@@Shrinktheshrinkable in other words you don’t. And you are comparing belief in god with a feeling. Feeling for god or religious feelings exist, and can be proven. You are mixing apples and oranges.
Greetings. Thank you for this wonderful composition, performed excellently. Josquin des Prez continue to be one of the best composers. The most important of his time. Thanks for the technical details that have been discussed. With my best wishes for everyone.
This kind of music was created by humans who wanted to raise themselves to God, to show the Lord they were faithful and thankful for him to have given them life. Music had then the deepest meaning you could find. Then it change to please sovereigns and now it is meant to make money. I think the quality of a music is linked to its meaning and reason to exist.
@@danal81 Spare us the materialistic blabbing. Do you really pretend that there is just as much purity in intention, and value, in devoting one's art to a quick buck as there is to He, who in the very least, serves as the personification of all that is good?
@@danal81 I suppose I should be clearer. Materialism is a phrase commonly used by philosophers and theologians to refer to the conception that only the material world exists, I belief I assume you adhere to. I presumed you would be aware of its means, an see that I was referring to your ideas. It is certainly true that our neural pathways convey to our minds the music that we hear, and that this music is conveyed through vibrations that travel through air. However, the question becomes why it is "music"? There is no evolutionary reason(and before you go on a self-aggrandizing rant, I do believe in evolution) as there is little benefit to survival or signaling other positive traits. Like Beauty, it is something which is recognized by almost all societies, and whose appreciation requires no training. I am not pretending that this is any proof that music cannot be completely physical, but it is something to think about. Two notes: First, you say "science exists". Are you implying that it is some physical object that you can find, or that there exist the idea of science, just as there exist the idea of farming, or classical logic. Science is not truth or fact, merely a means to discover that fact. I know that you didn't put any thought into that phrase, so forgive me for quibbling Secondly; I find it humorous that someone who resorts to regurgitated phrases calls me a "brainwashed m0rn[sic]"
Kyle Jacobson what is not clear in the sentence “science exists “..the concept,the practice and the consequences of it all exist That is something we can prove The existence of god we can not prove,and stating the fact music (like any other art ) has no evolutional necessity,does not constitute the proof of god Humans developed past the basic necessities of evolution .. our logic and reason , together with observing the world and its order around us, made possible for us to construct complex systems , whose seeds are in the perceptions of our senses The pleasure that comes from creating them and consuming them , perhaps do have some evolutional value,as means to relax,meditate, reset the overtaxed brain that has been engaged in problem solving etc Kind of like when cat purrs ,on a different level Beauty is universal,you say ? It is not..some proportions,some combinations are appealing to most of us,again ,this can be explained by the way our brains are wired and how the stimuli on our senses translate to the electric currents in our brains , for example an inspired composer will probably have those neurons fired up and somehow that is transferred to the music ,which then in turn,recreates the same electric picture in our own brains If the original brain was “talented “ aka,the hardware was very developed , it makes sense any creation by that hardware will be able to achieve an effect in other brains Etc My first response to you was half trolling lol ,I am just tired of “He who ..Kingdom ... etc “ phrases
Estuve toda la noche trabajando en plena pandemia y al pasar a las 7 am por El TEMPLO. DE El PILAR comenzo a sonar esta maravilla encargada al compositor tras la muerte de savonarola y entonces recorde mi homenaje pintado para el museo sorolla para las victimas del covid - 19 las lagrimas ARDIENTES formando un caudaloso rio que van a una MAR ARBOLADA te quiero JOSQUIN
Son irrepetibles los momentos históricos estelares, en este caso, el advenimiento y maduracion de la gran polifonía, o lo que es lo mismo, del oído musical moderno. De la mano de un genio como Josquin. Y interpretado a un gran nivel. Gracias
Hola, me podrias explicar qué representa esta musica? A qué te refieres con la maduración de la gran polifonia? Entiendo que va en el hecho del cambio de la polifonia medieval hacia ya lo que viene siendo los siglos siguientes. Pero podrias explicarme un poco?
@@javxvix0102 bueno, yo no soy un gran entendido ni mucho menos, solo un aficionado que ha oído mucho, porque tengo años. Creo que en esta época se definió lo que consideramos disonante o no, así como ciertas reglas en las combinaciones de las voces en la polifonia, que condicionaron durante mucho tiempo nuestro modo de oír y valorar la música. Incluso cuando todo esto fue cambiado, siguieron siendo referente, ya que lo disonante es lo que es distinto de lo que ellos hicieron. Se suele considerar a este periodo como la época de oro de la polifonia.
10 octobre 2020. Jean BELLIARD est mort. Ce hautecontre à la voix si puissante et chaleureuse m'a fait découvrir Josquin des prés, Victoria, Palestrina, et le Chœur Exultate d'Etampes chante ces magnifiques oeuvres depuis 30 ans. Merci Jean BELLIARD.
C'est sublime de même que déchirant parfois ; un drame intime sur le psaume 51, Miserere mei Deus (Aie pitié de moi, mon Dieu) dans un contre-chant sobre qui pointe au cœur.
Siempre sentí mías las palabras de David como expresión de una honda desesperanza que clama como baladro hacia lo Inefable. Petición de cuantos navegan por este océano de aguas inciertas y que plasma esta escala de ondas sonoras con gran acierto (descienden incesantes una octava para remontarla obstinadas de mi a mi). «En el Miserere mei Deus una peculiar regla tonal atraviesa la pieza. Deja oír el ostinato hundido en los abismos, desde donde el sujeto formula la petición de misericordia» (Trías 2014: 84). Rey pecador, rey creador, rey tan humano.
Buena presentacion, pero "Rey pecador" es una referencia a David, verdad, y el "rey creador" (sic) es Dios. No parecia tan clara la distincion entre los dos en su comenatrio que mas bien parece referir a la misma persona y sea ambigua. - Un saludo.
Se sea o no creyente, en mi caso si lo soy , pero no en los hombres ni en las mujeres salvo contadisimas ocasiones, la música y el rezo entregado e íntimo al Señor , me reconforta y alivia el llanto que cada cual tenemos en vida....!!!las música de alabanza al señor como estas me hacen bien joda a quien joda que deteste la espiritualidad...!!
