Friday October 13, 2017 | 7:30PM (Pre-concert talk at 6:45)
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Buy Tickets...SubscriptionsAdd to Calendar13-10-2017 7:30 pm13-10-2017 8:00 pmDiabolus in Musica – Cantores – 14th Century Music from the Pope’s Chapel in Avignon Friday October 13, 2017 | 7:30PM (Pre-concert talk at 6:45)For a little less than a century, the Christian world had its eyes set on Avignon. the wealth, splendor and power of the French popes attracted kings, princes and the greatest artists of the century. Diabolus in Musica's programme is a journey among the great manuscripts born in the Avignon sphere and includes many works that have not been sung since the 14th century.Christ Church CathedralDD/MM/YYYY
For a little less than a century, the Christian world had its eyes set on Avignon. The wealth, splendor and power of the French popes attracted kings, princes and the greatest artists of the century. This extraordinary confluence led to the resounding triumph of a new polyphony and the audacious stylistic novelties of Ars Nova. Diabolus in Musica’s programme is a journey among the great manuscripts born in the Avignon sphere and includes many works that have not been sung since the 14th century.
The award-winning Diabolus in Musica are one of the world’s pre-eminent ensembles for Medieval music, appearing regularly at festivals in Utrecht, Boston, Ambronay, and many others.
Supported by the Brennan/Spano Family Foundation
Diabolus in Musica is supported by the Région Centre. Diabolus in Musica is supported by the Ministry of Culture and Communication / DRAC du Centre. Diabolus in Musica is supported by the Conseil Départemental d’Indre-et-Loire and the City of Tours.
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Mass – for 3 voices
Kyrie (by Guymont)
Gloria et Verus Homo Deus
Aurea Luce (hymn, plain-chant)
Firmissime / Adesto / Alleluya (motet by Philippe De Vitry)
Deus in Adjutorem / Deus in se Notus (motet-conduit, Anon.)
Ecce Sacerdos Magnus (répons, plain-chant)
Petre Clemens / Lugentium (motet by Philippe De Vitry)
Mass – for 4 voices
Kyrie Ave Desiderii / In Partu Mirabilis
Sanctus: Sanans Fragilia – Salva Nos
Agnus Dei (by Heinricus de Libero Castro)
The Pope’s Chapel in Avignon – XIVth century
In the Middle Ages, liturgy is music, expressing itself in two different forms: plainsong, a ritual music which does not exist for itself but for its purely spiritual function; and polyphony, which testifies of more social, artistic and professional practices. The conflict between these two uses, revealed by the famous papal bull of John XII, showing something akin to a final hardening in reaction to new practices, quickly turns to the absolute and final triumph of polyphony as early as the pontificate of Clement VI (1342-1352). The chapel becomes autonomous, professional, and the papal model spreads to all of Europe, starting with the large princely courts in France and England.
For a little less than a century, the Christian world had its eyes set on Avignon, for French popes lived there from 1309 on. Its wealth, its splendour, and its places of power attracted kings, princes and the greatest artists of the century. Within the Curia, “the papal chapel” is an institution henceforth gathering the best cantors and composers of the western world, which the pope does not hesitate to recruit into the great cathedrals or princely courts, often coming from the north of France. The talents of these “cantores” will be practiced in a mass of a new kind, the polyphonic mass, and in motet, an extraordinary experimentation ground, leading to the resounding triumph of polyphony and the audacious stylistic novelties of Ars Nova.
The programme is a journey among the great manuscripts born in the Avignon sphere and includes many songs that have not been sung since the 14th century, interpreted in a manner very close to the one of the Avignon papal chapel.
Diabolus in Musica
Since 1992, Diabolus in Musica has been dedicating itself to the study and the interpretation of all medieval musics, from the Gregorian chant up to the great polyphonies of the 15th century, with a preference for French 12th and 13th centuries.
Basing its work on musical and historic research, the ensemble directly works on manuscript sources and focuses on unpublished works and repertoires. At the rate of 2 to 3 creations each year, Diabolus in Musica has built up a wide range of secular and sacred music programs, in all the musical styles of this time. Our programs always approach the middle Ages in an original way, placing the music in its historical and artistic and social context, thanks to deep reserches on the medieval mentality and sensitivity. Concerts and Cds are now following each other, and the ensemble is internationally acknowledged.
Based in Tours since its creation, Diabolus in Musica has been invited in many prestigious festivals and concert halls in France (Ambronay, Saintes, Royaumont, Fontevraud, Cité de la Musique…) and abroad (Oude Muziek Utrecht, Mexico City, Music before 1800 (NYC)…), and is now recording for the label Aeon.
Our discography has been greatly singularised and praised by French and international awards (Diapason d’Or de l’année 1999 et 2004, Choc du Monde de la Musique, ffff de Télérama, 10 de Répertoire, 5* de Classica, 5* de Goldberg…). Critics particularly highlight its strong personality and innovative interpretations.