John Browne (1425-1505), Stabat Mater. The Tallis Scholars / Peter Phillips (c)

John Browne (1425-1505), Stabat Mater. The Tallis Scholars / Peter Phillips (c) // From CD The Tallis Scholars Sing Tudor Church Music //.
"(...) The Salve regina and the Stabat mater are the pieces which for years have maintained Browne's reputation as a composer. They are both highly expressive, though for many commentators the Stabat mater is the supreme masterpiece of the period, contrasting dramatic writing with contemplative passages in an emotional world of contrasts thought to have surfaced first with Monteverdi. This drama famously breaks through the surface at the word 'Crucifige', which Browne hammers into place before turning inwards again with the phrases which follow: 'O quam gravis illa poena' ('O how bitter was your anguish'). For me, however, the piece which sums Browne up most perfectly is the Stabat iuxta. Its scoring (TTTTBB) has probably militated against frequent performances, but it is just that scoring which makes such an impact. With six voices operating within a compass of less than two octaves the opportunities for dense, almost cluster chords are unrivalled. The use of low thirds in chordal spacing is not encouraged by text-books of correct polyphonic procedure, but Browne simply couldn't avoid them with this scoring, and they are thrilling. Density of sonority leads to other delights, like false relations and other dissonances, which characterize much of the piece and culminate in the final bars (...)" -- Peter Philips.
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Mal.: ROGIER VAN DER WEYDEN -- ZDJĘCIE Z KRZYŻA
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Sound 1600 kb/s

[@hectorbarrionuevo6034]

Beautiful polyphony from a contemporary of Ockeghem and later des Prez.

[@cuauhmolinasoul]

Music
All of Browne's surviving works are found in the earlier folios of the Eton Choirbook, dating from between 1490 and 1500. According to the index of the Choirbook, ten more Browne compositions were originally published; five of these compositions have been lost, while two survive in fragmentary form.
Browne's music is notable for its varied and unusual vocal instrumentation; each of his surviving works calls for a unique array of voices, with no two compositions sharing a given ensemble scoring. A prime example of Browne's penchant for unorthodox groupings is his six-voice antiphon Stabat iuxta, scored for a choir of four tenors and two basses. His choral music often displays careful treatment of the dramatic possibilities of the text and expressive use of imitation and dissonance; the aforementioned Stabat iuxta, in particular, has been noted for its "dense, almost cluster chords" and "harsh" false relations.
Works
O Maria salvatoris mater
Stabat mater dolorosa
Stabat virgo mater Christi
Stabat juxta Christi crucem
O regina mundi clara
Salve regina mater misericordiae
Salve regina mater misericordiae
Ave lux totius mundi (lost)
Gaude flore virginali (lost)
O mater venerabilis
Stabat virgo mater Christi
Magnificat: Et exultavit spiritus meus (lost)
Magnificat: Et exultavit spiritus meus
Magnificat: Et exultavit spiritus meus (lost)
Magnificat: Et exultavit spiritus meus (lost)

[@uigliam]

Incantevole!

[@vernonwarner7402]

Wonderful music from a little known composer

[@JFGecik]

Very beautiful! Dziękuję.

[@FilipSiguret]

Merci pour ce compositeur si peu connu ici en france.

[@antoniopedrosa4076]

A música é inspiradora e que pintura magnífica de Roger V D Weyden para ilustrar

[@mairacruz8110]

Como era bela a magnificência humana. Vestígio que dispertara os olhos. stabat officium nostrorum. stabat luxta christi crucem.

[@margielyons6282]

This Was Most Likely Sung By Young Boys At the Time of its Composition [ Soprano] Because They Did Not Allow Women in the Choir Loft Then . My Point Being -- Imagine the Skill Levels of Boy Choristers of the Era .

[@polska181]

+hi

[@Teflondonavelii662]

1425 the agenda was born

[@jaspermay5813]

What agenda