La verdad es que de Margaret no sé nada. Cuando yo tenía contacto fluido con el grupo (esto fue hasta 1995, creo), la verdad es que ella tenía muchos problemas de salud, con una artritis terrible y muchos dolores. Pero jamás se le notó nada, yo lo supe porque me lo dijeron los demás el grupo, era la más animosa, la de mejor carácter, muy muy simpática aunque profundamente British.

Luego ya dejé de tener contacto con ellos (las malas lenguas habituales hablaban de problemas horribles; será por eso por lo que han querido volver a la escena discográfica con Cantus...) y posteriormente se produjo la salida como director de Chris Page y ya poco a poco se vio que Margaret estaba cada vez menos con el grupo, hasta que ya no apareció más en grabaciones ni en créditos. Cuando la ocasión sea propicia preguntaré.

Por cierto, no sé si saben que ella fue la primera esposa de Nigel North, el laudista.

Gracias, estimado Ockeghem.

Y no, no sabía que MP hubo sido esposa de North.

cornodibasetto

Pongo mis caratulas favoritas de mi colección de cd, me encantan.

Estas son de Cecilia Bartoli, grandísima mujer.







Esta de Lully me encanta.



Esta de un cd de musica de la corte de Felipe V

No es carátula, pero antes hemos colgado ya pinturas con música genuina en este hilo.

Dosso Dossi, Alegoría de la música (hacia 1522):



Detalle:



Se trata del Agnus Dei II de la josquiniana Missa L'homme armé super voces musicales:

On the stone slab shadowed by the standing nude (far right), is a stave of music bent in a triangle. It is the second Agnus Dei from Josquin Desprez's "Missa L'homme arme super voces musicales" (as identified by H Colin Slim, in the spring edition of the Journal of the American Musicological Society, 1990). Agnus Dei II is a mensuration canon for three voices where, as in the circular canon or a round, each voice sings the same melody. Here their entries are not staggered, but all start at the same time. They differ in their timing (or mensuration), so the slowest voice is accompanied by a second, sung at twice the speed, and a third at three times the speed. When the first part has come to the end of one side of the triangle, the other parts have completed the second and third sides, respectively, and the canon comes to an end. Like the circle canon, the graphic shape of the notation mirrors the form of the music perfectly. Josquin may have written his Agnus Dei in a triangle, although Dossi's painting provides us the only known example (and no other music of the time was triangular). When sung, the effect is eerily intellectual rather than expressive - the different rhythms (of two different duples and a triple) provide a slight tension, with a suggestion of syncopation in the middle. The outer parts are an octave apart, with the faster triplets in the treble. The middle voice is slowest and raised a fifth interval from the base, so the harmonies progress with remarkable smoothness. Agnus Dei II is a bravura exercise, set near the end of a long and difficult mass, and any singers performing it successfully could feel well pleased.

Josquin was one of the most important composers in Western history, shaping the future direction of music. He was born in Belgium, but little else is known of him personally, and his only signature is found carved into a wall of the choir stall in the Sistine Chapel. Despite a reputation for being temperamental, he was given a highly lucrative appointment at Ferrara in 1503, by Alfonso's father, Ercole I. The court had an exalted musical reputation throughout Italy, rivalled only by the Sforza's in Milan; in hiring Josquin, Ercole hoped "to place a crown upon this chapel of ours". To honour the Duke, Josquin had written a mass called "Hercules Dux Ferrariae". He constructed a theme by converting the vowels in its title, to notes - re, ut, re, ut, re, fa, mi, re. Each vowel was matched to one in a solmization syllable, those names given to notes of the hexachord by Guido d'Arezzo, in the 11th century. Josquin's technique was enduring, and J S Bach, for one, would later use a similar method to spell out his name in notes. Josquin left behind many lasting memories, and after he fled the plague in Ferrara, the music of his Agnus Dei II circulated in manuscript form. By the time Dossi included the piece in his "Allegory of Music", Josquin had been dead a year. The stone tablet on which it is painted reminds us of a gravestone, a memorial to one of the greatest composers to pass through Ferrara. It also resembles a composer's slate, the kind that Josquin was said to use.

Ver aquí:

http://home.vicnet.net.au/~colmusic/dossi.htm

cornodibasetto