Form: Chanson
Era: Renaissance (1425-1497)
Score: 81
Why this recording: Was looking for an album dedicated to Ockeghem
Thoughts:
This was quite interesting because it takes a form of Chanson (basically a pop song), and adds some really interesting complexity to it. Often 3 voices simultaneously - a violin, lute, and voice. Sometimes percussion is added. Definitely the highest quality Chanson work I've heard so far. But also still very accessible.
If anyone is skilled in identifying all the instruments in this work I'd be super thrilled. There are some instruments that are maybe like a harp, but sound like a percussive - like a piano, but not soft that I'm particularly interested in knowing.
Hammered Dulcimer maybe? Sounds pretty cool even if only used sparingly.
Also I think this might be the first album I'm listening to with a violin (Supposed Renaissance thing).
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Form: Programmatic Chanson
Era: Renaissance (1528)
Score: 81
Why this recording: Was looking for an album dedicated to Janequin
Thoughts:
From the Wiki:
The programmatic chansons for which Janequin is famous were long, sectional pieces, and usually cleverly imitated natural or man-made sounds. Le chant des oiseaux imitates bird-calls; La chasse the sounds of a hunt; and La bataille (Escoutez tous gentilz), probably the most famous, and almost certainly written to celebrate the French victory over the Swiss Confederates at the Battle of Marignano in 1515, imitates battle noises, including trumpet calls, cannon fire and the cries of the wounded Onomatopoeic effects such as these became a commonplace in later 16th century music, and carried over into the Baroque era; indeed "battle music" was to become a cliché, but it first came into prominence with Janequin.
I thought vocally this was probably one of the more interesting works. Reminds me a bit of the work from Bobby Mcferrin. Didn't know they pushed such sophisticated vocal styles so long ago, but makes sense considering the traditions proceeding.
Not all of the album is like this, but a few tracks you could tell he was pushing some boundaries. I don't know Latin well at all, but I feel he either wrote in very interesting meter or the performers just annunciated really well - regardless, it has this cool sharp/tight vocal performance. Pretty cool.
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I've updated my chart with more Renaissance music (still needs a lot of clean-up, but good start). I guess I'm about half way through my list now (starting page 4)
If I don't get to 100 albums - I probably will dig back in to ancient music, as well as more from these time periods. I suppose that's the goal - listen to 100 albums of these time periods. That's the least I can do for more than 1000 years! hahaha.
EDIT: I might be maxed out on Renaissance, but still very interested if you have something you like. Now I'm going back into Medieval to see if I can gather a bit more, and if I'm doing this... might as well see if I can get some ancient music on this list too.
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Form: Chanson, etc.
Era: Medieval (1300-1400)
Score: 82.6
Why this recording: Mostly because I liked the other Trouvère Medieval Minstrels albums
Thoughts:
Some of this was really enchanting and captivating. I think what I like most about these efforts is the instrumentation. A lot of medieval music is strictly voice and no or very little instrumentation. These Chansons have really cool instrumentation. We also have some unique baritone voices, etc. Drones and lutes, oh my. Actually I think I'm a sucker for bag pipes the most. They are quite lively.
I particularly liked Chanterai Por Mon Corage.
I Will Sing to Keep My Courage Up
I will sing to keep my courage up
since I must comfort my heart
for in my great distress
I not to wish to die or go mad
when from the savage land
I see anybody return,
where he has gone who soothes
my heart when I hear him mentioned.
God, when they shout "Overseas!,"
O Lord, help the pilgrim
for whose sake I tremble
for treacherous are the Saracens.
I shall be waiting in anguish
until I see him come back.
He has gone off as a pilgrim.
In fear and trembling
I will wait for him to come back,
for in spite of my family
I have not intention of marrying any other.
He who suggests this is mad.
God, when they shout "Overseas!,"
O Lord, help the pilgrim
for whose sake I tremble
for treacherous are the Saracens.
That is why I grive in my heart,
because he is not near at hand;
I have placed my hopes in him,
and now I get no pleasure or joy from it.
