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Doulce Mémoire and Denis Raisin Dadre – L’Amour de moy (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 54:02 minutes | 1,67 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
Doulce mémoire here delves into the repertoire of French songs that were central to the first printed score in the history of music, Harmonice Musices Odhecaton (Venice, 1501). This repertoire dates from the end of the 15th century and includes music from not only the French and Burgundian courts but also from the chanson rustique, a new genre that was in use at the court of Louis XII (1462-1515). This singular repertoire is based on popular melodies that dealt with everyday, amorous, erotic and satirical subjects; the texts have an irregular versification that was known as ‘rural rhetoric’ at that time.
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Denis Raisin Dadre, Doulce Mémoire – François Ier, musiques d’un règne, Vol. 2: Musique pour la chambre du Roy (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:17:20 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Zig-Zag Territoires
Francis I, as a princely patron of the arts, realised that music was a very useful tool for his policy of prestige: official music for great diplomatic events like the amazing musical ‘tournament’ between the Chapelle of the King of France and the Chapel Royal of Henry VIII of England at the Mass for the Field of the Cloth of Gold, reconstructed in this recording. But also more intimate music with the exceptionally subtle, refined and learned repertory to be heard in the monarch’s châteaux such as Chambord and Fontainebleau, performed by the finest singers and instrumentalists of the realm under the aegis of the Chambre du Roi. Here is a feast of previously unrecorded music for King Francis I, the symbol of a happy Renaissance.
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Denis Raisin Dadre, Doulce Mémoire – François Ier, musiques d’un règne, Vol. 1: Messe pour le camp du Drap d’Or, 1520 (2015)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:12:45 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Zig-Zag Territoires
Francis I, as a princely patron of the arts, realised that music was a very useful tool for his policy of prestige: official music for great diplomatic events like the amazing musical ‘tournament’ between the Chapelle of the King of France and the Chapel Royal of Henry VIII of England at the Mass for the Field of the Cloth of Gold, reconstructed in this recording. But also more intimate music with the exceptionally subtle, refined and learned repertory to be heard in the monarch’s châteaux such as Chambord and Fontainebleau, performed by the finest singers and instrumentalists of the realm under the aegis of the Chambre du Roi. Here is a feast of previously unrecorded music for King Francis I, the symbol of a happy Renaissance.
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Doulce Mémoire & Denis Raisin-Dadre – Madrigali diminuiti (Diminutions inspirees de Sylvestro Ganassi) (2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:07:23 minutes | 1,06 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
In 1535 Sylvestro Ganassi published in Venice the first treatise developing the technique of the art of ornamentation at an unprecedented level of rhythmic complexity and virtuosity. Playing the recorder, the instrument to which Ganassi devoted his work, Denis Raisin Dadre applies the rules of the treatise to the repertoire that Ganassi practiced, frottole and, above all, the madrigals of Philippe Verdelot. With the ornaments, the music proves to be a living art that practices a constant rhythmic shift, the exuberant virtuosity of improvisations and a ‘swing’ that would be typical of jazz in the 20th century.
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Doulce Mémoire, Denis Raisin Dadre – Leonardo da Vinci, la musique secrète (2019)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:18:03 minutes | 1,32 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
2019 will see the 500th commemoration of the death of one of the greatest geniuses humanity has produced: Leonardo da Vinci, scientist, inventor, painter – and musician.
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Doulce Mémoire, Denis Raisin Dadre and Kwal (Slam) – Du Bellay: Heureux qui, comme Ulysse (2022)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:09:25 minutes | 1,19 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
Joachim Du Bellay (1522-1560) stormed onto the Parisian literary scene with the resounding avant-garde manifesto Défense et illustration de la langue française. Ronsard and Du Bellay are the great French poets of the sixteenth century, but while the former has been set to music hundreds of times, Du Bellay inspired only about thirty compositions. Denis Raisin Dadre and his ensemble Doulce Mémoire celebrate the Angevin poet on the occasion of his 500th anniversary with works by the leading composers of the period, among them Arcadelt (who set nine chansons to his texts, including Je ne puis dissimuler a year before Du Bellay’s death), Lassus, Chardavoine and Verdonck. It was also established practice at the time to declaim poems accompanied by a musician who improvised on the lyre, an instrument and usage imported from Italy (recitare a la lira). Denis Raisin Dadre has decided to pay tribute to these sixteenth-century ‘slammers’ by asking a modern equivalent, Kwal, to ‘slam’ some of Du Bellay’s sonnets, including the famous Heureux qui, comme Ulysse.
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Doulce Mémoire & Denis Raisin Dadre – Desprez: Tant vous aime (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 01:04:14 minutes | 1,98 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
Josquin Desprez, princeps musicorum, the prince of musicians, as his contemporaries called him, is best known today for his sacred works, the masses and motets, which have been widely performed and recorded. Surprisingly, his chansons have received little attention from performers, except for the pieces for five and six voices, printed after his death by the Antwerp publisher Tilman Susato in his seventh book of 1545. Doulce Mémoire has chosen to focus on the chansons for three and four voices, which are probably the earliest in the Hainault master’s output; with their diversity of language and themes (sometimes folk-derived), these songs constitute a varied programme that is at once serious and bawdy, a testament to the unequalled art of Josquin Desprez.
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