Uploaded on 14 Jan 2012 Perhaps a native of the Vermandois region of Picardy, he was a singer at Milan Cathedral in 1459, remaining there until December 1472. By July 1474 he was one of the 'cantori di capella' in the chapel of Galeazzo Maria Sforza. Between 1476 and 1504 he passed into the service of Cardinal Ascanio Sforza, whom he probably accompanied in Rome in 1484. His name first appears among the papal chapel choir in 1486 and recurs sporadically; he had left the choir by 1501. In this Italian period Josquin reached artistic maturity. He then went to France (he may also have done so while at the papal chapel) and probably served Louis XII's court. Although he may have had connections with the Ferrara court (through the Sforzas) in the 1480s and 1490s, no formal relationship with the court is known before 1503 when, for a year, he was maestro di cappella there and the highest-paid singer in the chapel's history. There he probably wrote primarily masses and motets. An outbreak of plague in 1503 forced the court to leave Ferrara (Josquin's place was taken by Obrecht, who fell victim in 1505). He was in the north again, at Notre Dame at Condé, in 1504; he may have been connected with Margaret of Austria's court, 1508-11. He died in 1521. Several portraits survive, one attributed to Leonardo da Vinci. Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550). Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet. He was praised by 16th-century literary figures (including Castiglione and Rabelais) and was Martin Luther's favourite composer. Josquin was the greatest composer of the high Renaissance, the most varied in invention and the most profound in expression. Much of his music cannot be dated. Generally, however, his first period (up to circa 1485) is characterized by abstract, melismatic counterpoint in the manner of Ockeghem and by tenuous relationships between words and music. The middle period (to circa 1505) saw the development and perfection of the technique of pervasive imitation based on word-generated motifs. This style has been seen as a synthesis of two traditions: the northem polyphony of Dufay, Busnois and Ockeghem, in which he presumably had his earliest training, and the more chordal, harmonically orientated practice of Italy. In the final period the relationship between word and note becomes even closer and there is increasing emphasis on declamation and rhetorical expression within a style of the utmost economy. His many motets span all three periods. One of the earliest, the four-part Victimae paschali laudes (1502), exemplifies his early style, with its dense texture, lack of imitation, patches of stagnant rhythm and rudimentary treatment of dissonance. Greater maturity is shown in Planxit autem David, in which homophonic and freely imitative passages alternate, and in Absalon, fili mi, with its flexible combination of textures. His later motets, such as In principio erat verbum, combine motivic intensity and melodic succinctness with formal clarity; they are either freely composed, four-part settings of biblical texts, or large-scale cantus firmus pieces. Transparent textures and duet writing are common. Josquin's 18 complete masses combine elements of cantus firmus, parody and paraphrase techniques. One of the earliest, L'ami Baudichon, is a cantus firmus mass on a simple dance formula; the simplicity of melody and rhythm and the clarity of harmony and texture recall the Burgundian style of the 1450s and 1460s. Fortuna desperata, on the other hand, is an early example of parody. Canonic writing and ostinato hgures are features. His last great masses, notably the Missa de beata virgine and the Missa 'Pange lingua' were preceded by works in which every resource is deployed with bravura. Josquin's secular music comprises three settings of Italian texts and numerous chansons. One of the earliest, Cela sans plus, typifies his observance of the formes fixes and the influences of the Burgundian style of Busnois and Ockeghem. Later works, such as Mille regretz, are less canonic, the clear articulation of line and points of imitation achieved by a carefull balanced hierarchy of cadences. Some, like Si j'ay perdu mon ami, look forward to the popular 'Parisian' chanson of Janequin. The Hilliard Ensemble Painting by Petrus Christus: The Lamentation Artist The Hilliard Ensemble Category Music Licence Standard UA-cam Licence JAN 30, 2015
Josquin Des Prez: Miserere mei Deus Uploaded on 14 Jan 2012 Perhaps a native of the Vermandois region of Picardy, he was a singer at Milan Cathedral in 1459, remaining there until December 1472. By July 1474 he was one of the 'cantori di capella' in the chapel of Galeazzo Maria Sforza. Between 1476 and 1504 he passed into the service of Cardinal Ascanio Sforza, whom he probably accompanied in Rome in 1484. His name first appears among the papal chapel choir in 1486 and recurs sporadically; he had left the choir by 1501. In this Italian period Josquin reached artistic maturity. He then went to France (he may also have done so while at the papal chapel) and probably served Louis XII's court. Although he may have had connections with the Ferrara court (through the Sforzas) in the 1480s and 1490s, no formal relationship with the court is known before 1503 when, for a year, he was maestro di cappella there and the highest-paid singer in the chapel's history. There he probably wrote primarily masses and motets. An outbreak of plague in 1503 forced the court to leave Ferrara (Josquin's place was taken by Obrecht, who fell victim in 1505). He was in the north again, at Notre Dame at Condé, in 1504; he may have been connected with Margaret of Austria's court, 1508-11. He died in 1521. Several portraits survive, one attributed to Leonardo da Vinci. Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550). Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet. He was praised by 16th-century literary figures (including Castiglione and Rabelais) and was Martin Luther's favourite composer. Josquin was the greatest composer of the high Renaissance, the most varied in invention and the most profound in expression. Much of his music cannot be dated. Generally, however, his first period (up to circa 1485) is characterized by abstract, melismatic counterpoint in the manner of Ockeghem and by tenuous relationships between words and music. The middle period (to circa 1505) saw the development and perfection of the technique of pervasive imitation based on word-generated motifs. This style has been seen as a synthesis of two traditions: the northem polyphony of Dufay, Busnois and Ockeghem, in which he presumably had his earliest training, and the more chordal, harmonically orientated practice of Italy. In the final period the relationship between word and note becomes even closer and there is increasing emphasis on declamation and rhetorical expression within a style of the utmost economy. His many motets span all three periods. One of the earliest, the four-part Victimae paschali laudes (1502), exemplifies his early style, with its dense texture, lack of imitation, patches of stagnant rhythm and rudimentary treatment of dissonance. Greater maturity is shown in Planxit autem David, in which homophonic and freely imitative passages alternate, and in Absalon, fili mi, with its flexible combination of textures. His later motets, such as In principio erat verbum, combine motivic intensity and melodic succinctness with formal clarity; they are either freely composed, four-part settings of biblical texts, or large-scale cantus firmus pieces. Transparent textures and duet writing are common. Josquin's 18 complete masses combine elements of cantus firmus, parody and paraphrase techniques. One of the earliest, L'ami Baudichon, is a cantus firmus mass on a simple dance formula; the simplicity of melody and rhythm and the clarity of harmony and texture recall the Burgundian style of the 1450s and 1460s. Fortuna desperata, on the other hand, is an early example of parody. Canonic writing and ostinato hgures are features. His last great masses, notably the Missa de beata virgine and the Missa 'Pange lingua' were preceded by works in which every resource is deployed with bravura. Josquin's secular music comprises three settings of Italian texts and numerous chansons. One of the earliest, Cela sans plus, typifies his observance of the formes fixes and the influences of the Burgundian style of Busnois and Ockeghem. Later works, such as Mille regretz, are less canonic, the clear articulation of line and points of imitation achieved by a carefull balanced hierarchy of cadences. Some, like Si j'ay perdu mon ami, look forward to the popular 'Parisian' chanson of Janequin. The Hilliard Ensemble Painting by Petrus Christus: The Lamentation AUG 14, 2014
I still prefer Alegri's Miserere, but this is beautiful. Sublime. My favorite musical period is the 16th century. The sophistication is almost unbelievable, especially when you look at how much music has regressed in our 'progressive' era. There are still a few people writing amazing choral music, like Tavener; but most music is meant to wildly manipulate your emotions, almost in a mentally unstable way. Just look at the crowds at a concert who are literally going insane over something that is totally undeserving of that level of emotion or involvement. Or look at songs that don't have heavy amounts of loud instrumentals, but that use words in the most banal and cliche ways to get you to feel a certain way. Music was meant to glorify God. The further it stays from this purpose, the more unlovely it becomes until we end up with 'singers' literally screaming lyrics, accompanied and overwhelmed by the noise and clamor of the most unsophisticated instrumentals. That's my little rant for the night :)
Eternel grandiose la musique de la renaissance Dufay Browne Byrd Obrecht Ockeghem Dowland Gabrieli Gesualdo Desprez Lassus Marenzio Palestrina Rore Tallis Tinctoris et tant d autres merci you tube.
