Cappella Pratensis sing Sicut cervus by "Ziprianus"
HTML-код
- Опубликовано: 15 сен 2024
- An anonymous setting of the text Sicut cervus from the Cancionero de Medinaceli. Attributed to a certain "Ziprianus," previously thought to be Cipriano de Rore.
The video was recorded live in Abdij van Park (Leuven, BE) for an episode of Early Music Sources
LINK: • Composing a four-part ...
Many thanks to Elam Rotem for video and audio!
Superius: Andrew Hallock, Tim Braithwaite (Artistic director)
Altus: Lior Leibovici, Korneel Van Neste
Tenor: Peter de Laurentiis, Marc Busnel
Bassus: Máté Bruckner, Jonty Coy
Wow, what a great performance! Love it!
Early Music Sources brought me here. Looking forward to listening to your discography 🖖
Beautifull !
What a wonderful performance of this superb motet. Thank you, enjoyed listening so much.
I also came here from Early Music Sources...wonderful!
Magnificent! Thank you , gentlemen🎉
Came here from Early Music Sources. Love that you sings from a single sheet. Hope there will be more, soon. Thanks for letting us watch via RUclips.
@@janaldoson1542 Thanks so much, we’re so pleased you enjoyed it! There are plenty more recordings of the group both on RUclips and on various streaming services if you’re interested.
Very special choir, all men and one woman.
There's no woman though? Just men.
Great performance (also came from Elam's channel). If anyone involved is reading, could you please answer a question: why is the tuning so low? I mean, the A? Was it a standard at those times? Thanks!
Hi - good question! Notated pitch and performance pitch are only loosely connected during this period and numerous sources tell us that the pitch was set according to the ranges of the available voices, the importance of the liturgical event, or even simply the director’s preference! Here’s a nice article which lays out some of the issues:
www.brepolsonline.net/doi/epdf/10.1484/J.JAF.5.131813
And a few extra sources I’ve come across over the past few years:
www.cacophonyhistoricalsinging.com/post/giovanni-bardi-on-the-ancient-and-modern-methods-of-singing-different-modes-c-1578
While we’re an all-male group and often tune things downwards, it’s worth noting that there’s plenty of evidence for transpositions upwards for performances in convents or other contexts with female singers. Here’s a great article on the subject:
www.jstor.org/stable/26546433
Just perfect! Many thanks
merci !
😎✝️👍
Concerto in Polonia. Please.
@@rufuskowalski5605 we have a few concerts in Poland in 2025 - keep an eye on our website and social media for more information!
@@cappellapratensis8404 Tkank's!
Is the key b flat major?
It's a modal piece (mode III)
@@nathuru3055 Hi! Good question - as the person above implies, the tonal system isn’t really a useful or relevant construct for understanding this sort of music. However, if you’re asking about pitch, I hope you don’t mind if I copy a response I gave below:
Notated pitch and performance pitch are only loosely connected during this period and numerous sources tell us that the pitch was set according to the ranges of the available voices, the importance of the liturgical event, or even simply the director’s preference! Here’s a nice article which lays out some of the issues:
www.brepolsonline.net/doi/epdf/10.1484/J.JAF.5.131813
And a few extra sources I’ve come across over the past few years:
www.cacophonyhistoricalsinging.com/post/giovanni-bardi-on-the-ancient-and-modern-methods-of-singing-different-modes-c-1578
While we’re an all-male group and often tune things downwards, it’s worth noting that there’s plenty of evidence for transpositions upwards for performances in convents or other contexts with female singers. Here’s a great article on the subject:
www.jstor.org/stable/26546433
🫡