The celebrated Franco-Flemish
composer had enjoyed prominence in France since at least the 1560s, when the firm of Adrian Le Roy & Robert Ballard issued its first printed editions of his music.
One exceptional and very rare Franco-Flemish
16th-century example offers three heads--those of Jesus, Mary, and Death, originally the bead of a rosary.
Renaissance music lovers will enjoy four polyphonic works and a dance: two Canzone in majestic Venetian polychoral style by the Italian composer Giovanni Gabrielli, a Ricercare by Andrea Gabrielli, an arrangement by Alkis Baltas of the highly expressive French chanson Mille Regretz by the Franco-flemish
composer Josquin des Prez, as well as the jubilant dance La Mourisque by the Flemish composer Tielman Susato.
Several round-note fonts are known, most notably one by the master Franco-Flemish
punch cutter Robert Granjon.
"To my knowledge it hasn't been performed since the 16th century," said Peter Urquhart, founder and director of Capella Alamire, about Franco-Flemish
composer Noel Bauldeweyn's "Missa Du bon du cueur," one of the works in tonight's program titled "The Legacy of Jean Mouton."
In the Europe of the 14th to the 16th centuries, Franco-Flemish
singers and composers were similar to what Champions League soccer players are in our day: in demand by the rich and the wealthy.
The program will draw from the Odhecaton, an anthology of secular songs published in Venice in 1501 by Ottaviano Petrucci, with polyphonic music by Franco-Flemish
composers such as Josquin Des Prez, Hayne Van Ghizighem and Jacob Obrecht.
On the other hand, the Utraquists, who distanced themselves from Catholicism, sang polyphonic songs by Catholic - for instance, Franco-Flemish
Backed by a strong Franco-Flemish
cast and generally efficient storytelling, pic should chacha among arthouse distribs after its Cannes Critics' Week premiere.
In the course of the chapter Wilson discusses the importance of the Venetian poet Leonardo Giustinian as well as Florence's interaction with other musical cultures, from Franco-Flemish
to Neapolitan and northern Italian.
Art historians and other medievalists explore such topics as the representation and meaning of luxurious textiles in Franco-Flemish
manuscript illuminations, the use of textiles in manuscripts, and the interpretation of Chrysom effigies on late medieval tomb monuments.
Kreitner affirms that, although at the time Spain remained part of the musical periphery, compared to Franco-Flemish
territories and Italy, it will be worth listening to these works.