I´m also a music student studying 16th century counterpoint and I can say that use of accidentals and chromaticism do in fact exist in modal music of this period without the music adhering to a tonality. Other examples being Lassus´ Prophetiae Sibyllarum, Gesualdo´s di darmi noia and Macque´s Consonanze stravaganti.
Tonal music is not defined as having accidentals and being chromatic that is just an effect of the harmony. Harmony is also not a defining characteristic of tonal music. The sense of centricity IS a defining characteristic of tonal music just like the lack centricity defines modal music.
The piece is in F Phrygian. Accidentals does not always mean the music is "tonal". If you take a look at a copy of the score, you would notice that there are, in fact, accidentals; however, they are placed in certain spots to reflect the mood of the music in relation to the text. Hope this helps! :)
This is nothing short of amazing. . . breathtaking even. I'm a music student at an art college, studying this kind of music. Does anybody know what mode this is in? My ear's not good enough to tell me...
Why do not they sing singles as it says in the notes? Have noticed that already with other artists. So always there where all the voices sing "Miserere mei Deus". But I find this version especially nice. Thank you.
mais maravilhoso ainda é tambem saber q JESUS CHRIST ELE MORREU E RESSUCITOU AO TERCEIRO DIA E ESTA ASSENTADO A DIREITA DO PODER DE DEUS ... A ELE FOI DADO TODO PODER SOBRE OS CÉUS E A TERRA... N TEM hórus q possa suportar o poder desse DEUS ...ele n divide a sua GLÓRIA COM NINGUEM ,MUITO MENOS COM deuseszinhos q n passam de pedras, ouro ,prata e de histórias criadas por lucifer ,belzebul,sasha,diabo e toda sua turma...
Thank you so much! It helps a lot. I think I can kind of hear that Phrygian feel with the minor seconds in the melody, if I'm correct. Thank you so much for your insight and God bless you.
Carlos, this is already Renaissance music (style that broke through around 1450) with a vertically thought polyphony, rhythmically more limpid and melodically more fluid than the Ars Nova/Ars Subtilior (ar. 1330-1430), which was still medieval polyphony, horizontally thought and pursuing ever more rhythmical 'subtilitas', which for quite a long time many historicists have described as a style marking a decline (all depending on how you perceive History, of course), excessive and decadent. Representatives of Ars Nova would be: Philippe de Vitry and Guillaume de Machaut, Solage, Trebor (France); Jacopo da Bologna, Francesco Landini, Zacharias da Teramo, Matteo da Perugia, Johannes Ciconia. Truth is that Johannes Ciconia already announced in his later works (made in Italy) what would become the international style called Franco-Flemish Polyphony, and is a kind of pre-Renaissance music. The same happens with some composers of his generation in the Low Countries, such as Martinus Fabri, Petrus Vinderhout or Thomas Fabri. The bridge to that new polyphony was made by them and by what is called Burgundian style and is reflected in the chansons of Guillaume Dufay (we are talking about the 1430s, 1440s...). To get an idea of the complexity of Ars Nova/Ars Subtilior repertoire, you should listen to some 'isorhythmic motets' by Philippe de Vitry and 3-voice ballades by Guillaume de Machaut, or some canonic 'cacce' (sing. 'caccia', hunting songs) or 2 (or late 3)-voice madrigals by Paolo da Firenze, Jacopo da Bologna, Francesco Landini. Afterwards, to be able to compare and contrast with the Franco-Flemish style, you should listen to mass parts, chansons.... by Gilles Binchois, Johannes Ockeghem, Heinrich Isaac, Josquin Desprez, Jacob Obrecht, Pierre de la Rue, Jacobus Clemens Non Papa, Adriaan Willaert, Orlandus Lassus, Philippus De Monte, among others.
Thank you very much dear Vermeulen, your lines enlightment my mind about this ages in music. Thank you once again for your musical knowledge. Greetings from Mexico City dear friend!
Yeshua HaMashiach (Jesus Christ) rose on the third day, in accordance with the Scriptures. The picture may depict his being dead, but our focus should be on his victory over death and the gospel. The gospel can be defined this following way: _3 For I delivered to you as of first importance what I also received: that Christ died for our sins in accordance with the Scriptures, 4 that he was buried, that he was raised on the third day in accordance with the Scriptures, 5 and that he appeared to Cephas, then to the twelve. 6 Then he appeared to more than five hundred brothers at one time, most of whom are still alive, though some have fallen asleep._ (1 Corinthians 15)
Very good comment, but please write Cephas as Kephas. Cephas spelling is from Latin, which anciently pronounced C as K. Kephas is Greco-Aramaic (the -s being added as a Greek masculine). Regards.
Cephas is perfectly adequate. Iesus Christus (Jesus Christ) was born in a Roman province and registered in an Imperial census. Many of Jesus' earliest followers were Romans including a Roman centurion ref. Matthew 8:5-13 paying attention especially to verse 10: 'Audiens autem Iesus miratus est, et sequentibus se dixit: Amen, dico vobis, non inveni tantam fidem in Israel.' ['When Jesus heard this, he was amazed and said to those following him, “Truly I tell you, I have not found anyone in Israel with such great faith.']. The faith community at Rome was one of the earliest established and translation from Aramaic to Latin occurred at a very early date. Witnessing Jesus' crucifixion it was a Roman centurion that made the first post-crucifixion faith proclamation: Mark 15:39 '.. Vere hic homo Filius Dei erat.' ['Truly this man was the Son of God'] Recall when Cephas made a similar pronouncement (Mattew 16:16) after Jesus asked of his disciples who they thought he was, Jesus declared '.. caro et sanguis non relalavit tibi, sed Pater meus, qui in caelis est.' [' .. flesh and blood has not revealed this to you, but my Father who is in heaven.'] Why disparage a language which from earliest Christianity was the vehicle by which Christianity spread through much of the Western World - if you hadn't observed the text to the 'Miserere Mei' is Latin. Pax vobiscum.
deHavilland Venom --- Cephas is acceptable IF you pronounce it in the Classical Roman Way, sounding like "Kehfas", not like "Seefas". Jesus pronounced the name in Aramaic, and the New Testament has it in a Greek version with final -s, as in Greek masculine fashion.The rest of your comments are Well Known to me, thank you. I studied with the Franciscans of the Assisi Province, or "Provincia Serafica". Most English speakers mispronounce the Latin form as Seefas, an Abominable and twisted sound that I see No Reason to cherish. By your pen-name, I presume you are British and a fan of the "Mosquito" of WW II. Is that correct? Regards and best wishes.
