Renaissance Illumenati

Ronn McFarlane - The Renaissance Lute (1994) {Dorian Recordings DOR-90186}
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© 1994 Dorian Recordings | DOR-90186
Classical / Renaissance / Lute

When first conceiving this recording, I imagined myself as a first time listener to the lute. I have tried to bring together a collection of pieces that capture some of the variety and range of styles of the Renaissance lute. The lute was the favorite solo instrument of the Renaissance, valued for its portability and its expressiveness. The lute's shadings of dynamics and tone color were literally at the tip of one's fingers I hope that these varying colors and textures of sound will help communicate the spirit and character of these pieces more clearly, as well as keeping the ear refreshed. For any variety of sounds will be meaningless unless tied to the emotional or structural content of the music

Vihuela Music Of The Spanish Renaissance - Christopher Wilson (1990) {Virgin Classics}
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© 1990 Virgin Classics | 0777 7595962 8
Classical / Renaissance

The vihuela is not a viol, it is a sort of lute. Vihuela and lute coexisted in Spain but the composers wrote only for the former. The works played in this recording were mainly published between 1535 and 1554; Daza's book (1576) and a collection of other authors (1593) mark the end of the era of the vihuela. Then the instrument lent its shape to the guitar, as you can infer from the cover of the CD.

Tot ver in de achttiende eeuw was de luit hét instrument van de Europese adel. De beste renaissance- en barokcomponisten schreven talloze werken voor het instrument. Een van de beste luitisten van dit moment, Christopher Wilson, maakte een prachtige keuze uit het enorme luitrepertoire uit de Franse renaissance. Verfijnd, rustgevend en sfeervol.

This CD is a most satisfying listening experience, despite a few shortcomings in the packaging. Released under the auspices of Annie Haslam at a time when Renaissance had splintered in several different directions (with even Jane Relf reportedly getting ready to start using the group name again), it's assembled from what appear to be several live performances – the notes by Haslam would lead one to believe that these date from the late '70s, and the lineup of Haslam, Michael Dunford, John Tout, Jon Camp, and Terry Sullivan. But as there are no dates or actual credits, that's impossible to say with 100-percent certainty – what is true beyond doubt is that the sound is excellent (almost too good for a '70s-vintage concert recording) and the performances are superb from beginning to end; not only is the band tight and loud, but Haslam is in even better shape vocally than the rest of them are instrumentally.

Esoteric Recordings is pleased to announce the release of a newly re-mastered and expanded 3CD clamshell box edition of the classic live album, “Live at Carnegie Hall” by RENAISSANCE. Released in 1976, the double album documented a series of sold-out concerts at the Carnegie Hall in New York City staged in June 1975, which saw highly gifted vocalist Annie Haslam, Michael Dunford (acoustic and electric guitars), John Tout (keyboards, vocals), Jon Camp (bass, acoustic & electric guitars, vocals) and Terry Sullivan (drums, percussion) joined by the New York Philharmonic Orchestra. Regarded as one of the finest live albums of the era, the album featured such classic tracks as ‘Ocean Gypsy’, ‘Carpet of the Sun’, ‘Mother Russia’, ‘Can You Understand’, ‘Song of Scheherezade’ and ‘Ashes Are Burning’ and is regarded among the finest works by Renaissance.

Various Artists - Early Music: From Ancient Times To The Renaissance (2010) {10CD Set Harmonia Mundi HMX 2918163 72}
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© 2005, 2010 Harmonia Mundi | HMX 2918163 72
Classical / Medieval / Renaissance / Chamber Music / Early Music

Originally issued in the Century series in 2005, this EARLYMUSIC set by the artists of harmonia mundi now returns to invite you to travel the centuries in music. In 10 CDs and more than 12 hours listening, this unique guide will allow you to (re)discover the music of the past and develop your musical knowledge. Each CD is accompanied by a detailed booklet dealing with the musical, historical and geographical context, closely linked with key elements from the visual arts of the appropriate period. From the ancient world to 1600: the pleasure of discovery is complete, for eyes and ears alike!

Capilla Flamenca - Puer nobis: Kerstmis in de Renaissance (Christmas in the Renaissance) (1994) {Eufoda 1147}
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© 1994 Eufoda | 1147
Classical / Early Music / Renaissance / Christmas

The vocal and instrumental consort Capilla Flamenca takes its name from the choir of the court chapel of Emperor Charles V. When Charles left the Low Countries in 1517, he took his best musicians with him in order to accompany him as ‘living polyphony’ to Spain.

Jordi Savall & Hespèrion XX - Moyen Âge & Renaissance - Middle ages & renaissance (1997) {Fontalis Auvidis ES 9904}
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© 1997 Fontalis / Auvidis France | ES 9904
Classical / Medieval / Renaissance

This disc consists of 22 landmark selections from Hesperion XX's various programs of music of the 12th to 14th centuries. Notable composers represented: Alfonso X El Sabio, Guillame Dufay, Eustache Du Caurroy, Orlando Lasso, Francisco Guerrero, Christopher Tye and Cristobal De Morales; several anonymous works included also.

Mogens Pedersøn was a pupil of Melchior Borchgrevinck, later royal kapellmeister, and in 1619 he became royal vice kapellmeister. His major work, Pratum Spirituale ("Spiritual Pasture"), was published in Copenhagen in 1620, containing 21 five-part hymns and a mass, three motets, and a number of responsories. The works directly reflect the church-musical requirements of the time, which made available in print some kind of offerings for ultimately all situations of Lutheran culture. In addition to the hymns that were part of the core liturgical program for the three feasts (Christmas, Easter, and Pentecost), there are Danish hymns, ten psalm hymns, and nine "free" hymns, partly from the distinctly Danish hymn tradition, partly from Luther's closest repertoire. The stylistic world that Pedersøn reveals in "Pratum Spirituale" is unquestionably only a very narrow segment of what this internationally experienced musician mastered: schooled between organ playing, Italian madrigal, Venetian double choir and English "consort music".