David de la Pna

Jérôme Lejeune continues his History of Music series with this boxed set devoted to the Renaissance. The next volume in the series after Flemish Polyphony (RIC 102), this set explores the music of the 16th century from Josquin Desprez to Roland de Lassus. After all of the various turnings that music took during the Middle Ages, the music of the Renaissance seems to be a first step towards a common European musical style. Josquin Desprez’s example was followed by every composer in every part of Europe and in every musical genre, including the Mass setting, the motet and all of the various new types of solo song. Instrumental music was also to develop considerably from the beginning of the 16th century onwards.

Ethel Smyth (1858-1944), Britain's greatest female composer, wrote six operas. The Boatswain's Mate, composed in Egypt in 1913-14, and first performed in 1916, was far and away the most popular of them, and between the wars, was often performed. It is a wonderfully tuneful and funny work, the most successful of all the British operas of the period, using folk music to evoke English rural life. Smyth was a close friend of Emmeline Pankhurst. She had been strongly involved with the suffragette movement immediately before she composed The Boatswain's Mate, and it's generally considered her most feminist opera (the overture quotes 'The March of the Women', her famous suffragette song). Smyth wrote her own libretto, adapting a story and play by W. W. Jacobs.

Que signifie connaître ou savoir? Cette redoutable question née avec la philosophie elle-même reste toujours cruciale aujourd'hui. Et, comme le montre la longue histoire de la théorie de la connaissance, de Platon et Aristote aux théoriciens cognitivistes contemporains, on y a répondu diversement. À chaque époque, des penseurs ont contribué magistralement à développer cette discipline, que ce soit par des analyses poussées et souvent techniques ou par les débats suscités par leurs arguments. …

From Ockeghem born around 1420 to Lassus dead in 1594 via Josquin des Prés, this 8-CD collection presents almost two centuries of masterworks from one of the most extraordinary musical school, that could be compared to the Italian Renaissance in architecture or painting. The Hilliard Ensemble, founded by Paul Hillier in 1974 has championed this music with all the virtues of their instantly recognizable style and with a clarity and cleanness of timbre that are matchless.

Pierre de la Rue wurde möglicherweise um 1452 in Doornik/Tournai im heutigen Belgien geboren. Dort arbeitete sein Vater Jehan als Illuminator (Buchmaler), seine Mutter, Gertrude de la Haye, stammte ebenfalls aus Tournai. Im 15. Jahrhundert waren dort beide Familiennamen geläufig. Wir nehmen an, dass Pierres Ausbildung, besonders als Musiker, mit einer Verbindung als Chorsänger an der berühmten Kathedrale der Stadt anfing. Als solcher bekam er dann, wie dort alle Chorsänger, die Tonsur. Wenn so, dann war das die erste entscheidende Situation seines Lebenslaufs, den er letztlich als Diaconus beschließen sollte. Zum Priester wurde de la Rue anscheinend nie geweiht.

Rameau had the somewhat dubious fortune (in his own time, at least) to be such a powerful creative personality in the field of orchestral music that the quality of his dances sometimes overwhelms the operatic context in which he places them. From our point of view today, this hardly seems a liability, especially when it permits the performance of marvelous orchestral suites such as this from his various theatrical productions. Les Indes galantes (1735) contains some wonderful dance music, scored with the composer's usual imaginative flair.