Name: Agricola: Missa In myne Zyn
Price: 12.07 USD
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The Mass is enormous, even lacking a Kyrie, but the superb Capilla Flamenca, no strangers to this repertoire or to this composer, separate the sections with a series of motets and songs in exuberant,... — Gramophone Magazine, May 2011 More…

Release Date: 18th Oct 2010
Catalogue No: RIC306
Label: Ricercar
Length: 59 minutes

Gramophone Awards

2011

Finalist - Early Music

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Agricola, A: Ante Missam

Work length3:14

$2.00

$3.00

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

In minen sin

Track length2:15

$1.00

$1.50

Si j'aime mon amy

Track length0:59

$1.00

$1.50

anon.: Ante Missam

Work length3:00

$2.00

$3.00

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Bien soiez venu – Alleluia

Track length1:13

$1.00

$1.50

In mynen zin

Track length1:47

$1.00

$1.50

Agricola, A: Ad Missam: Gloria, extrait de Missa In myne Zyn

Work length9:12

$1.50

$2.30

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Gilles Binchois, Alexander Agricola: Ad Missam: Comme femme desconfortée II

Work length2:23

$1.00

$1.50

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Agricola, A: Ad Missam: Credo, extrait de Missa In myne Zyn

Work length10:17

$1.50

$2.30

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Johannes Ockeghem, Alexander Agricola: Ad Missam: D'ung aultre amer III

Work length1:51

$1.00

$1.50

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Agricola, A: Ad Missam: Sanctus, extrait de Missa In myne Zyn

Work length9:18

$1.50

$2.30

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Alexander Agricola, Walter Frye: Ad Missam: Tout a par moy II

Work length2:54

$1.00

$1.50

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Agricola, A: Ad Missam: Agnus Dei, extrait de Missa In myne Zyn

Work length7:36

$1.50

$2.30

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Agricola, A: Ad Vesperam

Work length9:56

$2.00

$3.00

Dirk Snellings, Capilla Flamenca, Marnix De Cat, Rob Cuppens, Tore Denys, Lieven Termont, Liam Fennelly, Thomas Baeté, Piet Stryckers

Pater meus agricola est

Track length6:49

$1.00

$1.50

Regina coeli

Track length3:07

$1.00

$1.50

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Alexander Ackermann, know as Agricola, was born in Ghent and was not only a contemporary of Josquin Desprez but also one of the most exciting composers of his period. Of the eight Masses by Agricola that have survived, the Missa in myne zyn is possibly the last, most demanding to perform and the most elaborate, making use of every possible technique, to include the thematic material of Agricola’s own 3-part song In myne zyn. The secular pieces recorded here lend themselves particularly well to the techniques of ornamentation and improvisation that the composer himself suggests.

The recording opens with a number of other settings of In myne Zyn, including Agricola’s three-voice setting on which he went on to base the Mass; and near the end is his short setting of a famous Marian antiphon, the Regina coeli, whose well known plainchant is heard in the top voice. The Mass itself is interspersed with shorter three-voice settings of other well-known tunes of the day by some of the most famous names of preceding generations: Comme femme desconfortée is by Binchois (d. 1460), D’ung aultre amer by Johannes Ockeghem, and Tout a par moy by the Englishman Walter Frye. These short settings, which may have been intended for instrumental performance, nicely illustrate Agricola’s habit of building free counterpoint on short, pithy motives that are passed from voice to voice, even on different parts of the beat.

Another piece is completely freely invented, with no borrowed material at all. This, again, is rather unusual, and so it’s perhaps not surprising that its title puns on a biblical quotation and the name of our composer: ‘My father is a farmer’ – Latin ‘Agricola’ for farmer. The Capilla Flamenca has long advocated the use of a group of soloists for the performance of polyphonic music; Agricola’s compositions suit the ensemble to perfection.

Reviews

May 2011

The Mass is enormous, even lacking a Kyrie, but the superb Capilla Flamenca, no strangers to this repertoire or to this composer, separate the sections with a series of motets and songs in exuberant, driven performances, employing violas da gamba.

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