Since he is handsome and I am nobly born,
Dear Lord, why have you done this?
Seeing that we are in love with each other,
why do you keep us apart?
God, when they shout "Overseas!,"
O Lord, help the pilgrim
for whose sake I tremble
for treacherous are the Saracens.
This solace at least I have
seeing that I have accepted his pledge.
When the gentle wind blows which comes from
a most fair land,
where the man I love so much is now,
I turn my face towards it;
I cannot resist feeling it
beneath my grey mantle.
God, when they shout "Overseas!,"
O Lord, help the pilgrim
for whose sake I tremble
for treacherous are the Saracens.
What grieves me is
that I did not go with him.
He sent me the shirt which he wore
for me to hold in my arms.
At night, when love of him torments me,
I take it to bed
and hold it to my naked body,
to ease my suffering.
God, when they shout "Overseas!,"
O Lord, help the pilgrim
for whose sake I tremble
for treacherous are the Saracens.
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Form: Dunno - old?
Era: Ancient (Pre-500)
Score: 80.6
Why this recording: Someone said it was a legit academic effort to recreate Ancient Greek music. It is an interpretation of the papyrus remnants of what's left of the Greek musical tradition.
Thoughts:
Anakrousis is really cool. I mean like probably top 5 things I've heard so far on this project.
Some of this is in fragments and just short snippets, but really cool that we have something from this time. It also sounds just like you'd expect nearly. It feels Greek.
A good chunk of it reminds me of what some experimental music tried to accomplish - getting a the root of the Id or some kind of psychological representation. (like in the papyrus from Wien- Vienna and papyrus Michigan). Papyrus Berlin was the best.
I'm also curious if the chant is monotone because that is how it was written or that was the interpretation. The vocals were the drone and the music the melody/notation. Which is opposite often of other music I've been listening to.
This did remind me of listening to something like the Smile Sessions where you can tell much of it is incomplete. But I also liked how possibly purposefully it was in "being in the moment" instead of trying to write something appealing, rather how I would write something if I were just playing notes with no logic/purpose to them (and I don't mean that in a bad way - rather a human way... just connecting with the instrument instead of your ego/what should be). Primitive for sure - yet not.
I feel also they used percussion not as a way to "keep a beat", rather to signify a beginning or end of a phrase.
Hymne Delphique had like water boiling in it... idk... was that an interpretation or actually written... blow on a straw with water to simulate bubbling/boiling water? Interesting stuff.
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Form: Dunno - old?
Era: Ancient (Pre-500)
Score: 82.2
Why this recording: Someone said it was a legit academic effort to recreate Ancient Roman music.
Thoughts:
I think I liked this better than the Greek album. The efforts feel more complete and a bit more interesting and little less experimental sounding. Perhaps because the focus is winds - it sounds bit more military like. Then again, that might be a bit more fitting, no?
I feel like they liked to play with intervals and were a bit more musical or maybe it was just the interpretation of it. Hard to say for sure.
Was particularly fond of:
Mare nostrum
Imperium
Acutus
Pastorale
Pompei
Neniae
On Aetherius I was curious if that was interpreted as such or did they really trill like crazy like that. Pretty impressive playing regardless. It almost sounded electronic at times.
I liked how Venus more or less just started out breathing and then subtle chimes built. It became a bit odd though. The experimental types would like it. They'd possibly also like Oraculum. Neniae is another, but I liked it because it had purpose (the lament of death). Juppiter was interesting as well... how do you write that down?
Salii was fitting - basically marching music.
Last edited by RoundTheBend on 03/05/2018 23:17; edited 1 time in total
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Ancient Music: 3
Pre-Ars Antiqua: 6
Ars Antiqua: 24?
Ars Nova: 6?
Ars Subtilior: 4
Renaissance: 39
Alright - so looks like to round this out a bit more (and if I'm even dissecting this right) I need some more Ars Nova and Ars Subtilior. I suppose it is such a small gap of time respectively. Dunno... I know it's dumb, but I'm trying to fill up the remaining 16 spots so I have a total of 100 albums representing these time periods.
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