A partir de ce jour, vous pouvez écouter l'album virtuel Si quis diliget me de l'ensemble vocal The Art of Music sur les plateformes Spotify, iTunes et Google play.

Ecoute / lien: sous VITRINE:

Sur Spotify, une playlist publique est également disponible:

AOM - The Art of Music

Album - Link: (valable jusqu'au 14 mai 2019)

https://open.spotify.com/album/2WESrLaFelHb9PTtccAXvO

Ecouter l'album sur le présent site

Vous pouvez aussi jeter un coup d'oeil sur PHOTOS et le petit film pour INSTAGRAM (en haut de la page).

PROCHAIN CONCERT:

dimanche le 27 mai, 20 heures, Eglise St.Alphonse-Luxembourg (voir sous CONCERTS).

The Art of Music was set up in Luxembourg in 1993 by Eric Hartley, who also directed it for the first three years; since his departure, it has been directed by Mick Swithinbank. It was originally a sextet, and is only very little larger now. Its purpose during Eric’s directorship was to sing works from a quite specific repertoire: 16th century church music from England and Scotland. Thereafter the ensemble expanded its repertoire to include medieval and especially Renaissance music from all over Europe. It takes particular delight in delving into the inexhaustible seams of little-known early music, looking for gems that it can share with audiences. Its performances are largely confined to the Grand-Duchy of Luxembourg. 

Thanks to the recordings of the ensemble made by Josy Peschon, the Art of Music won first prize in the classical section of the first ever ‘Prix musique en ligne’ competition organised by the French performers’ rights organisation Adami in 2001. The winning entry was a recording of Josquin’s ‘Tu solus qui facis mirabilia’. The following year, the Art of Music’s recording of ‘Si quis diliget me’ by David Peebles won the second prize. 

The files posted to Spotify are a selection from some 20 years of concert recordings, beginning in 1998. In choosing them, the aim has been not to play it too safe but to focus especially either on works that are interesting because of their combination of quality of composition and rarity value, or else, in the case of the few better known works, those that seem the most exciting to listen to. The occasional blemish in a performance has been accepted if it was felt to be offset by other factors. Most of these works were performed and recorded only once, so then it is a question of ‘take it or leave it’.

PODCAST:

Alfonso Ferrabosco the Elder, Laboravi in gemitu meo. Ferrabosco, an Italian, spent many years in England in the 1560s and 70s. His sacred music is mainly preserved in English sources. In Laboravi (a verse from a penitential psalm), he gives full rein to lamenting effects: falling melodic lines, use of mainly minor chords, suspensions, passing dissonances, diminished harmonies and frequent excursions into a darker (flatter) key.