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Vidéo :
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| Composer : | de la Rue, Pierre | ||
| Instrumentation : | Bassoon Quartet | ||
| Style : | Renaissance | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Date : | 1513 | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 02 Oct 2019 Pierre de la Rue (c. 1452 – 1518) was a Franco-Flemish (modern day Belgium) composer and singer of the Renaissance. His name also appears as Piersson or variants of Pierchon and his toponymic, when present, as various forms of de Platea, de Robore, or de Vico. A member of the same generation as Josquin des Prez, and a long associate of the Habsburg-Burgundian musical chapel, he ranks with Agricola, Brumel, Compère, Isaac, Obrecht, and Weerbeke as one of the most famous and influential composers in the Netherlands polyphonic style in the decades around 1500. La Rue wrote masses, motets, Magnificats, settings of the Lamentations, and chansons, a diverse range of compositions reflective of his status as the primary composer at one of Europe's most renowned musical institutions, surrounded by other similarly creative people. Some scholars have suggested that he only composed music for about the last 20 years of his life, mainly when he was in the imperial service; but it has proven difficult to date any of his works precisely, although it has been possible to suggest groupings based on a rough chronology. Stylistically, his works are more similar to Josquin than to any other composer working at the same time. In fact, misattribution of doubtful works has gone both ways. Yet there are some unique features to La Rue's style. He had a liking for extreme low voice ranges, descending sometimes to C or even the subterranean B flat below the bass staff; he employed more chromaticism than most of his contemporaries; and much of his work is rich in dissonance. He also broke up long, dense textures by inserting contrasting passages for two voices only, something done also by Ockeghem and Josquin. He was one of the first routinely to expand vocal forces from the standard four, to five or six. One of his masses for six voices, the Missa Ave sanctissima Maria, is a six-voice canon, a technically difficult feat reminiscent of some of the work of Ockeghem. This is also the earliest six-voice mass known to exist. "Vexilla regis" is a Latin hymn in long metre by the Christian poet and saint Venantius Fortunatus, Bishop of Poitiers. It takes its title from its incipit, or opening stanza: Vexilla regis prodeunt, The Banners of the King issue forth, fulget crucis mysterium, the mystery of the Cross does gleam, quo carne carnis conditor where the Creator of flesh, in the flesh, suspensus est patibulo. by the cross-bar is hung. The hymn was first sung in the procession (November 19, 569) when a relic of the True Cross, sent by the Byzantine Emperor Justin II from the East at the request of St. Radegunda, was carried in great pomp from Tours to her monastery of Saint-Croix at Poitiers. Its original processional use is commemorated in the Roman Missal on Good Friday, when the Blessed Sacrament is carried in procession from the Repository to the High Altar. Its principal use however, is in the Divine Office, the Roman Breviary assigning it to Vespers from the Saturday before Passion Sunday daily to Maundy Thursday, and to Vespers of feast of the Exaltation of the Holy Cross (September 14), and in pre-Vatican II breviary also for the feast of the Finding (May 3), and of the Triumph of the Holy Cross (July 16). Source: Wikipedia (https://en.wikipedia.org/wiki/Vexilla_regis). Although originally scored for Voices (SATB) I created this Arrangement of the "Vexilla regis prodeunt" for Bassoon Quartet. | |||
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