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O Rosa Bella. Messe et mélodies chorales. Ensemble Dionea, Ensemble Nova Alta.
Format : 1 CD
Total Time : 01:01:24

Recording : 06-08-10/2017
Location : Pérouse
Country : Italie

Label : Brilliant
Catalog No. : BRIL95529
EAN : 5028421955292
Price Code : DM011A

Publishing Year : 2019
Release Date : 03/07/2019

Genre : Classical
John Bedyngham (1422?-?1459)
O Rosa bella, T 89, FF 119v
Gymel O Rosa bella o tu mi maria, T 90, ff 361v-362v
O Rosa bella, Concordancie o rosa bella cum alius tribus..., T 89, ff 119v-120r
Gymel O Rosa bella o tu mi maria, T 90, ff 361v-362r

Gilles Goye (?1420-?1483)
Missa Super O Rossa bella, T 90
Kyrie
Gloria
Credo
Sanctus
Agnus Dei

Alan Hert (15e siècle)
O Rosa bella, T 90, ff444v-445r

Johannes Ockeghem (1420-1496)
Alius discantus Super O Rosa bella, T 90, ff 444v-445r

John Dunstable (1370-1453)
O Rosa bella, T 90, ff 362v-363r

Ensemble Dionea
Ensemble Nova Alta
Claudia Caffagni, direction

Fifteenth-century chansons and polyphony in stylish new performances by Italian-based early-music ensembles. ‘O Rosa Bella’ is the title of two popular 15th-century chansons, the earlier composed by Johannes Ciconia and the latter originally attributed to John Dunstable, but now to John Bedyngham. The text is based on a poem written by Leonardo Giustiniani (1300-1446): 'O lovely rose, My sweet soul; Let me not die In courtly love.' More than 20 works were based on this popular theme by composers including Johannes Ockeghem, and a Mass attributed to Gilles Joye. Born around 1420, in the Belgian town of Courtai, Joye worked as a singer and lived beyond his means. Having taken up a prestigious ecclesiastical post in Bruges, he was sent by the church fathers on a pilgrimage in order to atone for misdemeanous, but he continued to accumulate debts which compelled him to sell all his possessions; he died in penury. The song which Joye took as the basis for his Mass circulated widely during the 15th century; by a curious coincidence, Rosabella was also the name of Joye’s lover with whom he lived openly (and imprudently). The recording follows performance practice of the time by using only male voices doubled by instruments for the two Masses and mixed voices for the Chansons. The chosen instrumentarium includes shawm, slide trumpet, sackbut, cornetto, recorder, lute, gothic harp and psaltery: an authentic but richly coloured ensemble. Although there are previous recordings of the Mass and the chansons, all the music recorded here has been newly transcribed from original sources by two of its performers, Min J. Kim and David Brutti. The recording took place in the Umbrian church of San Francesco in Trevi, where the original organ survives, dating from 1508, and thus retaining a sound-world that resembles one known to the likes of Dunstable and Joye.

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