Renaissance Dance Bands 1551-1599, Tylman Susato / Thomas Morley (Century's recording: David Munrow)
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- Опубліковано 27 тра 2024
- Tylman Susato (arround 1510-1570): Twelve Dances from the ‘Danserye’ (1551)
Click to activate the English subtitles for the presentation (00:00-01:22)
00:00 La Mourisque (full bande)
01:13 Branle quatre Branles (recorders & strings)
02:54 Ronde & Salterelle (recorders & strings)
04:28 Ronde mon amy (cornett, crumhorn, dulcian, sackbut & tabor)
06:59 Allemaigne & Recoupe (strings & harpsichord)
09:39 Pavane Mille regretz (recorders & lute)
12:38 Basse danse Bergeret sans roch & reprise (full band)
15:13 Danse du roy (crumhorns & rackett)
16:36 Ronde (crumborns & rackett)
17:38 Passe et medio & Reprise Le Pingue (recorders, viol, lute, strings & harpsichord)
20:17 Ronde (crumhorns, regal & sackbuts)
22:16 Pavane La Bataille (full band)
Thomas Morley (1557-1602)
Dances for Broken Consort from ‘The First Booke of Consort Lessons’ (1599) *
Click to activate the English subtitles for the presentation (25:13-26:47)
25:13 Mounsier’s Almaine (William Byrd)
27:46 Lachrimae Pavan (John Dowland)
32:22 Michill’s Galliard (Anon)
34:39 Lute Duet: My Lord Chamberlain’s Galliard (John Dowland)
37:12 The Jew’s Dance (Richard Nicholson)
38:59 Captaine Piper’s Pavan & Galliard (John Dowland)
46:18 My Lord of Oxenford’s Maske (William Byrd)
47:25 Lavolto (Thomas Morley)
49:11 La Coranta (Thomas Morley)
The Early Consort of London
The Morley Consort *
Conductor: David Munrow
Recorded in 1971, at London
Painting: Pieter Brueghel l'Ancien (around 1525-1569) La danse de la mariée en plein air (v. 1566)
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
David Munrow studied English literature at Cambridge and spent a while in South America, where he became fascinated by native wind instruments. Even as a student he was a brilliant reéorder player, and during the 1960s he extended his expertise to a wide range of early wihd instruments. He established his Early Music Consort in 1967 and much of his later work was based round this ensemble, with James Bowman (countertenor), Oliver Brookes (viol), Christopher Hogwood (keyboard and percussion) and James Tyler (lute). His infectious enthusiasm and skilful programming brought him an immense following. He recorded a rather wider repertoire than he could take on tour with the consort (it ranged from the 12th to the 1 8th century, as well as contemporary music written for him).
Everything Munow did was meticulously planned and researched. His own knowledge and experience was vast, extending far beyond the sort of music the public associated with him. This became apparent in his radio programme Pied Piper, broadcast four times a week, ostensibly intended for younger listeners but fascinating to all ages for its range of topics and engaging presentation.
Perhaps the following reminiscences will give some idea of his character. I first met David in the mid-1960s, before he began his career. We were both enjoying a holiday at the Dartington Summer School of Music and our common interest in early music led to a week of intensive talking, arguing, drinking and listening to music. Although subsequently we did not see a lot of each other, when we did meet we immediately dropped back into the same easy relationship. Later, when he ran ensemble classes at the summer school, I was continually amazed at his remarkable memory. When auditioning prospective participants, he could remember the abilities of those he had heard for only a minute or so the previous year. He wasn't just being polite if he complimented them on their improvement: his private comments to me implied that he really had remembered.
In 1969 he was appointed Professor of Recorder at the Royal Academy of Music. In practice, this meant that he turned up once a week and organised some sort of musicmaking with the tiny group of students who were interested in early music. I used to creep out from my job in the library, and we were also joined by a promising student from the Guildhall School of Music and Drama, Philip Pickett. On his first day, David expected me to join him for lunch. When I told him that I was not entitled to use the professors' dining room, he insisted on using the students' canteen and subsequently always ate there.
