Missa Missus Est Gabriel Angelus. Missa Alma Redemptoris Mater.

Josquin Des Prez, Pierre Moulu, Stephen Rice, The Brabant Ensemble. Label : Hyperion Format : Flac (image + cue) Cover : Yes. Tracklist : Pierre Moulu (?1484-1550) Mater floreat - Missa Missus est Gabriel angelus. Josquin Des Prez: Missus est Gabriel angelus. Missa Alma redemptoris mater Kyrie (alternative ‘long’ version) Agnus Dei (alternative ‘long’ version). The Brabant Ensemble, Stephen Rice.

Brabant Ensemble, Stephen Rice. Brabant Ensemble, Stephen Rice. 5. Sanctus and Benedictus. Missus est Gabriel angelus, 4vv. Josquin Des Prez.

Missa Missus est Gabriel angelus perhaps represents Moulu’s finest achievement in terms of purely musical expression. Pierre de Ronsard in the introduction to his Livre de mellanges of 1560 described Moulu as a disciple of Josquin (he was numbered alongside eight others, Ronsard’s selection of names exhibiting a notable bias to musicians active in the region of Paris).

Missa Alma redemptoris mater, for 4 voices: Sanctus and Benedictus. 13. Missa Alma redemptoris mater, for 4 voices: Agnus Dei. 14. Kyrie for 4 voices. 15. Agnus Dei for 5 voices. Orchestra: Brabant Ensemble. The Brabant Ensemble has developed! This new recording is markedly more polished than any previous release from them. With women singing both the soprano and alto parts, the Brabants sound quite a lot like the Tallis Scholars at their very best. Frankly, I like their resonance more than the Tallis sound, and their ensemble technique is very clean. I haven't seen the scores of the Moulu masses, but I assume that the Brabant Ensemble, like the Tallis scholars, have transposed the music up to accommodate their women's ranges

Missa Alma redemptoris mater. Pierre Moulu Composer. Missa Alma redemptoris mater, Kyrie (alternative version). Missa Alma redemptoris mater, Agnus Dei (alternative version). Author: Fabrice Fitch. The reservations I had concerning Dominique Phinot, to whom the Brabant Ensemble devoted their previous disc (11/09), don’t apply here: Moulu’s idiom is pleasingly inventive and immediately engaging.

Songs start at USD . 9. Missa Alma redemptoris mater: I. Kyrie. 10. Missa Alma redemptoris mater: II. Gloria. 11. Missa Alma redemptoris mater: III. Credo. 12. Missa Alma redemptoris mater: IV. Missa Alma redemptoris mater: V. Agnus Dei. By Pierre Moulu. Kyrie (Long Version). Agnus Dei (Long Version).

Josquin: Missus Est Gabriel Angelus. Moulu: Missa Alma Redemptoris Mater (Short Version) - 1. Moulu: Missa Alma Redemptoris Mater (Short Version) - 2. Moulu: Missa Alma Redemptoris Mater (Short Version) - 3. The Brabant Ensemble and Stephen Rice bring another forgotten Renaissance master to the ear of the listening public. Little is known about the life of the composer Pierre Moulu-he joins the long lists of Renaissance musicians whose lives are all but entirely masked in shadow. Fortunately a number of his works found favour with his contemporaries to the extent that they appear in numerous early manuscripts and prints, and they have attracted the attention of music historians since the earliest days of the discipline in the late nineteenth century.

Pierre Moulu (?1484-c1550). 4vv, (5vv Agnus Dei); subtitled Messe à deux visaiges ou plus; the 'long' version is that sung with the long rests included; Cambrai, Mediathèque municipale, MS 3; Liber quindecim missarum (Nuremberg: Petreius, 1539), RISM 1539/1. Moulu: Missa Alma redemptoris & Missus est Gabriel. The Brabant Ensemble, Stephen Rice (conductor).

Die Missa Missus est Gabriel angelus ist Moulus vielleicht größte Leistung, was den reinen musikalischen Ausdruck anbelangt. In der Einleitung zu seinem Livre de mellanges von 1560 beschrieb Pierre de Ronsard Moulu als einen Jünger Josquins (er wurde zusammen mit acht weiteren aufgeführt-Ronsards Auswahl an Namen verrät eine bemerkenswerte Ausrichtung auf Musiker, die in und bei Paris tätig waren). Josquin, wie auch viele andere Komponisten der Renaissance, verwendet häufig en in seiner Musik; in Missus est Gabriel kommt dies am deutlichsten bei den Worten „Ave Maria zum Ausdruck, wo der berühmte Cantus in eindrucksvoller Weise im Bass eingeführt wird, während die anderen Stimmen im Abstand von zwei Breven und alle in derselben Lage folgen.