€19.95 Including VAT
Type: SACD hybride
Catalog number: ACD-HN-016-2
Release date 25 Mar 2006
ENSEMBLE RABASKADOL Saskia van der Wel – soprano, bass violin (renaissance) Marco van de Klundert – tenor Fritz Heller – straight, curved & mute cornetto, alto shawm Katharina Bäuml – alto shawm Cas Gevers – sackbut Detlef Reimers – sackbut Peter Stelzl – sackbut Mechthild Alpers – bass curtal Ursula Bruckdorfer – bass curtal, bass shawm Jonathan Talbott – violin, tenor violin (renaissance) Lucia Froihofer – violin, tenor violin (renaissance) Tormod Dalen – bass violin (renaissance) Martin Lubenow – positive organ, spinet, curved & mute cornetto
CAPELLA ’92 o.l.v. GERBEN VAN DER VEEN
Soprano: Renske Anjema, Marion Bloemendaal, Mirjam Brauer, Jannie van der Meer, Lieske Wedman. Tenor: Gerard Boukes, Ton Edelbroek, Klaas Lyklema, Hans Reesink, Wilfred Reneman, Cor van Scheltinga, Jo Tigchelaar. Bass: Co Berrevoets, Obe Bruinsma Jur Hofsteenge, Jan Nijenhuis, Herman van der Steenstraten.
More than 400 years ago, the musician and composer Martin Peudargent (ca. 1510 – before 1594) was employed at the ducal court of Jülich-Kleve. He left an extensive oeuvre, which has only recently become widely accessible. His first collection of motets, the »Liber Primus sacrarum cantionum quinque vocum, quae vulgo Moteta vocantur«, was printed in Düsseldorf in 1555. On the title page, Peudargent is described as »Illustrißimi Ducis Iuliae, Cliviae, Bergiae etc. Musicus«. From a later source it appears that he originated from Huy in the Netherlands, in the prince-bishopric of Liège. He may therefore have been educated in the city of Liège. In later years he maintained close relations with Liège musicians such as Adamus de Ponta. The motet collection is the earliest proof of Peudargent’s employment at the court of Jülich-Kleve. In an earlier record, dating from 1532, he is described as »magister Martin Peudargent« and owner of a house in the ducal seat of Kleve. Peudargent was probably employed at the local convent school, whose choir sung frequently at court.
The present recording focuses on the »State or Homage motets« from Peudargent’s second collection (1555), in which reference is made to the ducal house. The recording also includes works from the first and second motet books, as they would have been performed in the day-to-day routine of a court »Kapelle«: settings of biblical texts, especially psalms, and free texts according to the church year.