One Wednesday in May 1976, he phoned me in my office (l was now at the BBC) and asked if I would compile a list of editions to include in the notes for his next record set. I agreed, but was puzzled: why wasn't he doing it himself? I was working at it on the following Saturday when it was announced on the radio that he had died. The fact that he committed suicide was only divulged later; but it was obvious that he had known that he would not have time to finish the work necessary for the recording and did not want to leave anything incomplete. Everything he did he did with a thorough professionalism: the panache of his performance was underlaid by an infinite capacity for attending to detail. Clifford Barlett
Tylman Susato (arround 1510-1570): Twelve Dances from the ‘Danserye’ (1551)
Click to activate the English subtitles for the presentation (00:00-01:22)
00:00 La Mourisque (full bande)
01:13 Branle quatre Branles (recorders & strings)
02:54 Ronde & Salterelle (recorders & strings)
04:28 Ronde mon amy (cornett, crumhorn, dulcian, sackbut & tabor)
06:59 Allemaigne & Recoupe (strings & harpsichord)
09:39 Pavane Mille regretz (recorders & lute)
12:38 Basse danse Bergeret sans roch & reprise (full band)
15:13 Danse du roy (crumhorns & rackett)
16:36 Ronde (crumborns & rackett)
17:38 Passe et medio & Reprise Le Pingue (recorders, viol, lute, strings & harpsichord)
20:17 Ronde (crumhorns, regal & sackbuts)
22:16 Pavane La Bataille (full band)
Thomas Morley (1557-1602)
Dances for Broken Consort from ‘The First Booke of Consort Lessons’ (1599) *
Click to activate the English subtitles for the presentation (25:13-26:47)
25:13 Mounsier’s Almaine (William Byrd)
27:46 Lachrimae Pavan (John Dowland)
32:22 Michill’s Galliard (Anon)
34:39 Lute Duet: My Lord Chamberlain’s Galliard (John Dowland)
37:12 The Jew’s Dance (Richard Nicholson)
38:59 Captaine Piper’s Pavan & Galliard (John Dowland)
46:18 My Lord of Oxenford’s Maske (William Byrd)
47:25 Lavolto (Thomas Morley)
49:11 La Coranta (Thomas Morley)
The Early Consort of London
The Morley Consort *
Conductor: David Munrow
Recorded in 1971, at London
Painting: Pieter Brueghel l'Ancien (around 1525-1569) La danse de la mariée en plein air (v. 1566)
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
David Munrow studied English literature at Cambridge and spent a while in South America, where he became fascinated by native wind instruments. Even as a student he was a brilliant reéorder player, and during the 1960s he extended his expertise to a wide range of early wihd instruments. He established his Early Music Consort in 1967 and much of his later work was based round this ensemble, with James Bowman (countertenor), Oliver Brookes (viol), Christopher Hogwood (keyboard and percussion) and James Tyler (lute). His infectious enthusiasm and skilful programming brought him an immense following. He recorded a rather wider repertoire than he could take on tour with the consort (it ranged from the 12th to the 1 8th century, as well as contemporary music written for him).
Everything Munow did was meticulously planned and researched. His own knowledge and experience was vast, extending far beyond the sort of music the public associated with him. This became apparent in his radio programme Pied Piper, broadcast four times a week, ostensibly intended for younger listeners but fascinating to all ages for its range of topics and engaging presentation. In this, as in everything he did, his tremendous zest and vitality made his death all the more a shock.
Perhaps the following reminiscences will give some idea of his character. I first met David in the mid-1960s, before he began his career. We were both enjoying a holiday at the Dartington Summer School of Music and our common interest in early music led to a week of intensive talking, arguing, drinking and listening to music. Although subsequently we did not see a lot of each other, when we did meet we immediately dropped back into the same easy relationship. Later, when he ran ensemble classes at the summer school, I was continually amazed at his remarkable memory. When auditioning prospective participants, he could remember the abilities of those he had heard for only a minute or so the previous year. He wasn't just being polite if he complimented them on their improvement: his private comments to me implied that he really had remembered.
In 1969 he was appointed Professor of Recorder at the Royal Academy of Music. In practice, this meant that he turned up once a week and organised some sort of musicmaking with the tiny group of students who were interested in early music. I used to creep out from my job in the library, and we were also joined by a promising student from the Guildhall School of Music and Drama, Philip Pickett. On his first day, David expected me to join him for lunch. When I told him that I was not entitled to use the professors' dining room, he insisted on using the students' canteen and subsequently always ate there.
One Wednesday in May 1976, he phoned me in my office (l was now at the BBC) and asked if I would compile a list of editions to include in the notes for his next record set. I agreed, but was puzzled: why wasn't he doing it himself? I was working at it on the following Saturday when it was announced on the radio that he had died. The fact that he committed suicide was only divulged later; but it was obvious that he had known that he would not have time to finish the work necessary for the recording and did not want to leave anything incomplete. Everything he did he did with a thorough professionalism: the panache of his performance was underlaid by an infinite capacity for attending to detail. Clifford Barlett
Early Music : Gregorian Chants, Renaissance Music, Sacred Music.. PLAYLIST (reference recording): ua-cam.com/video/wvgRjL9SAZs/v-deo.html
I've loved David Munrow since my teens (some 70 years ago). My deepest thanks for having this.
I bought this record when I was 17. I think I still have it somewhere. So glad to have found it again on youtube. Many thanks.
The album cover is full of joie de vivre! Hard living teaches humans to enjoy their pleasures to the fullest. Dance like you mean it!
This painting seems very well matched to the music!
Thanks so much for this upload!