Oops my mistake. A bit of research says: Album: Missa Hercules Dux Ferrariae (A Sei Voci, Maîtrise Notre-Dame de Paris, Les Saqueboutiers de Toulouse, Ensemble Labyrinthes feat. conductor: Bernard Fabre-Garrus)
The last line of the description says: The Hilliard Ensemble. (Though it may have been added later.) David James's (the counter-tenor) voice is unmistakeable.
@@pannonia77 Thanks so much for the information. I love this so much I order 2 cds from Hilliard Ensemble. Its a countertenor group. David James has a beautiful voice.
@@Jaya-ce8qb If you like the Hilliard Ensemble, I recommend the recording of the Missa L'homme armé by Dufay. In my opinion the best the Hilliards have ever done. You can find it on my channel. 😉
Can someone offer guidance; should such pieces be performed by boys voices rather than countertenors? Or is this just a minor criticism for such an amazing Ensemble...
Falsettists are well attested at the time (as well as boys). Gradually throughout the 16th and 17th centuries, castrati got a higher and higher percentage of the work - but there were always the occasional falsetti around. Castration became illegal in 1870. The last castrato, Moreschi, had a pupil (Domenico Mancini) that everyone thought was also a castrato but was actually a soprano falsettist.
dude, first of all, thanks a lot for that information!! It certainly was helpfull. I wanted to ask if you knew some website with good information about medieval music. You know, organum, profane music and stuff. Thank you so much in advance. Cheers from Argentina
No puedo sino reírme al pensar en los mega-genios musicales como Liszt, Mozart, etc... a los que se supone que tengo que escuchar. Porque luego me encuentro con joyas como estas y me pregunto donde realmente está la música en esos genios. El periodo tonal de la música me parece aburridísima en comparación con esta y la del siglo XX. Pocas piezas "tonales" me han cautivado de verdad. Simplemente no me suenan mal (es lo que más puedo decir de esa música), pero de ahí a que atrapen mi atención de verdad hay un abismo. Lo mismo digo de la música de Stravinsky, Bartók y la música popular del siglo XX. En comparación con los super-genios de siempre les dan mil vueltas. Hicieron bien en el siglo XX al romper de una vez por todas con todas las estúpidas preconcepciones y reglas de la música tonal. Así de simple y honestamente.
This is a setting of Psalm 50 (or 51 in the Hebrew numbering), which is one of the penitential psalms. You can easily find the words to this psalm online. The title, "Miserere mei Deus," translates to "Have mercy on me, O God."
somewhere in the eighteen hundreds the number of castrati became too low to fill the (church) choirs then first boys came in later women were allowed to do the job.
What are you saying !! The Aachen boys choir was founded in 796 by Charlemagne. The one in Regensburg in 975. The Thomanerchor in 1212 and was later conducted and instructed by J.B. Bach. The Vienna Boys choir dates from 1498. etc And all these boys sang in the church because, as you said, women or girls were not allowed to sing in church. All this was going on way before the 18-hundreds
Josquin is always incredible allowing me to reach towards God. My heart just opens and l drink it in!
God doesn’t exist though.
@@Shrinktheshrinkable Do you have a proof it does exist?
@@Shrinktheshrinkable in other words you don’t. And you are comparing belief in god with a feeling.
Feeling for god or religious feelings exist, and can be proven.
You are mixing apples and oranges.
For you god does not exist for others is. You can make many arguments and conplain as much as you like, no one cares@@danal81
What a discovery . Now I heard his music I rate him amongst the all time greats.Thank you.
One of Josquin's most profound works - performed here with great taste and subtlety.
Stunk
Josquin is a voice always worth listening to. He was tapped into something wonderful.
Thanx man :)
I have just discovered Josquin. Wonderful music and beautifully performed.
Greetings.
Thank you for this wonderful composition, performed excellently.
Josquin des Prez continue to be one of the best composers. The most important of his time.
Thanks for the technical details that have been discussed.
With my best wishes for everyone.
Prima Pars
0:00 miserere 1
0:30 verse 1
1:32 miserere 3
1:45 verse 2
2:15 miserere 4
2:30 verse 3
2:51 miserere 5
3:10 verse 4
3:40 miserere 6
3:56 verse 5
4:30 miserere 7
4:46 verse 6
5:25 miserere 8
5:40 verse 7
6:30 miserere 9
Secunda Pars
6:57 verse 8
7:30 miserere 10
7:40 verse 9
8:10 miserere 11
8:18 verse 10
8:48 miserere 12
9:00 verse 11
9:20 miserere 13
9:30 verse 12
10:10 miserere 14
10:20 verse 13
10:29 miserere 14
10:37 verse 13 cont'd
10:52 miserere 15
11:00 verse 14
11:47 miserere 16
Tertia Pars
12:10 verse 15
12:52 miserere 17
13:10 verse 16
14:18 miserere 18
14:30 verse 17
15:46 miserere 19
16:02 verse 18
16:43 miserere 20
16:55 verse 19
18:00 miserere 21
This kind of music was created by humans who wanted to raise themselves to God, to show the Lord they were faithful and thankful for him to have given them life.
Music had then the deepest meaning you could find. Then it change to please sovereigns and now it is meant to make money. I think the quality of a music is linked to its meaning and reason to exist.
Vivat_In_Aeternum please spare us the religious blabbing..this is HUMAN artistic inspiration , God is human concept
@@danal81 Spare us the materialistic blabbing. Do you really pretend that there is just as much purity in intention, and value, in devoting one's art to a quick buck as there is to He, who in the very least, serves as the personification of all that is good?
@@danal81 I suppose I should be clearer. Materialism is a phrase commonly used by philosophers and theologians to refer to the conception that only the material world exists, I belief I assume you adhere to. I presumed you would be aware of its means, an see that I was referring to your ideas.
It is certainly true that our neural pathways convey to our minds the music that we hear, and that this music is conveyed through vibrations that travel through air. However, the question becomes why it is "music"? There is no evolutionary reason(and before you go on a self-aggrandizing rant, I do believe in evolution) as there is little benefit to survival or signaling other positive traits. Like Beauty, it is something which is recognized by almost all societies, and whose appreciation requires no training. I am not pretending that this is any proof that music cannot be completely physical, but it is something to think about.
Two notes:
First, you say "science exists". Are you implying that it is some physical object that you can find, or that there exist the idea of science, just as there exist the idea of farming, or classical logic. Science is not truth or fact, merely a means to discover that fact. I know that you didn't put any thought into that phrase, so forgive me for quibbling
Secondly; I find it humorous that someone who resorts to regurgitated phrases calls me a "brainwashed m0rn[sic]"
Kyle Jacobson what is not clear in the sentence “science exists “..the concept,the practice and the consequences of it all exist
That is something we can prove
The existence of god we can not prove,and stating the fact music (like any other art ) has no evolutional necessity,does not constitute the proof of god
Humans developed past the basic necessities of evolution .. our logic and reason , together with observing the world and its order around us, made possible for us to construct complex systems , whose seeds are in the perceptions of our senses
The pleasure that comes from creating them and consuming them , perhaps do have some evolutional value,as means to relax,meditate, reset the overtaxed brain that has been engaged in problem solving etc
Kind of like when cat purrs ,on a different level
Beauty is universal,you say ?
