Lassus

this is some of the most beautiful music you will ever hear!

an austere beauty., great for those quiet moments.

This pairing of two of Orlando di Lasso’s best-known works makes the best possible case for the Renaissance composer’s music. The Hilliard Ensemble performs beautifully, with one singer assigned per part, which allows each singer ‘s own vocal sound to come through and create a variety of different timbres. The sound quality is excellent. The execution in this disc is exemplary overall.That said, I have often found Lassus’ music hard to penetrate. His exemplary technical gift, the polish of the voice leading , the perfectly arranged harmonies create a sleek, imperturbable surface, like a smooth eggshell. Or perhaps his aesthetic leads him to write music where entertainment and emotion are not the goals. When emotion emerges from the serene reflectiveness, as in the central section of the Graduale form the Requiem (titled officially the ‘Missa pro defunctis’), it is attention getting, but much of the music is almost disconnected from merely human concerns. The Sanctus from the Requiem illustrates this; the voices move from one perfectly arranged harmony to the next, so smooth as to be unmemorable. This serenity occurs in a work that memorializes death, in a form that has provoked tragic outbursts from composers with a wide background of nationalities and time periods. But tragedy is not for Lassus.Though Lassus receives much attention in music history books, he seems to be something of a minority taste even among the small community of Renaissance music fans. ECM’s packaging of the Hilliard Ensemble’s very fine performance of the Requiem and Lassus’ most famous and discussed works, the mystical “Sybilline Propechies”, seems partly an effort to make the music more accessible. I found the Requiem more immediately attractive than the “Sybilline Propechies”.The “Sybilline Propechies” are more splashy in terms of the text, but the music taken by itself is less taking. The Prophecies consist of a dozen motets setting the prophecies of the coming of Jesus, each from a different prophetess. This exciting and mysterious concept is paired with very chromatic writing. Lassus’ music here is very consonant but filled with adventurous harmonic shifts. The opening Carmina Chromatica – “chromatic song” – starts with C and G chords and then shifts surprisingly to B and C# minor within a few moments. This chromaticism is commonly taken to symbolize the mystery of the prophecies. Though it marks a significant historical innovation, it like much of Lassus’ music sounds imperturbable. The technique may be adventurous but the affect is peaceful and placid.Despite the strength of the performance, I am rating this disc 4 stars. If you are looking for an entrée into Lassus’ music, I would recommend an alternative compilation of his sacred and secular from the Hilliard Ensemble, titled “Motets and Chansons”, which I find easier to fathom. But if you want to listen to two formidable sacred works, this Hilliard performance is excellent.

--Orlandus Lassus--A composer of the late Renaissance period, Orlandus Lassus was born in 1532. Franco-Flemish in background, there is a legend that he was kidnapped three different times during his boyhood for his exquisite choir voice. Lassus produced over 2,000 works in Latin, Italian, French, and German vocal genres, practically every one known in his time. His versatility is virtually unmatched. Among the 2000 pieces were 530 motets (on religious and secular themes) and over 60 masses. His career was spent in the Low Countries, in Italy, and in Germany, and he traveled extensively throughout other European countries. He died in 1594 one of the most celebrated composers of the age.--Requiem--The mass here consists of the classic parts - Responsorium: 'Memento mei Deus', Introitus, Kyrie, Gradulae, Offertorium, Sanctus and Benedictus, Agnus Dei, Communio and an antiphon closing, 'In paradisum'. There are definite pieces here that introduced new standards to the way the requiem is structures in the Renaissance, leading to Baroque times. This is a very good example of a Requiem, with power and strong tones of spirit and joy.--Prophetiae Sibyllarum--The piece begins with the item entitled 'Carmina Cromatico', which no doubt refers to the kind of dissonant song that follows throughout this working of the Sibylline prophecies into music. Lassus wrote this piece in his early days as a gift to his patron, and it was not published during his lifetime. It incorporates a kind of compositional technique that Lassus in general did not employ in most of is work. There are twelve motets done in this style, and perhaps Lassus had in mind the dissonance of the pagan prophet in the age of Christendom when composing this piece. In any event, it is unlike most of Lassus' other work, and is a nearly unique offering in this time period, as the inspiration to write in chromatic style faded rather quickly.--Hilliard Ensemble--The Hilliard Ensemble was formed in 1974, and have been performing worldwide as well as recording extensively ever since. They have been described as 'the Rolls-Royce of vocal ensembles'; being a consort of only four men, the sound is remarkable. The singers are David James (countertenor), Rogers Covey-Crump, tenor, John Potter, tenor, and Gordon Jones, baritone. Their voices are remarkably well attuned to each other, and there is a solid but not overpowering intensity in their performances.This is superb work, and a real treat for the listener.