I still have the record. Wonderful. Many thanks.
Still bops after all these years
❤😊 j'adore la musique les danses de la Renaissance c'est magnifique bravo
The wealth of Medieval and Renaissance music we enjoy today is a relatively recent development. Before 1950, little was known of the older music, and the notation and the instruments had to be rediscovered. Lost treasures are legendary, and here's a musical one for all to find and enjoy.
More fantastic Early Music from the late, great maestro, David Munrow.
I have had this recording. for many years. Fabulous .What a fantastic project Munrow and his colleagues ran. What a loss.. :-(
Bought this record when I was a teen. So nice to have it again on youtube. Many thanks.
I never get bored from this music!! It is so enlightening!!
Enelessly enchanting and full of life! Can't beat the dance music of that period. .
David Munrow (1942-1976) studied English literature at Cambridge and spent a while in South America, where he became fascinated by native wind instruments. Even as a student he was a brilliant reéorder player, and during the 1960s he extended his expertise to a wide range of early wihd instruments. He established his Early Music Consort in 1967 and much of his later work was based round this ensemble, with James Bowman (countertenor), Oliver Brookes (viol), Christopher Hogwood (keyboard and percussion) and James Tyler (lute). His infectious enthusiasm and skilful programming brought him an immense following. He recorded a rather wider repertoire than he could take on tour with the consort (it ranged from the 12th to the 1 8th century, as well as contemporary music written for him).
Everything Munow did was meticulously planned and researched. His own knowledge and experience was vast, extending far beyond the sort of music the public associated with him. This became apparent in his radio programme Pied Piper, broadcast four times a week, ostensibly intended for younger listeners but fascinating to all ages for its range of topics and engaging presentation. In this, as in everything he did, his tremendous zest and vitality made his death all the more a shock.
Perhaps the following reminiscences will give some idea of his character. I first met David in the mid-1960s, before he began his career. We were both enjoying a holiday at the Dartington Summer School of Music and our common interest in early music led to a week of intensive talking, arguing, drinking and listening to music. Although subsequently we did not see a lot of each other, when we did meet we immediately dropped back into the same easy relationship. Later, when he ran ensemble classes at the summer school, I was continually amazed at his remarkable memory. When auditioning prospective participants, he could remember the abilities of those he had heard for only a minute or so the previous year. He wasn't just being polite if he complimented them on their improvement: his private comments to me implied that he really had remembered.
In 1969 he was appointed Professor of Recorder at the Royal Academy of Music. In practice, this meant that he turned up once a week and organised some sort of musicmaking with the tiny group of students who were interested in early music. I used to creep out from my job in the library, and we were also joined by a promising student from the Guildhall School of Music and Drama, Philip Pickett. On his first day, David expected me to join him for lunch. When I told him that I was not entitled to use the professors' dining room, he insisted on using the students' canteen and subsequently always ate there.
One Wednesday in May 1976, he phoned me in my office (l was now at the BBC) and asked if I would compile a list of editions to include in the notes for his next record set. I agreed, but was puzzled: why wasn't he doing it himself? I was working at it on the following Saturday when it was announced on the radio that he had died. The fact that he committed suicide was only divulged later; but it was obvious that he had known that he would not have time to finish the work necessary for the recording and did not want to leave anything incomplete. Everything he did he did with a thorough professionalism: the panache of his performance was underlaid by an infinite capacity for attending to detail. Clifford Barlett
many thanks for those thoughtful words. Greatly missed genius.
Thank you.
I read about him today... What a loss - for The World... Still - we have The Music! 💙💙💙💙💙🦩
It's so sad that a person with such talent and inspiration would take his own life, and at such a young age.
I have treasured his recordings ever since a friend introduced me to them in college, now more than 50 years ago!
Thanks to you putting this up on UA-cam, maybe 1000s of people will discover this wonderful music for the first time. 😊
I also owe a debt of gratitude to the great David Munrow for giving me a love of renaissance music, along with other pioneers like the Ulsamer Collegium.
His life was short, but his spirit is eternal.
Thank you for this- what an opening! David Munroe would be proud indeed.
Magnificent.
pop music of the 16th century. in the 50's and 60's, very popular in high schools for brass quintet. played these tune many times, available in "arrangements", especially from Robert King for brass. in those times, music was performed by musicians on whatever instruments they had on hand . in the 20th mid century we had recorders, not even reproductions of other period instruments, much less originals. in the late 20th and into the 21st century, many reproduction instruments now available, played in specialty groups performing Renaissance, Baroque music. but of course, back then we had contemporary band instruments, played just like those times because they were at hand. I miss it.
My Kind of Music! Love it!!! 💙💙💙💙💙🦩🦩🦩 January 2024!