It is not..some proportions,some combinations are appealing to most of us,again ,this can be explained by the way our brains are wired and how the stimuli on our senses translate to the electric currents in our brains , for example an inspired composer will probably have those neurons fired up and somehow that is transferred to the music ,which then in turn,recreates the same electric picture in our own brains
If the original brain was “talented “ aka,the hardware was very developed , it makes sense any creation by that hardware will be able to achieve an effect in other brains
Etc
My first response to you was half trolling lol ,I am just tired of “He who ..Kingdom ... etc “ phrases
Totally agree! I have been saying that to myself for many time.
What a wonder. What a beautiful way of talking. This is love made in times of war, like a sigh that makes its way between darkness.
Estuve toda la noche trabajando en plena pandemia y al pasar a las 7 am por El TEMPLO. DE El PILAR comenzo a sonar esta maravilla encargada al compositor tras la muerte de savonarola y entonces recorde mi homenaje pintado para el museo sorolla para las victimas del covid - 19 las lagrimas ARDIENTES formando un caudaloso rio que van a una MAR ARBOLADA te quiero JOSQUIN
Son irrepetibles los momentos históricos estelares, en este caso, el advenimiento y maduracion de la gran polifonía, o lo que es lo mismo, del oído musical moderno. De la mano de un genio como Josquin. Y interpretado a un gran nivel. Gracias
Hola, me podrias explicar qué representa esta musica? A qué te refieres con la maduración de la gran polifonia? Entiendo que va en el hecho del cambio de la polifonia medieval hacia ya lo que viene siendo los siglos siguientes. Pero podrias explicarme un poco?
@@javxvix0102 bueno, yo no soy un gran entendido ni mucho menos, solo un aficionado que ha oído mucho, porque tengo años. Creo que en esta época se definió lo que consideramos disonante o no, así como ciertas reglas en las combinaciones de las voces en la polifonia, que condicionaron durante mucho tiempo nuestro modo de oír y valorar la música. Incluso cuando todo esto fue cambiado, siguieron siendo referente, ya que lo disonante es lo que es distinto de lo que ellos hicieron. Se suele considerar a este periodo como la época de oro de la polifonia.
Gracias por hacernos recordar que pronto retornaremos hacia la casa del Padre en su gran Misericordia.
VIDEO E INTERPRETI DIVINI 🙏🙏🙏 GRAZIE DI CUORE E COMPLIMENTI VIVISSIMI PER QUESTO TOCCANTE, IMMENSO CAPOLAVORO PROPOSTOCI ❤❤🙏🙏🙏❤❤ Anna e Luigi.
Girl I met online brought me here. Never thought I would says this but I'm actually really digging it. The man making me feel
It is built in a very specific way, using ascending then descending diatonic scales.
10 octobre 2020. Jean BELLIARD est mort. Ce hautecontre à la voix si puissante et chaleureuse m'a fait découvrir Josquin des prés, Victoria, Palestrina, et le Chœur Exultate d'Etampes chante ces magnifiques oeuvres depuis 30 ans. Merci Jean BELLIARD.
The soprano is amazing! That reach is simply breathtaking! Fantastic!
He is a countertenor
C'est sublime de même que déchirant parfois ; un drame intime sur le psaume 51, Miserere mei Deus (Aie pitié de moi, mon Dieu) dans un contre-chant sobre qui pointe au cœur.
Sunday night in the UK, this has made my evening!
Sunday night in Brasil! Long live the West!
10 octobre 2020, Etampes, near Paris, France. A great singer of this music, Jean BELLIARD french hautecontre, is dead.
Sunday Night in Brasil, but 2021
Good work !
Rio de Janeiro - Brazil
A música como sempre, magnífica e com uma bela reprodução de gótico internacional.
This is Incredible! Great piece of art! Joaquin Des Pres
THANK YOU...I AM SILENCED, STUNNED, AND STOPPED BY THIS MUSIC.
Gorgeous, creating the human in music.
Josquin Des Prez
( Beaurevoir 1440-1521 Conde-sur-L'Escaut )
MISERERE MEI DEUS
Sublime magnifique merci UA-cam.
Incroyable
Exceptional work. It seems written yesterday, I am speechless.
How on earth this was ever conceived is amazing, let alone written down for us to hear hundreds of years later.. fuck
Do I ever love this❤💙🧡💜💐May2021
Splendide et envoûtante dans la splendeur pure du christianisme de l époque ♡
Siempre sentí mías las palabras de David como expresión de una honda desesperanza que clama como baladro hacia lo Inefable. Petición de cuantos navegan por este océano de aguas inciertas y que plasma esta escala de ondas sonoras con gran acierto (descienden incesantes una octava para remontarla obstinadas de mi a mi). «En el Miserere mei Deus una peculiar regla tonal atraviesa la pieza. Deja oír el ostinato hundido en los abismos, desde donde el sujeto formula la petición de misericordia» (Trías 2014: 84). Rey pecador, rey creador, rey tan humano.
Siempre fiel
+pedro a. cantero muy cierto!! excelente reflexion!
Buena presentacion, pero "Rey pecador" es una referencia a David, verdad, y el "rey creador" (sic) es Dios. No parecia tan clara la distincion entre los dos en su comenatrio que mas bien parece referir a la misma persona y sea ambigua. - Un saludo.
FRAGIORGIO1 Supongo que sí, se me vino a la mente lo mismo.
Se sea o no creyente, en mi caso si lo soy , pero no en los hombres ni en las mujeres salvo contadisimas ocasiones, la música y el rezo entregado e íntimo al Señor , me reconforta y alivia el llanto que cada cual tenemos en vida....!!!las música de alabanza al señor como estas me hacen bien joda a quien joda que deteste la espiritualidad...!!
Sumptuously! Thank you.
Stunningly beautiful, and thank you for the historical background. Much appreciated!
That's absolutely incredible
Uploaded on 14 Jan 2012
Perhaps a native of the Vermandois region of Picardy, he was a singer at Milan Cathedral in 1459, remaining there until December 1472. By July 1474 he was one of the 'cantori di capella' in the chapel of Galeazzo Maria Sforza. Between 1476 and 1504 he passed into the service of Cardinal Ascanio Sforza, whom he probably accompanied in Rome in 1484. His name first appears among the papal chapel choir in 1486 and recurs sporadically; he had left the choir by 1501. In this Italian period Josquin reached artistic maturity.
He then went to France (he may also have done so while at the papal chapel) and probably served Louis XII's court. Although he may have had connections with the Ferrara court (through the Sforzas) in the 1480s and 1490s, no formal relationship with the court is known before 1503 when, for a year, he was maestro di cappella there and the highest-paid singer in the chapel's history. There he probably wrote primarily masses and motets. An outbreak of plague in 1503 forced the court to leave Ferrara (Josquin's place was taken by Obrecht, who fell victim in 1505). He was in the north again, at Notre Dame at Condé, in 1504; he may have been connected with Margaret of Austria's court, 1508-11. He died in 1521. Several portraits survive, one attributed to Leonardo da Vinci.
Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550). Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet. He was praised by 16th-century literary figures (including Castiglione and Rabelais) and was Martin Luther's favourite composer.
