Coda of the day: Joshua Rifkin & Concerto Palatino
Vespro della beata vergine: Nigra sum – Claudio Monteverdi (1567-1643)
Laus Polyphoniae 2020 | Polyphony connects
Online from 22.00 p.m., with an impression by Elise Simoens
Vespro della beata vergine: Nigra sum – Claudio Monteverdi (1567-1643)
Laus Polyphoniae 2020 | Polyphony connects
Online from 22.00 p.m., with an impression by Elise Simoens
Renaissance Polyphony
In his new book Renaissance Polyphony (published by Cambridge University Press), Fabrice Fitch provides an engaging introduction to Renaissance polyphony. How does Renaissance music work? Why is a certain piece typical of its style and type? Or, if it is exceptional, what makes it so? Musicians at the time were keenly aware of the specialized nature of their craft. How is this reflected in the music they wrote, and how were they regarded by their patrons and audiences? With a critical and detailed examination of the musical style and attention to the most recent research, Fitch reveals the various layers of meaning behind and beyond the musical notes. His aim is to enhance the listening experience of students, performers and music lovers alike.
At Polyphony connects, Fabrice Fitch will present his new book to the public for the first time.
Laus Polyphoniae 2020 | Polyphony connects
Online from Mon 24.08.2020, 10.00 a.m.
Basevi Codex
The Basevi codex, preserved in Firenze at the Conservatory library, is one of Petrus Alamires manuscripts that appeals most to ones imagination. The book, in a unique oblong format, is the only manuscript exant from a northern European workshop commissioned by an Italian, containing the oldest and the most comprehensive collection of profane repertoire, counting a total of 87 compositions, among them no less than 56 chansons. Recent musicological research resulted in new theories about an exclusively instrumental performance of the compositions from this manuscript. Living legend Paul O’Dette and Peter Van Heyghen demonstrate this with their lute and recorder consort. In a dialogue between the two ensembles you will hear the most beautiful chansons in an instrumental interpretation.
Laus Polyphoniae 2020 | Polyphony connects
Online from 10.00 a.m., with an introduction by Peter Van Heyghen and a cri de coeur from Jan Jambon
Ye sacred muses – William Byrd (c.1540-1623)
Laus Polyphoniae 2020 | Polyphony connects
Online from 22.00 p.m., with an impression by Robin Steins
Eton College in 1500
Paul Van Nevel has a long-standing fascination with obscure archives and centuries-old library treasures. For him the availability of a manuscript offers an edge of advantage that can hardly be overestimated, because the relationship between composer, performer and original venue is nowhere else that intimate. This thesis certainly holds true also for the Eton Choir Book, the priceless music manuscript whose origin and use are completely embedded in the context of its parent institution Eton College. The Huelgas Ensemble brings music from the early 16th-century codex, framed by a selection from a somewhat older and a somewhat newer repertoire. A fabulous voyage through the landscape of religious music in pre-Reformation England!
Laus Polyphoniae 2020 | Polyphony connects
Online from 10.00 a.m., with an introduction by Paul Van Nevel and a cri de coeur from Geert Van Istendael
Un nuevo dolor me mata – Anonymous, from the Chansonnier Masson 56
Laus Polyphoniae 2020 | Polyphony connects
Online from 22.00 p.m., with an impression by Bart Demuyt