine chant and renaissance music, but this collection goes beyond what could usually be expected from such boxsets. I'd highly recommend it to all.

Awesome.......2001-09-20

This is the best collection of medieval music I have ever heard. The performances are top-notch, and all of the songs are well done. I highly reccomend this collection not only for fans of medieval music, but for any music lover.

7.5 hours of superb music at a most reasonable price........1999-12-24

There isn't a clunker in this set. All the performers are top drawer and the recordings are good. The notes are a little brief and a bit scholarly, but can be ignored easily.

You will get an idea of the different kinds of medieval music as well as the top groups and soloists working currently in the field.

When I got this set, my mother and I listened to all 7+ hours straight through. We then started buying CDs from the different performers we had to hear more from.

Tracks:

Sevillana (Fantasia), Op. 29
Moderato
Mosso
Catabile
Presto
Merlin's Dream
'Sakura' Theme And Variations On The Japanese Folksong
Kinkachoo, I Love You
Rag Nouveau
Canto Negroriano
Danza Del Cimarron
Elegia Negra
Vals Venezolano, No. 3
Koribeni No. 2
Si Ela Perguntar
Verano Porteno
The Magic Box

Music Review:

Music Review

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1. Uirapurú, (Waldemar Henrique)
2. Manha - Nungára, (Waldemar Henrique)
3. Tamba Tajá, (Waldemar Henrique)
4. Rolinha, (Waldemar Henrique)
5. Cobra Grande, (Waldemar Henrique)
6. Entrentanto, Eu Canto, (Waldemar Henrique)
7. Morena, Eu Canto, (Waldemar Henrique)
8. Hei de Morrer, (Waldemar Henrique)
9. Côco Peneruê, (Waldemar Henrique)
10. Trem do Alagôas, (Waldemar Henrique)
11. Maracatú, (Waldemar Henrique)
12. Canção Nômade, (Waldemar Henrique)
13. Abaluaiê, (Waldemar Henrique)
14. Canção Do Poeta Século XVIII, (Heitor Villa-Lobos)
15. Nesta Rua, (Heitor Villa-Lobos)
16. Vióla Quebrada, (Heitor Villa-Lobos)
17. Azulão, (Jaime Ovale)
18. Dentro da Noite, (Lorenzo Fernândez)
19. Cantigas, (Alberto Nepomuceno)
20. Cradle Song, (Xavier Montsalvatge)