Cantica Symphonia, Giuseppe Maletto - Heinrich Isaac: Missa Misericordias Domini & Motets (2015) [Hi-Res]

• Title: Heinrich Isaac: Missa Misericordias Domini & Motets
  
• Year Of Release: 2015
  
• Label: Glossa
  
• Genre: Classical
  
• Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
  
• Total Time: 01:10:02
  
• Total Size: 323 / 649 mb
  
• WebSite: Album Preview
  

Tracklist

01. Ave regina caelorum
02. Ave ancilla Trinitatis
03. Missa "Misericordias Domini": Kyrie
04. Missa "Misericordias Domini": Gloria
05. Missa "Misericordias Domini": Credo
06. Missa "Misericordias Domini": Sanctus
07. Missa "Misericordias Domini": Agnus Dei
08. Inviolata
09. Sub tuum praesidium
10. La mi la sol, la sol la mi (Rogamus te)
11. Quae est ista
12. O decus ecclesiae


With Heinrich Isaac, Giuseppe Maletto and Cantica Symphonia turn their attention to one of the most influential Franco-Flemish composers of the Renaissance, presenting a hitherto unrecorded mass setting, his 'Missa Misericordias Domini', and a selection of outstanding and substantial motets.

Isaac was one of the leading composers who, born and trained in Flanders, took up employ in Italy: in his case he worked at the sumptuous court of Lorenzo de’ Medici in Florence at the end of the 15th century (on the latter’s death Isaac was then taken on by the Emperor Maximilian I).

This new recording from Glossa offers a rare chance today of appreciating the music of this extraordinarily prolific composer, often unfairly (as he was in his own time) obscured by the shadow cast by his near-contemporary Josquin Desprez, in interpretations which the sextet of long-experienced singers of Cantica Symphonia handle with typical skill. If the 'Missa Misericordias Domini' ultimately owes its thematic material to an Italian secular song, a frottola (and Guido Magnano, in his booklet essay, maps out Isaac’s biography in Florence to explain this choice), the motets here – including O decus Ecclesiae, Quae est ista and Inviolata – are resolutely Marian devotional works; some recorded also for the first time.

The established special colouring of Cantica Symphonia’s work is maintained here by the well-considered presence in some of the motets of instruments of the time, notably, fiddles, sackbutts and slide trumpets.

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