6 CD - MP3 192 Kbps - RAR 560 Mb
CD 1 & 2
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CD 3 & 4
CD 3 & 4
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CD 5 & 6
contents:
CD 01 – Carmina Burana
01. Ich was ein chint so wolgetan CB 185
02. Axe Phebus aureo CB 71
03. Bache bene venies CB 200
04. Dulce solum CB 119
05. In taberna quando sumus CB 196
06. Veris dulcis in tempore CB 85 e 159
07. Alte clamat Epicurus CB 211 e 211°
08. Exiit dilucolo rustica puella CB 90
09. Olim sudor Herculis CB 63
10. Virent prata hiemata CB 151
11. Sic mea fata CB 116
12. Walthers ton CB 211
13. Tempus transit gelidum CB 153
CD 02 – Carmina Burana
01. Bonus est confidere CB 27
02. Nomen a sollempnibus CB 52
03. Dic Christi veritas / Bulla fulminante CB 131 / 131
04. O varium fortune lubricum CB 14
05. Fas et nefas CB 19
06. Veritas veritatum CB 21
07. Currit ad vocem CB 47a
08. Crucifigat omnes CB 47
09. Procurans odium CB 12
10. Ave nobilis CB 11
11. Ecce torpet probitas CB 3
12. Planctus ante nescia CB 14
13. Licet ager cum egrotis CB 8
14. Celum non animum CB 15
CD 03 – Music for the Crusades
I Appellatio
01. Crucifigat omnes
02. Seignor, sachiez qui or ne s’en ira (Thibaut de Champagne)
03. La Quinte Estampie Real
04. Parti de mal et a bien atourné
05. Chevalier mult estes guariz
06. De transfretantibus
07. Au tans plain de felonie (Thibaut de Champagne)
II Dure Departie
08. La Seconde Estampie Royal
09. Bien me deusse targier
10. Dame, ensinc est qui’il m’en covient aler (Thibaut de Champagne)
11. A vous, Amors, plus qu’a nule autre gent (Le Chastelain de Couci)
12. Li departirs de la douce contree (Chardon de Croisilles de Reims)
13. Li nouveax temps et maiz et violete (Le Chastelain de Couci)
14. Aler m’estuet la ou je trerai paine (Gilles le Vinier? – Le Chastelain d’Arras?)
CD 04 – Music for the Crusades
III Passagium Laboriosum
01. Ja nuns hons pris 1 (Roy Richart)
02. Ja nuns hons pris 2 (Roy Richart)
03. Desolata mater / Que nutritos / Filios enutrivi (Roman de Fauvel)
04. Maugré tous sainz et maugré dieu ausi (Huon d’Oisi)
05. Congregati sunt (Gregorian Chant)
06. La Quarte Estampie Royal
07. In gotes namen fara wir (Lutheran Choral)
08. Chanterai por mon coraige (Guiot de Dijon)
09. Diro satis percussus vulnere (Riccardo di San Germano) – Tristan’s Lament
10. Nus ne porroit de mauvese reson
IV Hierosolyma Caelestis
11. Ierusalem mirabilis (Hymn)
12. Nû alrêst lebe ich mir werde (Walter von der Vogelweide)
13. Nomen a solemnibus (CB 52)
CD 05
English Dances
01. Ductia manuscript London, British Library, Harley 978, f. 8v-9r
02. Petrone manuscript London, British Library, add. 28550 (Robertsbridge Codex), f.43r
03. Nota manuscript, Oxford, Bodleian Library, Douce 139
04. Ductia manuscript London, British Library, Harley 978, f. 9r/I
05. Ductia manuscript London, British Library, Harley 978, f. 9r/II
06. Fragment manuscript London, British Library, add. 28550 (Robertsbridge Codex), f.43r
07. Ductia manuscript London, British Library, add. 28550 (Robertsbridge Codex), f.43r
French Dances
Manuscript Paris, Bibliothèque Nationale, f. f. 884
08. La Prime Estampie Royal
09. La Seconde Estampie Royal
10. La Tierche Estampie Royal
11. La Quarte Estampie Royal
12. La Quinte Estampie Royal
13. La Seste Estampie Royal
14. La Septime Estampie Royal
15. La Ultime Estampie Royal
16. Dansse Real
17. [Untitled]
18. Danse
CD 06
01. Ghaetta
02. Saltarello
03. La Manfredina, Rotta della Manfredina
04. Chançoneta Tedescha
05. Isabella
06. Saltarello
07. Saltarello
08. Chançoneta Tedescha
09. Chançoneta Tedescha
10. Principio di virtù
11. Danca Amorosa, suo Troto
12. Chominciamento di Gioia
13. Chançoneta Tedescha
14. Trotto
15. Bel fiore dança
16. Lamento di Tristano, sua Rotta
Modo Antiquo
dir. Bettina Hoffman
CD 5 & 6
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Secular Songs & Dances from the Middle Ages. Carmina Burana; Music for the Crusades; Dances from England, France and Italy. Performed by Modo Antiquo, dir. Bettina Hoffmann and Federico Maria Sardelli. 6 CD box. Brilliant Classics 92888. Total playing time approx 6 hrs 10 mins.
