Pierre de Ronsard

In this new release, Vincent Dumestre’s Le Poème Harmonique once again immerses us in the France of the second half of the 16th century, which witnessed the emergence of new centres of artistic activity. These ‘bourgeois’ societies were initiated by patron princes concerned with building their prestige through the arts and letters just as much as by arms. At the same time, refined circles held by cultivated women enabled them to rub shoulders with the leading poets of the time, as well as musicians sensitive to humanist research, all profiting from a context propitious to the invention of new artistic forms and practices.

Pierre de Bourdeille, seigneur de Brantôme, est un auteur mal connu et méconnu. Le second volume de son recueil des Dames (dites galantes par son premier éditeur, non par lui) a connu un succès durable et gagné une réputation de gaillardise: certains y voient aujourd'hui le rapport Kinsey du XVIe siècle. Que Brantôme ait été abbé (mais abbé " commendataire ", c'est-à-dire bénéficiaire, sans appartenir à l'Eglise) apporte un piment supplémentaire à ce titre déjà suggestif. …

The movement to record Renaissance music in ways that illustrate its context has mostly bypassed Orlande de Lassus up to now. This is partly because his vast output is hard to get a grip on. Lassus was arguably music's first international star, and he was capable of bringing to his employers (mostly the Duke of Bavaria, already something of a cultural crossroads in the late sixteenth century) music from all around the continent.