Compositions of Philippe de Vitry, Johannes Ciconia, en anonieme composities uit o.a. Codex Faenza en Montpellier MS, conducted by Guillermo Pérez.
At the end of the 13th century, three principles would guide and define the medieval motet and its flourishing:
First, the choice of a pre-existing melody, often a liturgical chant, that becomes the foundation of the composition;
Second, the use of different texts, sometimes in different languages, that will be sung at the same time;
And third, a specific creative design. In this design, formal elements, such as the repetition of rhythmic structures (Talea) both simple and complex, the use of skilful counterpoint, or the interaction between the different literary themes displayed in secular poetry and sacred verse, lend a structural and aesthetic consistency to the work, so that it becomes like a musical architecture, limitless and guided only by the freedom, intelligence and know-how of the composer.
For its first concert, the new course entitled Ars Nova Laboratory at the Koninklijk Conservatorium Brussel has taken for its theme the motet between 1300 and 1400.
The majority of works the course participants will interpret are based around those of two great masters: Philippe De Vitry and Johannes Ciconia, who marked this period of music history with their very personal styles.
Voices, keyboard instruments, fiddles, harps, lutes and trumpets will join to make subtle and refined music, “a music meant for those who enjoy looking for the finer things in the art” –
Johannes De Grocheo (fl. 1300).
Musicians:
VÉRONIQUE BARBOT, ILZE BERTRAND, OLIVIER CAMELIN, IRIS EYSERMANS, CARME MAMPEL JUNCADELLA,
SIMONE MARCELLO & SOFIE VANHERLE: ORGANETTO
JACQUELINE CHARAUD & ARTHUR DEBSKI: CLAVISIMBALUM
ARTHUR DEBSKI, ANNE-KATHRYN OLSEN & AINO PELTOMAA: ZANG
ARTHUR DEBSKI & SARA MARIA FANTINI: LUIT
ADÈLE PIRAPREZ & ANITA ROMANOVA: VEDEL
MARÍA JOSÉ JEANNIN: HARP
MARÍA JOSÉ PINILLA PAZ-PENUELAS: BAZUIN & SCHUIFTROMPET