The Italian early music ensemble Modo Antiquo travels, so to speak, on two different rails: Under the directorship of Federico Maria Sardelli the group has produced a number of Vivaldi and Corelli recordings for labels such as Tactus, Opus 111 and cpo - recordings which have been highly praised by the critical press. Under the directorship of Bettina Hoffmann, Modo Antiquo here acquaints us with the fruits of its labours in the medieval repertoire during the 1990's. CD 6 ("Danca Amorosa") was recorded in 1994 and released soon after by the French label Opus 111. This is a superb recording. 16 Italian dances (unfortunately, the Brilliant Classics edition gives no sources) are here played on an endless list of historical instruments (recorder, gemshorn, chalumeau, crumhorn, fiddle, rebec, tromba marina, cittern, lute, portative organ, cornemuse, bagpipes, harp, darbukka, nakers, drums, bells, jew's harp ...); the recording was made in the Santa Maria Casa church, Vecchio, San Casciano, Italy, and produced by Klaus L. Neumann and Yolanta Skura, the whole being a co-production with the WDR, the state radio in Northrhine-Westphalia, Germany. Perhaps this explains the excellent sound quality and the audible professionality of this disc.
CDs 1 and 2 "Carmina Burana" were recorded next, in Florence, in the Oratorio di San Francesco Poverino. With Elena Cecchi Fedi, Lucia Sciannimanico, Paolo Fanciullacci and Marco Scavazza, a vocal quartet was added, assisted by F. M. Sardelli, Ugo Galasso, Gian Luca Lastraioli and Daniele Poli. The Carmina Burana is a collection of religious and secular songs from 13th century Benediktbeuren (Germany), and here a selection of these is sung with uncommon vivacity and energy; the drinking songs really do sound as though they were recorded in a medieval tavern, drunken cries and all. The instrumental accompaniment is extremely colourful; however, I had the feeling that the singing did not quite match up to the achievement of Catherine Bott and Michael George on the 4 CD Carmina Burana set by Philip Pickett and his New London Consort on Decca. The sound, though doubtless good, needed a little getting used to: the solo voices seemed rather too soft in comparison with the loud instrumental passages. The exceedingly energetic use of drums and bells may mean that this recording is not for those who have weak nerves; however, I can imagine that it would appeal to many young people who have recently begun to get interested in the medieval music scene. These two CDs were never available commercially elsewhere; they originally appeared as a free gift with an Italian music magazine.
In September 1999 the fifth CD was recorded, "French and English Instrumental Songs in the Middle Ages". As with "Danca Amorosa" there is here a wide range of medieval instruments to be heard; the dances are from manuscripts kept in London, Oxford and Paris, and despite their well-known names, I have not heard them on other medieval recordings before, which gives this box an additional repertoire value. The sound quality, although still good, does not match up to the brilliant recording on the sixth CD.
The newest recordings to be heard here were made in the year 2000. Again in Florence (Chiesa della Compagnia, Calenzano), Modo Antiquo recorded songs and instrumental pieces which are associated with the crusades. Most of these pieces are, as one would expect, by anonymous composers, but we do also learn of Thibaut de Champagne, Le Chastelain de Couci, Chardon de Croisilles de Reims, Huon d'Oisi, Guiot de Dijon, Riccardo di San Germano and Walter von der Vogelweide in addition to King Richard Lionheart whose "Ja nuns hons pris" opens the second of the two CDs. The soprano part here is sung by Santina Tomasello. Here, too, the arrangements are very colorful and reflect differing moods from sadness and wistfulness through to exaltation and joy. The first CD begins with a version of "Crudifigat omens" from the Carmina burana, but in an unparalleled arrangement: It is sung so loudly, and the drums and cymbals are crashed so aggressively, that I was almost afraid that my loudspeakers would be damaged. Thankfully, the other tracks of these two CDs are played much more sensitively, leaving a very positive impression in the end, even if I still think that some of the effects here are a trifle overdone.
