Artist: Cappella Amsterdam, Daniel Reuss
Album: Josquin des Prez: Miserere mei Deus
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:06:08
Total Tracks: 17
Total Size: 1,22 GB

Tracklist:

1-01. Cappella Amsterdam – La deploration [sur la mort] de Johannes Ockeghem, IJ. 66 – Nymphes des bois – Requiem æternam (03:30)
1-02. Cappella Amsterdam – Nimphes, nappes – Circumdederunt me (02:19)
1-03. Cappella Amsterdam – In principio erat Verbum – I. In principio erat Verbum (02:40)
1-04. Cappella Amsterdam – In principio erat Verbum – II. Fuit homo missus a Deo (04:35)
1-05. Cappella Amsterdam – In principio erat Verbum – III. Et verbum caro factum est (01:46)
1-06. Cappella Amsterdam – Absolve quæsumus, Domine (03:40)
1-07. Cappella Amsterdam – Absalon, fili mi (03:30)
1-08. Cappella Amsterdam – Planxit autem David – I. Planxit autem David (03:54)
1-09. Cappella Amsterdam – Planxit autem David – II. Montes Gelboe (02:17)
1-10. Cappella Amsterdam – Planxit autem David – III. Sagitta Jonathae (03:24)
1-11. Cappella Amsterdam – Planxit autem David – IV. Doleo super te (02:42)
1-12. Cappella Amsterdam – De Profundis – Requiem æternam (04:32)
1-13. Cappella Amsterdam – Miserere mei, Deus, IJ. 50 – I. Miserere mei, Deus (05:33)
1-14. Cappella Amsterdam – Miserere mei, Deus, IJ. 50 – II. Auditui meo dabis gaudium (04:13)
1-15. Cappella Amsterdam – Miserere mei, Deus, IJ. 50 – III. Domine, labia mea aperies (05:00)
1-16. Cappella Amsterdam – Pater noster – Ave Maria (07:05)
1-17. Cappella Amsterdam – Musæ Jovis (05:20)

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This fine work from the Capella Amsterdam led by Daniel Reuss begins and ends with a lament: one to Ockeghem by Josquin around 1497, and one for Josquin by Gombert in 1521. These two requiems bookend an impressive range of religious motets by Josquin (in particular funeral motets) which mix Latin and French lyrics and religious lines and songs, invoking sylphs, nymphs and muses. “Nymphes des bois, déesses des fontaines” [Nymphs of the woods, goddesses of the fountains], wrote Jean Molinet in his epitaph to Master Jean Ockgam, “changez vos vois cleres et haultaines / En cris trenchantz et lamentations; Acoutrez vous d’abitz de deuil: Josquin, Pierchon, Brumel, Compere, Et plorez grosses larmes d’œil: Perdu avez vostre bon Pere” [change your clear and proud voices/ Into piercing cries and lamentations; Put on your mourning garb: Josquin, Pierchon, Brumel, Compere, And cry great tears: you have lost your good father] – it is clear that Josquin made use of these lines in his motet. The attentive listener will notice that the composer often introduces Gregorian cantus firmus into the middle of the song, embroidering it with a rich melodic and harmonic tissue (in French) and freeing it of all constraints. This is the sound of the great Renaissance motet being born.