

Wydawnictwo: EPR Classic
Nr katalogowy: EPRC 075
Nośnik: 1 CD
Data wydania: marzec 2025
EAN: 608917726220
Nr katalogowy: EPRC 075
Nośnik: 1 CD
Data wydania: marzec 2025
EAN: 608917726220
Willaert: Adriano 6 - Missa Laudate Deum
EPR Classic - EPRC 075
Kompozytor
Adrian Willaert (ok.1490-1562)
Adrian Willaert (ok.1490-1562)
Wykonawcy
Franz Vitzthum, countertenor
Bernd Frohlich, tenor
Jan Petryka, tenor
Tore Tom Denys, tenor
Tim Whiteley, bass-baryton
Dionysos Now! / Tore Tom Denys
Franz Vitzthum, countertenor
Bernd Frohlich, tenor
Jan Petryka, tenor
Tore Tom Denys, tenor
Tim Whiteley, bass-baryton
Dionysos Now! / Tore Tom Denys
Willaert:
Qual dolcezza giamai
Amor mi fa morire
Signora dolce io te vorrei parlare
Qual piu diversa e nova cosa
Ave Maria
Missa Laudate DeumKyrie
Missa Laudate DeumAgnus DeiVidens Dominus
Ecce Dominus veniet
Qual dolcezza giamai
Amor mi fa morire
Signora dolce io te vorrei parlare
Qual piu diversa e nova cosa
Ave Maria
Missa Laudate DeumKyrie
Missa Laudate DeumAgnus DeiVidens Dominus
Ecce Dominus veniet
The album Adriano 6 by Dionysos Now! pays tribute to Adriaen Willaert (1490–1562). The centerpiece of this recording is the Missa Laudate Deum, a so-called parody mass based on Johannes Mouton’s motet of the same name. This remarkable mass showcases Willaert’s masterful command of polyphony and serves as an homage to his mentor. The Missa Laudate Deum comes from the rare Liber quinque missarum (1536), a collection of five masses where Willaert demonstrates his refined continuation of the Parisian School. By integrating Mouton’s hymn of praise with his own innovations, Willaert created a masterpiece that remains a milestone in the history of mass composition. In addition to the mass, the album features a selection of Willaert’s madrigals and motets. Works like Qual dolcezza gamai and Amor mi fa morire reveal his ability to merge expressive text with intricate music. Inspired by poets such as Dragonetto Bonifacio, these dramatic madrigals highlight Willaert’s sensitivity to text interpretation and his contribution to new musical forms. Motets like Videns Dominus and Ecce Dominus veniet stand out for their profound emotion and technical brilliance.