The Brilliant Classics edition is offered at an extremely low price, and this should motivate everyone who is interested in medieval music to purchase immediately. The booklet is only in English and contains two essays but no texts whatsoever, so that anyone who wants to understand something of these admittedly difficult texts will be forced to look elsewhere. - The individual CDs are held in lightweight cardboard sleeves; the box containing the whole is stable and attractively printed.
(Leslie Richford, Amazon)
The Italian early music ensemble Modo Antiquo travels, so to speak, on two different rails: Under the directorship of Federico Maria Sardelli the group has produced a number of Vivaldi and Corelli recordings for labels such as Tactus, Opus 111 and cpo - recordings which have been highly praised by the critical press. Under the directorship of Bettina Hoffmann, Modo Antiquo here acquaints us with the fruits of its labours in the medieval repertoire during the 1990's. CD 6 ("Danca Amorosa") was recorded in 1994 and released soon after by the French label Opus 111. This is a superb recording. 16 Italian dances (unfortunately, the Brilliant Classics edition gives no sources) are here played on an endless list of historical instruments (recorder, gemshorn, chalumeau, crumhorn, fiddle, rebec, tromba marina, cittern, lute, portative organ, cornemuse, bagpipes, harp, darbukka, nakers, drums, bells, jew's harp ...); the recording was made in the Santa Maria Casa church, Vecchio, San Casciano, Italy, and produced by Klaus L. Neumann and Yolanta Skura, the whole being a co-production with the WDR, the state radio in Northrhine-Westphalia, Germany. Perhaps this explains the excellent sound quality and the audible professionality of this disc.
CDs 1 and 2 "Carmina Burana" were recorded next, in Florence, in the Oratorio di San Francesco Poverino. With Elena Cecchi Fedi, Lucia Sciannimanico, Paolo Fanciullacci and Marco Scavazza, a vocal quartet was added, assisted by F. M. Sardelli, Ugo Galasso, Gian Luca Lastraioli and Daniele Poli. The Carmina Burana is a collection of religious and secular songs from 13th century Benediktbeuren (Germany), and here a selection of these is sung with uncommon vivacity and energy; the drinking songs really do sound as though they were recorded in a medieval tavern, drunken cries and all. The instrumental accompaniment is extremely colourful; however, I had the feeling that the singing did not quite match up to the achievement of Catherine Bott and Michael George on the 4 CD Carmina Burana set by Philip Pickett and his New London Consort on Decca. The sound, though doubtless good, needed a little getting used to: the solo voices seemed rather too soft in comparison with the loud instrumental passages. The exceedingly energetic use of drums and bells may mean that this recording is not for those who have weak nerves; however, I can imagine that it would appeal to many young people who have recently begun to get interested in the medieval music scene. These two CDs were never available commercially elsewhere; they originally appeared as a free gift with an Italian music magazine.
In September 1999 the fifth CD was recorded, "French and English Instrumental Songs in the Middle Ages". As with "Danca Amorosa" there is here a wide range of medieval instruments to be heard; the dances are from manuscripts kept in London, Oxford and Paris, and despite their well-known names, I have not heard them on other medieval recordings before, which gives this box an additional repertoire value. The sound quality, although still good, does not match up to the brilliant recording on the sixth CD.
The newest recordings to be heard here were made in the year 2000. Again in Florence (Chiesa della Compagnia, Calenzano), Modo Antiquo recorded songs and instrumental pieces which are associated with the crusades. Most of these pieces are, as one would expect, by anonymous composers, but we do also learn of Thibaut de Champagne, Le Chastelain de Couci, Chardon de Croisilles de Reims, Huon d'Oisi, Guiot de Dijon, Riccardo di San Germano and Walter von der Vogelweide in addition to King Richard Lionheart whose "Ja nuns hons pris" opens the second of the two CDs. The soprano part here is sung by Santina Tomasello. Here, too, the arrangements are very colorful and reflect differing moods from sadness and wistfulness through to exaltation and joy. The first CD begins with a version of "Crudifigat omens" from the Carmina burana, but in an unparalleled arrangement: It is sung so loudly, and the drums and cymbals are crashed so aggressively, that I was almost afraid that my loudspeakers would be damaged. Thankfully, the other tracks of these two CDs are played much more sensitively, leaving a very positive impression in the end, even if I still think that some of the effects here are a trifle overdone.
The Brilliant Classics edition is offered at an extremely low price, and this should motivate everyone who is interested in medieval music to purchase immediately. The booklet is only in English and contains two essays but no texts whatsoever, so that anyone who wants to understand something of these admittedly difficult texts will be forced to look elsewhere. - The individual CDs are held in lightweight cardboard sleeves; the box containing the whole is stable and attractively printed.