The Hilliard Ensemble's Lassus is recorded, as you might expect from ECM, with an enveloping atmosphere of space and reverberation. I am not even going to pretend to be knowledgeable about this music by the 16th-century composer Orlando di Lasso; all I can do is say in simple-minded mid-Ohio honesty, "gee, it's really pretty and I really like it." Those familiar with previous recordings by the Hilliard Ensemble already know how disciplined yet expressive their voices sound, and with ECM giving them a warm, rich acoustic space, the end result is sonic and musical joy.

I bought the album for the Requiem, and was not disappointed. These guys deliver, and they approach the music in the proper respectful way. The key to Baroque performance is not in imparting one's own emotion to it, it is in reining in one's own emotion and executing the music precisely.

Here we have the greatest vocal ensemble of all time performing some of the greatest music ever written. This is not a choir, it's 4 guys. One person per part. It's rich, intimate, and as close to perfection as you can get.

This is one of the best discs of Lassus I know - and it's up against some pretty strong competition from people like The Tallis Scholars Lassus - Missa Osculetur me and De Labyrintho Lassus - Propheti Sibyllarum. Kurt Messick's very good review here gives a lot of detailed information about the music and its performers, and I strongly recommend that you read it. I have a few personal observations to add.For me, the great work here is the Requiem. It's a fabulously beautiful piece and the Hilliards give a performance which is full of emotion and spiritual depth. They sing at a low pitch with David James's wonderfully plangent countertenor taking the top line, and this coupled with their genuine engagement with the text and expression of whet they are really singing gives the Requiem a huge impact which I feel every time I play it. ECM's customary excellent recording in an ideally resonant acoustic captures it beautifully.I am less keen on Prophetiae Sybillarum, although it is still very good. It is a work which employs some pretty dramatic chromaticism, a little of which goes quite a long way with me. Nonetheless, this is a fine performance and taken a few movements at a time I do find them rewarding.I would warmly recommend this disc - it's a superlative recording of a magnificent work, and has remained a favourite of mine for many years. Lassus - Missa Osculetur meLassus - Propheti Sibyllarum

encore un superbe album de "Hilliard Ensemble" avec cette œuvre polyphonique d'Orlando. on reste sans voix devant de telles sonorités vocales. à déguster sans modération.

Nach der gregorianischen Einleitung wirkt die anschließende Vielstimmigkeit im 2. Stück fast überirdisch (Requiem aeternam), kein moderneres Requiem kann diese Stimmung erzeugen (schon gar nicht die sehr extrovertierten Stücke von Dvorzak oder Verdi- sie wirken dagegen regelrecht ungeschickt!). Dies ist absolut inspirierte und wunderbare Musik, die einen alles vergessen lässt. Die Interpretation durch das Hillard- Ens. ist natürlich sowieso kaum zu toppen- perfekte Intonation und Dynamik. War ein guter Kauf!!

Lassus oder Orlando di Lasso aus dem Renaissance Zeitalter durch dem Hilliard ensamble. Eine hervorragende leistung des Hilliards ensemble. Ok nog ein Wort dazu OK