Texte paru dans: / Appeared in: |
|
|
Outil de traduction ~ (Très approximatif) |
|
|
Reviewer: J.
F. Weber Jacquet of Mantua (1483–1559) joins the unfamiliar group of mid-16th-century composers that the Brabant Ensemble has chosen for its focus of interest. Born in Brittany as Jacques Colebault, he was in Mantua by 1519, though he seems to have gone to Italy much earlier. In 1525 he spent a year at the Este court in Ferrara where he worked with Willaert, but he returned to Mantua and remained there. As maestro da cappella at the cathedral, he served Cardinal Ercole Gonzaga. Given his connections and the wide circulation of his works (mostly sacred music), it is puzzling that he is virtually unknown on records. With 23 Masses and over 100 motets extant and his Opera Omnia published some years ago, his music should be far more familiar. The most important previous appearance of Jacquet’s music on disc never arrived for review, three CDs on Calliope by the Ensemble Jachet de Mantoue (the French form of the name by which he was known in Italy all during his adult life) containing a set of Lamentations and two Masses with motets. Four motets, all used as cantus firmi in Masses of Palestrina, were recorded by Marco Longhini along with the respective four Masses on two Stradivarius CDs. David Skinner recorded Dum vastos fluctus Adriae on Magnificat (not received for review). Back in the LP era, Konrad Ruhland recorded the motet O Angele Dei. As it happens, none of these six are duplicated here. This Mass, only the third on records, is based on the composer’s own motet, which precedes the Mass. This motet is a patchwork of gospel passages conferring Christ’s authority on Peter, along with the moment in Acts when an angel releases him from his chains in prison. (Hence the church of St. Peter ad Vincula in Rome, where the chains are venerated.) One curiosity is In illo tempore ... Non turbetur, found in nine 16th-century sources allotting attributions variously to three composers. The earliest printer, Jacques Moderne, attributed it to Nicolas Gombert, then three years later to “Iacquet,” presumably (at best) our man. Later sources repeated these or used “Jachet Berchem.” With confusion dating all the way back to the beginning, there is no easy resolution of the dilemma (or trilemma?). The gospel text elicits from the composer, whoever he is, a serenely unfolding presentation of the Lord’s advice, “let not your heart be troubled,” urging Philip to ask, “Lord, show us the Father,” giving the Lord an opening to affirm his union with His Father. “O vos omnes,” the longest of these motets, is assembled from several antiphons and responsories of Holy Week. Two unusual settings are the Ave Maria and the brief O pulcherrima (O most beautiful of women) from the Song of Songs, both fittingly set for women’s voices (though the Mantua cathedral must have used boys to simulate the sound). The most interesting motet is saved for last, Domine, non secundum peccata nostra, the entire text of the tract for the Mass on Ash Wednesday. Divided into three parts (like the three verses of the tract), the setting is a contrast in textures, the first part alternating between low and high voices, the second part given to low voices, the full ensemble used for climactic points, all to marvelously expressive effect. Rice’s past work in the music of this generation has given us superb renditions of composers between Josquin des Prez and Palestrina, an era of lesser renown until recently. Jacquet is one of the most deserving recipients of this exposure, unaccountably neglected. That is usually said of every newly discovered composer, but, more than most, it is genuinely applicable to Jacquet of Mantua. Don’t miss this marvelous program. You will not be disappointed. | |
|
|
|
|
Cliquez l'un ou l'autre
bouton pour découvrir bien d'autres critiques de CD |
|
/0034571280882.jpg)