Josquin was the greatest composer of the high Renaissance, the most varied in invention and the most profound in expression. Much of his music cannot be dated. Generally, however, his first period (up to circa 1485) is characterized by abstract, melismatic counterpoint in the manner of Ockeghem and by tenuous relationships between words and music. The middle period (to circa 1505) saw the development and perfection of the technique of pervasive imitation based on word-generated motifs. This style has been seen as a synthesis of two traditions: the northem polyphony of Dufay, Busnois and Ockeghem, in which he presumably had his earliest training, and the more chordal, harmonically orientated practice of Italy. In the final period the relationship between word and note becomes even closer and there is increasing emphasis on declamation and rhetorical expression within a style of the utmost economy.
His many motets span all three periods. One of the earliest, the four-part Victimae paschali laudes (1502), exemplifies his early style, with its dense texture, lack of imitation, patches of stagnant rhythm and rudimentary treatment of dissonance. Greater maturity is shown in Planxit autem David, in which homophonic and freely imitative passages alternate, and in Absalon, fili mi, with its flexible combination of textures. His later motets, such as In principio erat verbum, combine motivic intensity and melodic succinctness with formal clarity; they are either freely composed, four-part settings of biblical texts, or large-scale cantus firmus pieces. Transparent textures and duet writing are common.
Josquin's 18 complete masses combine elements of cantus firmus, parody and paraphrase techniques. One of the earliest, L'ami Baudichon, is a cantus firmus mass on a simple dance formula; the simplicity of melody and rhythm and the clarity of harmony and texture recall the Burgundian style of the 1450s and 1460s. Fortuna desperata, on the other hand, is an early example of parody. Canonic writing and ostinato hgures are features. His last great masses, notably the Missa de beata virgine and the Missa 'Pange lingua' were preceded by works in which every resource is deployed with bravura.
Josquin's secular music comprises three settings of Italian texts and numerous chansons. One of the earliest, Cela sans plus, typifies his observance of the formes fixes and the influences of the Burgundian style of Busnois and Ockeghem. Later works, such as Mille regretz, are less canonic, the clear articulation of line and points of imitation achieved by a carefull balanced hierarchy of cadences. Some, like Si j'ay perdu mon ami, look forward to the popular 'Parisian' chanson of Janequin.
The Hilliard Ensemble
Painting by Petrus Christus: The Lamentation
Artist
The Hilliard Ensemble
Category
Music
Licence
Standard UA-cam Licence
JAN 30, 2015
Josquin Des Prez: Miserere mei Deus
Uploaded on 14 Jan 2012
Perhaps a native of the Vermandois region of Picardy, he was a singer at Milan Cathedral in 1459, remaining there until December 1472. By July 1474 he was one of the 'cantori di capella' in the chapel of Galeazzo Maria Sforza. Between 1476 and 1504 he passed into the service of Cardinal Ascanio Sforza, whom he probably accompanied in Rome in 1484. His name first appears among the papal chapel choir in 1486 and recurs sporadically; he had left the choir by 1501. In this Italian period Josquin reached artistic maturity.
He then went to France (he may also have done so while at the papal chapel) and probably served Louis XII's court. Although he may have had connections with the Ferrara court (through the Sforzas) in the 1480s and 1490s, no formal relationship with the court is known before 1503 when, for a year, he was maestro di cappella there and the highest-paid singer in the chapel's history. There he probably wrote primarily masses and motets. An outbreak of plague in 1503 forced the court to leave Ferrara (Josquin's place was taken by Obrecht, who fell victim in 1505). He was in the north again, at Notre Dame at Condé, in 1504; he may have been connected with Margaret of Austria's court, 1508-11. He died in 1521. Several portraits survive, one attributed to Leonardo da Vinci.
Josquin's works gradually became known throughout western Europe and were regarded as models by many composers and theorists. Petrucci's three books of his masses (1502-14) reflect contemporary esteem, as does Attaingnant's collection of his chansons (1550). Several laments were written on his death (including Gombert's elegy Musae Jovis), and as late as 1554 Jacquet of Mantua paid him tribute in a motet. He was praised by 16th-century literary figures (including Castiglione and Rabelais) and was Martin Luther's favourite composer.
Josquin was the greatest composer of the high Renaissance, the most varied in invention and the most profound in expression. Much of his music cannot be dated. Generally, however, his first period (up to circa 1485) is characterized by abstract, melismatic counterpoint in the manner of Ockeghem and by tenuous relationships between words and music. The middle period (to circa 1505) saw the development and perfection of the technique of pervasive imitation based on word-generated motifs. This style has been seen as a synthesis of two traditions: the northem polyphony of Dufay, Busnois and Ockeghem, in which he presumably had his earliest training, and the more chordal, harmonically orientated practice of Italy. In the final period the relationship between word and note becomes even closer and there is increasing emphasis on declamation and rhetorical expression within a style of the utmost economy.
His many motets span all three periods. One of the earliest, the four-part Victimae paschali laudes (1502), exemplifies his early style, with its dense texture, lack of imitation, patches of stagnant rhythm and rudimentary treatment of dissonance. Greater maturity is shown in Planxit autem David, in which homophonic and freely imitative passages alternate, and in Absalon, fili mi, with its flexible combination of textures. His later motets, such as In principio erat verbum, combine motivic intensity and melodic succinctness with formal clarity; they are either freely composed, four-part settings of biblical texts, or large-scale cantus firmus pieces. Transparent textures and duet writing are common.
Josquin's 18 complete masses combine elements of cantus firmus, parody and paraphrase techniques. One of the earliest, L'ami Baudichon, is a cantus firmus mass on a simple dance formula; the simplicity of melody and rhythm and the clarity of harmony and texture recall the Burgundian style of the 1450s and 1460s. Fortuna desperata, on the other hand, is an early example of parody. Canonic writing and ostinato hgures are features. His last great masses, notably the Missa de beata virgine and the Missa 'Pange lingua' were preceded by works in which every resource is deployed with bravura.
Josquin's secular music comprises three settings of Italian texts and numerous chansons. One of the earliest, Cela sans plus, typifies his observance of the formes fixes and the influences of the Burgundian style of Busnois and Ockeghem. Later works, such as Mille regretz, are less canonic, the clear articulation of line and points of imitation achieved by a carefull balanced hierarchy of cadences. Some, like Si j'ay perdu mon ami, look forward to the popular 'Parisian' chanson of Janequin.
The Hilliard Ensemble
Painting by Petrus Christus: The Lamentation
AUG 14, 2014
ممكن ترجمه
A beautiful piece. Thanks for sharing .
The haunting quality of the straight voices, esp the Countertenor. Not like so many newly minted countertenors who warble like old opera singers.
I still prefer Alegri's Miserere, but this is beautiful. Sublime.
My favorite musical period is the 16th century. The sophistication is almost unbelievable, especially when you look at how much music has regressed in our 'progressive' era.
There are still a few people writing amazing choral music, like Tavener; but most music is meant to wildly manipulate your emotions, almost in a mentally unstable way. Just look at the crowds at a concert who are literally going insane over something that is totally undeserving of that level of emotion or involvement.