(Leslie Richford, Amazon)
contents:
CD 01 – Carmina Burana
01. Ich was ein chint so wolgetan CB 185
02. Axe Phebus aureo CB 71
03. Bache bene venies CB 200
04. Dulce solum CB 119
05. In taberna quando sumus CB 196
06. Veris dulcis in tempore CB 85 e 159
07. Alte clamat Epicurus CB 211 e 211°
08. Exiit dilucolo rustica puella CB 90
09. Olim sudor Herculis CB 63
10. Virent prata hiemata CB 151
11. Sic mea fata CB 116
12. Walthers ton CB 211
13. Tempus transit gelidum CB 153
CD 02 – Carmina Burana
01. Bonus est confidere CB 27
02. Nomen a sollempnibus CB 52
03. Dic Christi veritas / Bulla fulminante CB 131 / 131
04. O varium fortune lubricum CB 14
05. Fas et nefas CB 19
06. Veritas veritatum CB 21
07. Currit ad vocem CB 47a
08. Crucifigat omnes CB 47
09. Procurans odium CB 12
10. Ave nobilis CB 11
11. Ecce torpet probitas CB 3
12. Planctus ante nescia CB 14
13. Licet ager cum egrotis CB 8
14. Celum non animum CB 15
CD 03 – Music for the Crusades
I Appellatio
01. Crucifigat omnes
02. Seignor, sachiez qui or ne s’en ira (Thibaut de Champagne)
03. La Quinte Estampie Real
04. Parti de mal et a bien atourné
05. Chevalier mult estes guariz
06. De transfretantibus
07. Au tans plain de felonie (Thibaut de Champagne)
II Dure Departie
08. La Seconde Estampie Royal
09. Bien me deusse targier
10. Dame, ensinc est qui’il m’en covient aler (Thibaut de Champagne)
11. A vous, Amors, plus qu’a nule autre gent (Le Chastelain de Couci)
12. Li departirs de la douce contree (Chardon de Croisilles de Reims)
13. Li nouveax temps et maiz et violete (Le Chastelain de Couci)
14. Aler m’estuet la ou je trerai paine (Gilles le Vinier? – Le Chastelain d’Arras?)
CD 04 – Music for the Crusades
III Passagium Laboriosum
01. Ja nuns hons pris 1 (Roy Richart)
02. Ja nuns hons pris 2 (Roy Richart)
03. Desolata mater / Que nutritos / Filios enutrivi (Roman de Fauvel)
04. Maugré tous sainz et maugré dieu ausi (Huon d’Oisi)
05. Congregati sunt (Gregorian Chant)
06. La Quarte Estampie Royal
07. In gotes namen fara wir (Lutheran Choral)
08. Chanterai por mon coraige (Guiot de Dijon)
09. Diro satis percussus vulnere (Riccardo di San Germano) – Tristan’s Lament
10. Nus ne porroit de mauvese reson
IV Hierosolyma Caelestis
11. Ierusalem mirabilis (Hymn)
12. Nû alrêst lebe ich mir werde (Walter von der Vogelweide)
13. Nomen a solemnibus (CB 52)
CD 05
English Dances
01. Ductia manuscript London, British Library, Harley 978, f. 8v-9r
02. Petrone manuscript London, British Library, add. 28550 (Robertsbridge Codex), f.43r
03. Nota manuscript, Oxford, Bodleian Library, Douce 139
04. Ductia manuscript London, British Library, Harley 978, f. 9r/I
05. Ductia manuscript London, British Library, Harley 978, f. 9r/II
06. Fragment manuscript London, British Library, add. 28550 (Robertsbridge Codex), f.43r
07. Ductia manuscript London, British Library, add. 28550 (Robertsbridge Codex), f.43r
French Dances
Manuscript Paris, Bibliothèque Nationale, f. f. 884
08. La Prime Estampie Royal
09. La Seconde Estampie Royal
10. La Tierche Estampie Royal
11. La Quarte Estampie Royal
12. La Quinte Estampie Royal
13. La Seste Estampie Royal
14. La Septime Estampie Royal
15. La Ultime Estampie Royal
16. Dansse Real
17. [Untitled]
18. Danse
CD 06
01. Ghaetta
02. Saltarello
03. La Manfredina, Rotta della Manfredina
04. Chançoneta Tedescha
05. Isabella
06. Saltarello
07. Saltarello
08. Chançoneta Tedescha
09. Chançoneta Tedescha
10. Principio di virtù
11. Danca Amorosa, suo Troto
12. Chominciamento di Gioia
13. Chançoneta Tedescha
14. Trotto
15. Bel fiore dança
16. Lamento di Tristano, sua Rotta
Modo Antiquo
dir. Bettina Hoffman
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