David was indeed one of the great and excellent pioneers of early music - and sadly passed away far too soon. I am likewise very happy to own 2 of his vinyl records. Susato's (and Phalèse's) dances were revisited in the 20th century by Daniel Sternefeld in his 'Salve Antverpia', also renamed 'Song and Dance at the court of Mary of Burgundy' - also available on UA-cam. A relatively unknown composer, but the work is definitely worth listening to.
Lebhafte und wunderschöne Interpretation dieser fein komponierten Tänze mit farbenreichen Tönen aller Originalinstrumente. Der intelligente und geniale Dirigent leitet die ausgezeichneten Ensembles in verschiedenen Tempi und mit perfekt kontrollierter Dynamik. Alles ist wunderbar!
고음악을 좋아합니다 이렇게 정법 고음악 레코딩 구하기도 힘들지만 이렇게 좋은곡 올려줘서 고맙습니다
Renaissance dance, special! 👍🎵🎼🤴🏼💝🎶🌹🍀Merci😘
Loved all the squacking and sqaeaking from the get go.
Verdammt gut diese Zusammenstellung! 👍
🥰
Muchas gracias.
Ooh, some renaissance music. Nice!
I Fricken love the renaissance
Me too!
David Munrow has a wonderful presentation on the Introduction of Early Music.
Thank you for the great music !!!
Fantastic Sound!!👌👌🌹
Merci beaucoup. 💐💐💐
wonderful music.
Thank you.
There is an undefinable sadness or darkness to the slower pieces of this music, it's quite powerful.
Those are pavanes. en.wikipedia.org/wiki/Pavane
I hear stateliness, not sadness, because the pavane emulates the peacock.
I know just what you mean.
I was conditioned as a teenager by that heartbreaking scene in the film 'A Man for all Seasons' when Moore was interrogated late at night to the background sounds of a party in full swing. Listen to the music just as Cromwell shuts the door.😢😢
There is a real bittersweetness to the slow dances. There is for me an unsaid warning. Enjoy your privilege while you may, but mind how you tread!
🎄Thank you! Happy Holidays!🎄
This recording by David Munrow is pure gold!!! I love it so much,and the recorded sound is unbelievable,so detailed and powerful!! The Early Music Consort of London plays in a marvellous and inspired way!!
There is another great recording of renaissance dance music by another great group,Collegium Aureum. That one was made in the sixties,and there are some pieces in common with David Munrow's one (like the wonderful Pavane "Mille regretz" by Josquin). It's highly interesting to compare the two recordings,which reveal two completely different approaches,and to find out that both function extremely well!!!
Ulsamer Collegium is another great renaissance revival band I remember from my youth. I think it was they who got me hooked on early music, so thanks for those old records and thanks for those wonderful memories.
Qué belleza !!! Magnífico !!!
The musical note or tone "A" has been debated.
Mathematics and heart together brings us together.
So beautiful
Thank you 👏👏👏
Man, that's some beautiful stuff.
The human race on the whole is a bad lot, but this wonderful recording stands as one of the human race's few saving graces.
Have to agree...💙💙💙💙🦩
As Sigmund Freud pointed out, Arts in general (as such, Music as well) should be a "sublimation" of reality, which is something pushing and lifting up the general aesthetic and moral standard. I wonder if since the 20.th Century we have started forgetting it - That's why once people and reality were generally bad, while Art was good; but now, both are bad, since the latter have defected at imitating the former...
Blackmore's Night brought me here
David Munrow and his group were so fantastic in all their recordings. Thanks for posting.
Yes I agree with you.
Phew 😰
David Munrow is a highly repected early music expert in the 1970's.
22.16
'Tell Saladin, that Jerusalem has arrived.'
Wonderful.
Thanks.
Congratulations.
Collections like this has become my favorite replacement for the over-played "seasonal" music for the winter holidays. I love renaissance music all year round, but it seems especially fitting during this particular season.
Los pueblos que olvidan sus raíces, aún las más profundas, son como hojas al viento, se secan y mueren.
Bravo !
Волшебно!!!
This awesome!
Am I the only one who saw 'Renaissance Dance Bands' and immediately heard S...A...F...E...T...Y...Safety...Dance...?
So beotufull
Variaciones sobre Mile Regree
He did the music for the six wife's of Henry the eight.
It may be the captains right to dance with anyone.
😍🙌🏻
This music reminds me how annoying the modern world really is. Good or bad, I'm stuck in present times!!
tambien
sounds like a duck orchestra
Goose orchestra. Everyone loves a goose.
typical reaction in these times - 20th and 21st centuries. we've had some 400 years of development to influence our ears. these instruments now exist in museums and the shops of specialty builders as reproductions, even Violins and Viols. commenter probably referring to Shawms, rackets, psalteries, krumhorns, etc. check - Oxford Companion to Musical Instruments
I forgot about the Serpent and Zinke. Sorry (probably more).
Bezaubernde Kompositionen,