Or look at songs that don't have heavy amounts of loud instrumentals, but that use words in the most banal and cliche ways to get you to feel a certain way.
Music was meant to glorify God. The further it stays from this purpose, the more unlovely it becomes until we end up with 'singers' literally screaming lyrics, accompanied and overwhelmed by the noise and clamor of the most unsophisticated instrumentals.
That's my little rant for the night :)
Or Thomas Tallis' Spem in Allium? Both are really sublime.
Well said.
I cant stop listening. I order 2 cds🥰
¡Sobrecogedor! Maravillosa interpretación. Gracias por compartir.
Nossa primo q bonito. Parece que estou no palácio dos Sforza! Obrigada e fico feliz ao constatar q vc voltou a curtir música erudita. Bjs, Vita
This is the one prayer that Josquin does not have the definitive version.
Art from the heart.
This is a very good piece. Thank you for uploading this.
Simplesmente...Maravilhoso!
Eternel grandiose la musique de la renaissance Dufay Browne Byrd Obrecht Ockeghem Dowland Gabrieli Gesualdo Desprez Lassus Marenzio Palestrina Rore Tallis Tinctoris et tant d autres merci you tube.
Polomokipo23 josquin. not De Prez. Always by first name in his case
And don't forget the great musicians from the Spanish Renaissance: T. L. De Vitoria (cfr. Michel Noon nowadays), Cristóbal de Morales etc
Thanks for uploading. Josquin just goes there...
+Liz Lesar Thanx!
THE PREZ!! A TRUE CLASSIC MIXTAPE FROM THIS NIGGA!!! WOW!!!!!!!
I´m also a music student studying 16th century counterpoint and I can say that use of accidentals and chromaticism do in fact exist in modal music of this period without the music adhering to a tonality. Other examples being Lassus´ Prophetiae Sibyllarum, Gesualdo´s di darmi noia and Macque´s Consonanze stravaganti.
Ok, 50 years later :-o
Just beautiful!
Tonal music is not defined as having accidentals and being chromatic that is just an effect of the harmony. Harmony is also not a defining characteristic of tonal music. The sense of centricity IS a defining characteristic of tonal music just like the lack centricity defines modal music.
thank you for helping me with my music homework! now I know the difference between tonal and modal music :)
MERCI BEAUCOUP
Que bellas disonancias!
Ergreifend schön- danke!
The piece is in F Phrygian.
Accidentals does not always mean the music is "tonal". If you take a look at a copy of the score, you would notice that there are, in fact, accidentals; however, they are placed in certain spots to reflect the mood of the music in relation to the text. Hope this helps! :)
F Phrygian tonality did not exist in the Renaissance. Phrygian had to be either E, or transposed into A.
This is nothing short of amazing. . . breathtaking even.
I'm a music student at an art college, studying this kind of music. Does anybody know what mode this is in? My ear's not good enough to tell me...
H minor
en.wikipedia.org/wiki/Miserere_(Josquin)
Phygrian, as stated on the page
beutiful! thank you!
this is GOOD!!!
Why do not they sing singles as it says in the notes?
Have noticed that already with other artists.
So always there where all the voices sing "Miserere mei Deus".
But I find this version especially nice.
Thank you.
A l'aube de la polyphonie, on ne peut qu'être trés ému par ces chants sacrés....
Grazie per la proposta, grazie
Thank you so much UA-cam !
This is wonderful. So beautiful but with a tragic oil painting depicting Jesus Christ.
mais maravilhoso ainda é tambem saber q JESUS CHRIST ELE MORREU E RESSUCITOU AO TERCEIRO DIA E ESTA ASSENTADO A DIREITA DO PODER DE DEUS ... A ELE FOI DADO TODO PODER SOBRE OS CÉUS E A TERRA... N TEM hórus q possa suportar o poder desse DEUS ...ele n divide a sua GLÓRIA COM NINGUEM ,MUITO MENOS COM deuseszinhos q n passam de pedras, ouro ,prata e de histórias criadas por lucifer ,belzebul,sasha,diabo e toda sua turma...
Pedro miranda d. Splendid stuff. :)
Terça de manhã, 07/07/2020, Brasil.
Bom dia a todos,
em qualquer lugar,
em época de covid-19.
Skøn alvorlig middelalderlig munkesang seriøst og sørgeligt.....
GRANDIOSO
Whatever,man.They be layiin' some soulfull stuff here.
Thank you so much! It helps a lot. I think I can kind of hear that Phrygian feel with the minor seconds in the melody, if I'm correct. Thank you so much for your insight and God bless you.
Relaxant et apaisant
music from ''ars nova'' age. spirituality in the high point of the music history. thank you and greetings from mexico city.
Carlos, this is already Renaissance music (style that broke through around 1450) with a vertically thought polyphony, rhythmically more limpid and melodically more fluid than the Ars Nova/Ars Subtilior (ar. 1330-1430), which was still medieval polyphony, horizontally thought and pursuing ever more rhythmical 'subtilitas', which for quite a long time many historicists have described as a style marking a decline (all depending on how you perceive History, of course), excessive and decadent.
Representatives of Ars Nova would be: Philippe de Vitry and Guillaume de Machaut, Solage, Trebor (France); Jacopo da Bologna, Francesco Landini, Zacharias da Teramo, Matteo da Perugia, Johannes Ciconia.
Truth is that Johannes Ciconia already announced in his later works (made in Italy) what would become the international style called Franco-Flemish Polyphony, and is a kind of pre-Renaissance music. The same happens with some composers of his generation in the Low Countries, such as Martinus Fabri, Petrus Vinderhout or Thomas Fabri. The bridge to that new polyphony was made by them and by what is called Burgundian style and is reflected in the chansons of Guillaume Dufay (we are talking about the 1430s, 1440s...).
To get an idea of the complexity of Ars Nova/Ars Subtilior repertoire, you should listen to some 'isorhythmic motets' by Philippe de Vitry and 3-voice ballades by Guillaume de Machaut, or some canonic 'cacce' (sing. 'caccia', hunting songs) or 2 (or late 3)-voice madrigals by Paolo da Firenze, Jacopo da Bologna, Francesco Landini.
Afterwards, to be able to compare and contrast with the Franco-Flemish style, you should listen to mass parts, chansons.... by Gilles Binchois, Johannes Ockeghem, Heinrich Isaac, Josquin Desprez, Jacob Obrecht, Pierre de la Rue, Jacobus Clemens Non Papa, Adriaan Willaert, Orlandus Lassus, Philippus De Monte, among others.
Thank you very much dear Vermeulen, your lines enlightment my mind about this ages in music. Thank you once again for your musical knowledge. Greetings from Mexico City dear friend!
You are welcome, Carlos. De nada, Carlos, ha sido un placer. Saludos desde Blanes (Provincia de Gerona, Cataluña, España).Carlos Pascual Mejía
4:36-4:46 that part sounds very modern!
