'To lament, to mourn, to memorialise: such was the new fashion at the
very end of the fifteenth century', writes Alice Tacaille. 'The poet, in
mourning the musician, attains an expressive intimacy ... a eulogy
of art that places the lamenting poet himself at the origin of the
immortal memory which the artist will enjoy.' Such is the case with the
celebrated 'Deploration' on the death of Ockeghem, which, alongside
Nymphes, nappées, forms a pair of superb musical epitaphs by the
illustrious Josquin. With this programme combining secular homages and
sacred polyphony, Daniel Reuss and the singers of Cappella Amsterdam
launch a magisterial trilogy devoted to the Franco-Flemish masters of
the Renaissance.
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