PHAEDRUS - PLUS NULZ REGRETZ - JOSQUIN DESPREZ скачать в хорошем качестве

PHAEDRUS - PLUS NULZ REGRETZ - JOSQUIN DESPREZ

PLUS NULZ REGRETZ - JOSQUIN DESPREZ From the Augsburger Liederbuch c.1505-1514 Part of the concert program, 'Le Diamant et le Marguerite': Habsburg-Burgundian Musical Treasures. Text: Plus nulz regretz, grandz, moiens et menuz De joye nulz ne soient dictz ne escriptz, Or est venu le bontemps Saturnus, Ou peu congneuz furent plainctez et crys, Longtemps avons eu malheurs infinis, Batus, pugnis et faictz povres, meigrés, Mais maintenant d'espoir sommes garnis, Joinctz et unis n'ayons plus nulz regretz Translation (EN): No more regrets, great, small, or few, Of joy, none shall be spoken or penned, Now has come the age of Saturn, Where rarely known were complaints and cries, Long have we suffered endless misfortunes, Beaten, punched, and made poor, emaciated, But now with hope are we adorned, Joined and united, let us have no more regrets. Miriam Trevisan; voice Mara Winter, Charlotte Schneider, Johanna Bartz, Luis Martinez Pueyo; Renaissance traverso consort Bor Zuljan; bray lute Mara Winter; artistic direction Leonardo Bortolotto; video and sound production Recorded at Domaine de Céras (FR) Special thanks to Rémy Pflimlin ABOUT LE DIAMANT ET LE MARGUERITE: Phaedrus imagines the experimental early development of the Renaissance traverso consort through two of the most dynamic musical patrons of the late-15th and early-16th centuries: Holy Roman Emperor Maximilian I, and his only daughter, the Archduchess Margaret of Austria. After her appointment as Governor of the Netherlands in 1507, the bibliophile Archduchess began to curate what flourished into a "highly decorated library for women", according to Antonio de Beatis, an Italian canon who visited the Archduchess between 1517-1518. The contents of the library of the Archduchess Margaret illuminate a constellation of music, literature and art treasured by one of the first women to fashion her own public image in a position of authority with the same intensity as her male political counterparts, while maintaining an equally illustrious spiritual and emotional private life. The library, housed in her Mechelen palace, contained some of the most important musical and intellectual works of her time. The music in 'Le Diamant' takes inspiration from one particularly mysterious book recorded in the Mechelen library's inventory: a lost treatise by the Franciscan Jacques de Marchepallu, known only by its title, Traité du Diamante et de la Marguerite (The Book of the Diamond and of the Daisy). While the contents of the lost manuscript remain unknown, it is thought that the book was given as a gift to the Archduchess by her father, Emperor Maximilian I. The simultaneously impressive and tender imagery conveyed by the title draws together the two figures of father (Emperor) and daughter (Archduchess). On a more subtle level, the vivid string of words detached from its original theoretical context elicits connotations with the authoritative, public facing images of both figures, as well as the carefully curated aesthetic backdrop of Maximilian I and Margaret's surroundings. The melancholic, ornate, and at times intimidating aspects of the music generated by the Burgundian-Habsburg court composers and scriptoriums convey, in both sound and appearance, the complex layering of delicate and refined musical structures with the assertion of power. The mysterious title of the missing treatise serves as an allegory for the distant yet heartfelt, precious quality of the Burgundian chansons in the Augsburger Liederbuch, the instrumental consort music in the Codex Leopold and the Linz fragments, and most especially, the deeply haunting physical appearance of the basse danse manuscript kept under lock and key in the personal library of Margaret of Austria.