Yeshua HaMashiach (Jesus Christ) rose on the third day, in accordance with the Scriptures. The picture may depict his being dead, but our focus should be on his victory over death and the gospel. The gospel can be defined this following way:
_3 For I delivered to you as of first importance what I also received: that Christ died for our sins in accordance with the Scriptures, 4 that he was buried, that he was raised on the third day in accordance with the Scriptures, 5 and that he appeared to Cephas, then to the twelve. 6 Then he appeared to more than five hundred brothers at one time, most of whom are still alive, though some have fallen asleep._ (1 Corinthians 15)
Lightning Sonic amen
Paul the Apostle: 'But we preach CHRIST CRUCIFIED, unto the Jews a stumbling block, and unto the Greeks foolishness.' I Corinthians 1:23
Very good comment, but please write Cephas as Kephas. Cephas spelling is from Latin, which anciently pronounced C as K. Kephas is Greco-Aramaic (the -s being added as a Greek masculine). Regards.
Cephas is perfectly adequate. Iesus Christus (Jesus Christ) was born in a Roman province and registered in an Imperial census. Many of Jesus' earliest followers were Romans including a Roman centurion ref. Matthew 8:5-13 paying attention especially to verse 10: 'Audiens autem Iesus miratus est, et sequentibus se dixit: Amen, dico vobis, non inveni tantam fidem in Israel.' ['When Jesus heard this, he was amazed and said to those following him, “Truly I tell you, I have not found anyone in Israel with such great faith.']. The faith community at Rome was one of the earliest established and translation from Aramaic to Latin occurred at a very early date. Witnessing Jesus' crucifixion it was a Roman centurion that made the first post-crucifixion faith proclamation: Mark 15:39 '.. Vere hic homo Filius Dei erat.' ['Truly this man was the Son of God'] Recall when Cephas made a similar pronouncement (Mattew 16:16) after Jesus asked of his disciples who they thought he was, Jesus declared '.. caro et sanguis non relalavit tibi, sed Pater meus, qui in caelis est.' [' .. flesh and blood has not revealed this to you, but my Father who is in heaven.'] Why disparage a language which from earliest Christianity was the vehicle by which Christianity spread through much of the Western World - if you hadn't observed the text to the 'Miserere Mei' is Latin. Pax vobiscum.
deHavilland Venom --- Cephas is acceptable IF you pronounce it in the Classical Roman Way, sounding like "Kehfas", not like "Seefas". Jesus pronounced the name in Aramaic, and the New Testament has it in a Greek version with final -s, as in Greek masculine fashion.The rest of your comments are Well Known to me, thank you. I studied with the Franciscans of the Assisi Province, or "Provincia Serafica". Most English speakers mispronounce the Latin form as Seefas, an Abominable and twisted sound that I see No Reason to cherish.
By your pen-name, I presume you are British and a fan of the "Mosquito" of WW II. Is that correct? Regards and best wishes.
Superbe interprétation. Qui chante ? Y-a-t-il une vidéo disponible afin de voir ces chanteurs ?
The Hilliard Ensemble (è scritto in fondo alla presentazione).
@@martinellie.w.1419 merci
Why are the singers/the group not credited? Sounds to me like the wonderful Binchois Consort...is it? Sounds like MatthewVine and George Pooley.
Oops my mistake. A bit of research says: Album: Missa Hercules Dux Ferrariae (A Sei Voci, Maîtrise Notre-Dame de Paris, Les Saqueboutiers de Toulouse, Ensemble Labyrinthes feat. conductor: Bernard Fabre-Garrus)
@@donkeytrousers Is this not the Hilliard Ensemble?
The last line of the description says: The Hilliard Ensemble. (Though it may have been added later.)
David James's (the counter-tenor) voice is unmistakeable.
@@pannonia77 Thanks so much for the information. I love this so much I order 2 cds from Hilliard Ensemble. Its a countertenor group. David James has a beautiful voice.
@@Jaya-ce8qb If you like the Hilliard Ensemble, I recommend the recording of the Missa L'homme armé by Dufay. In my opinion the best the Hilliards have ever done. You can find it on my channel. 😉
Can someone offer guidance; should such pieces be performed by boys voices rather than countertenors? Or is this just a minor criticism for such an amazing Ensemble...
Actually this would be performed by castrati, boys are their 'modern' stand-in. But where could you find..
Thanks, shocking times, really? When did Boys start singing, or is this really quite modern?
Falsettists are well attested at the time (as well as boys). Gradually throughout the 16th and 17th centuries, castrati got a higher and higher percentage of the work - but there were always the occasional falsetti around. Castration became illegal in 1870. The last castrato, Moreschi, had a pupil (Domenico Mancini) that everyone thought was also a castrato but was actually a soprano falsettist.
Look at the answer to choralimpact
If there are no Countertenors, let boys be used.
C'est de quel CD cette musique ?
un capo el Josqui!!!
Quelqu'un saurait-il de qui est cette peinture ? Merci.
dude, first of all, thanks a lot for that information!! It certainly was helpfull.
I wanted to ask if you knew some website with good information about medieval music. You know, organum, profane music and stuff. Thank you so much in advance. Cheers from Argentina
And now not thought to be by Josquin, but by Nicolas Champion. None the less wonderful for that.
No puedo sino reírme al pensar en los mega-genios musicales como Liszt, Mozart, etc... a los que se supone que tengo que escuchar. Porque luego me encuentro con joyas como estas y me pregunto donde realmente está la música en esos genios. El periodo tonal de la música me parece aburridísima en comparación con esta y la del siglo XX. Pocas piezas "tonales" me han cautivado de verdad. Simplemente no me suenan mal (es lo que más puedo decir de esa música), pero de ahí a que atrapen mi atención de verdad hay un abismo. Lo mismo digo de la música de Stravinsky, Bartók y la música popular del siglo XX. En comparación con los super-genios de siempre les dan mil vueltas. Hicieron bien en el siglo XX al romper de una vez por todas con todas las estúpidas preconcepciones y reglas de la música tonal. Así de simple y honestamente.
tief sentimental
2:20 ❤️😍
좋다.. 훟
what is this song about I don't know what the lyrics say
This is a setting of Psalm 50 (or 51 in the Hebrew numbering), which is one of the penitential psalms. You can easily find the words to this psalm online. The title, "Miserere mei Deus," translates to "Have mercy on me, O God."
mihispemdedisti thank you
lubie to
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exellent
Højkirkelig munke - og nonnesang fra klosteret....
2020
May 2021💜
somewhere in the eighteen hundreds the number of castrati became too low to fill the (church) choirs then first boys came in later women were allowed to do the job.
What are you saying !! The Aachen boys choir was founded in 796 by Charlemagne. The one in Regensburg in 975. The Thomanerchor in 1212 and was later conducted and instructed by J.B. Bach. The Vienna Boys choir dates from 1498. etc And all these boys sang in the church because, as you said, women or girls were not allowed to sing in church. All this was going on way before the 18-hundreds
Joskuin des press is died!! 😢😢
Could this be regarded as the first protest song?
Heavenly and ethereal but nevertheless ineffable
Maybe you could try Wikipedia in first instant
There are 6 miserable wretches!
8:21 grrrrre
Il più celebre "Miserere" è quello di Allegri, ma questo non gli è secondo.
If you listened with atention, you would notice that this piece has accidentals. Ergo, it is tonal music, and not modal.
8:19