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Please try again later. Verified Purchase. This is one of the two recordings I know about this requiem. And this is the one I like the most. The ensemble Gilles Binchois maintains throughout the work of this Portuguese composer of birth, but whose work was developed around the Spanish court of Isabel the Catholic , a solemnity and passion of the environment that was lived in the court Spanish and its representation of Catholicism in Europe.
And it is the first Iberian requiem to be preserved. Along with the Requiem of Morales, after this, is one of my favourites, its contrapunctual texture is not so intricate and lets hear clearly its intention not of sadness, it's not composed in minor mode, but of reflection and hope.
It also analyzes reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from the United States. There are 0 reviews and 0 ratings from the United States. Top reviews from other countries. Verified Purchase. The present disc, by the one-voice-per-part ensemble Quodlibet, was recorded in and reissued in The group sing with spirit and conviction; their ensemble and blend are not always ideal, but they rise to the occasion as we get to the Requiem itself halfway through the programme.
The Requiem itself is a fine work with lovely, sinuous melodic lines, sung with individuality and commitment in this performance but with just a slight lack of ambience in the recorded sound. The tempi are generally a touch faster than in the Vellard recording cited above, but Quodlibet's vocal sound may not suit all tastes since the four voices - most of the time countertenor, 2 tenors, bass - are each very individual and sound quite exposed at times.
Either way, I would say there's little to choose between the two recordings - both have their pros and cons, and we're lucky to have two to choose from. Altogether this is a very worthwhile programme, including several fine works not available elsewhere, and will be of interest to those who like to include the music of the Iberian peninsula in their renaissance listening.
Many thanks to fellow reviewer E. Wisty for drawing my attention to the work of this fine Portugueser. One person found this helpful. See all reviews. This is one of the two recordings I know about this requiem. And this is the one I like the most. The ensemble Gilles Binchois maintains throughout the work of this Portuguese composer of birth, but whose work was developed around the Spanish court of Isabel the Catholic , a solemnity and passion of the environment that was lived in the court Spanish and its representation of Catholicism in Europe.
And it is the first Iberian requiem to be preserved. Along with the Requiem of Morales, after this, is one of my favourites, its contrapunctual texture is not so intricate and lets hear clearly its intention not of sadness, it's not composed in minor mode, but of reflection and hope. This CD I had it about 20 years ago, and was discontinued by Virgin Veritas, fortunately I have found again and in splendid state. Although Pedro de Escobar cc , has not been widely recorded, the Portuguesse composer active in Spain, has long been considered one of the most important Iberian musicians of the generation of Josquin.
His output includes several mass cycles, some other mass movements, a collection of motets and hymns, a series of villancicas, and most significantly this Requiem. In fact his Requiem is the earliest known by an Iberian composer, leading directly to the important series of settings by Vasquez, Morales and Victoria, though all do not use the same text. This series is completed with plainchant from Iberian sources of the period. There are three composers on this recording involving 15 tracks.
Escobar's Requiem is on the first 10 tracks. Francisco de Penalosa contributes four motets. It has been said of his music by historians, that of all the Spanish composers of his generation, he came the closest to Josquin's style and technic. They are well-done on this disc also, but there are only four of them. This recording is still available on Amazon and I did write a review of it. One of the Spanish masters herein is Juan de Anchieta c , who wrote much music in the 16th century yet contributed many major works by The Ensemble Gilles Binchois, after 30 years, keeps its ongoing enthusiasm for upholding the 15th and 16th century repertoire and medieval Church music as evidenced by their emphasis on: Medieval Monodies which suggest connection with other musical cultures India, Morocco, Iran and Spain ,; Music of the Early Baroque in France and Ialy AND Baroque Plain Chant and Faux-Bourdons often alternating with the organ.
I have just purchased a marvelous recording just released on mp3 on Amazon, but I was able to purchase at Presto Classical in England 2 CD's of faux-bourdons, record entitled: "Polyphonic oubliees" The lost polyphonies. I can't stop playing it; it is performed by this Ensemble, recorded in , with a different line-up of singers than on this disc.
Both recordings though different personnel are equally wonderfully implemented. This disc was recorded in For the lover of polyphony this is a treasure. Accompanied by a booklet with pertinent information and text in French, English, German and Spanish. Lovely Spanish Renaissance music; good choice of pieces.
The Ensemble Gilles Binchois, under their director Dominique Vellard, sing with two voices per part - two each of countertenor, tenor, tenor, bass - and, together with the recording's suitably ecclesiastical ambience, they bring a sense of occasion and atmosphere to the performance.Dominique Vellard Chansons Ensemble Gilles Binchois New CD Germa Dominique Vellard Chansons: $ Vellard Ensemble Chansons Dominique Gilles CD New Binchois Germa Germa Binchois New Vellard Gilles Ensemble CD Dominique Chansons.