![]() As a result, imitative polyphony achieves a sonic depth akin to the visual depth in contemporaneous paintings with vanishing-point perspective. As one listens, it becomes apparent that all the voices in the ensemble participate in the imitative process. The single most prominent feature in sixteenth-century polyphony, evident in nearly every musical genre, is “pervading imitation,” a style of composition in which one voice follows another, singing the same melodic motif or fragment, but normally starting on a different pitch. Thus, a music print from the sixteenth century normally included between four and eight oblong partbooks, each one labeled by range, e.g., “Cantus,” “Altus,” “Tenor,” “Bassus,” with additional voices identified as “Quintus,” “Sextus,” etc. Instead of the large “choirbook format” of fifteenth-century music books that an entire choir could sing from, the printed books were small and limited to individual voice parts. Following the lead of Ottaviano Petrucci in Venice, who pioneered the process, printers quickly set up music presses in France and Germany as well as in other cities in Italy. The first music printed from movable type dates from 1501. Kurt-Owen Richards, Peter Stewart – basses Commentary on the ProgramĪmong the many treasures in the music collection of the Library of Congress are printed partbooks containing sixteenth-century Masses, motets, and madrigals, the sources for some of the greatest musical works of the “golden age of polyphony.” Today’s concert focuses on choral works preserved in this collection, featuring music by Josquin Desprez, Palestrina, Lassus, Andrea Gabrieli, and Victoria, with one fifteenth-century work (the introit from Ockeghem’s Requiem Mass) as an example of what came before, as well as one work from the early seventeenth century (Giovanni Gabrieli’s motet Exultavit cor meum) as witness to what came after. Patrick Fennig, Thomas McCargar – baritones Nathaniel Adams, Neil Farrell, Peter Gruett, Michael Steinberger, Christopher Preston Thompson – tenors Martha Cluver, Melissa Fogarty, Sarah Hawkey, Chloe Holgate, Michele Kennedy – sopranos Gloria, Missa L’homme armé sexti toni, 4vvĪgnus Dei, Missa L’homme armé sexti toni, 6vv ![]() Intermission Motet, Preter rerum seriem, 6vv If the sample(s) are used on any NON MAJOR LABEL platforms, you can do anything you’d like with them (upload to Soundcloud, sell the beat to indy artist, include on beat-tape, etc etc).Renaissance Music from the Library of Congress Collection ![]() If you place a record on a MAJOR LABEL using the sample(s), you will split the publishing with Wallis Lane fairly & Co-Production credit + fair split on up-front producer fee (where applicable) (CONTACT: if this is the case). Combined with digital tools and modern processing, they bring you a unique flavor of textures unlike any other pack in the Polyphonic Library. Wallis Lane utilizes vintage analog synths such as the CS-80, Juno 106, Moog, Rhodes alongside live vocals. With heavy assistance from Jack Lomastro, they deliver 11 multi genre samples including R&B, Soul, Jazz and modern moody vibes. Racking up credits over the past couple of years with the biggest artists such as, Drake, Ye, Travis Scott, Partynextdoor plus many more. Polyphonic Music Library is proud to release Interludes from the Grammy nominated and Multi Platinum duo – Wallis Lane.
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