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‘A poste messe’
From the Middle Ages to the Renaissance
Sebastian Consort
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We kindly ask you to arrive on time, as we have a first come, first seated system.
- Orsolya Ligeti — soprano
- Imre Lachegyi — recorder
- Zoltán Kovács — bass recorder
- Ferenc Kócziás — renaissance trombone
- Igor Davidovics — lute
- Árpád Reményi — lute
- Adam de la Halle c. 1245/50 — 1285/8 or after 1306
- Or est Baiars en la pasture — 3-part rondeau
Paris, Bibliothèque Nationale de France, F-Pnm Français 25566, fol. 33v - Alexander Agricola c. 1446 — 1506
- De tous bien plaine — chanson
- Guillaume de Machaut c. 1300 — 1377
- Two ballades:
- Amours me fait desirer (No. 19.)
- Je sui aussi (No. 20.)
- Marcabru fl. 1130—1150
- L’autrier jost’ una sebissa — chanson / pastorela
- Laude novella sia cantata (Anonymous, Laudario di Cortona) 13th c.
Cortona, Biblioteca del Comune e dell’Accademia Etrusca, Ms. 91, fol. 3v—5v - Vengo de moler morena — folk song from Segovia
- Je vous salue, ma maistresse — ballade (Anonymous) 14th c.
Madrid, Palacio Real, Monasterio de S Lorenzo, San Lorenzo de El Escorial, E-E MS V.III.24, fol. 1v—2r - Jacopo da Bologna fl. 1340—1386
- Fenice fu’ et vissi pur’ e morbida — madrigal
- Johannes Ockeghem c. 1410/1430 — 1497
- Ma bouche rit et ma pensée pleure — chanson
- Kyrie ‘Cunctipotens Genitor Deus’ (Anonymous, Codex Faenza) 10—14th c.
Faenza, Biblioteca Comunale, MS 117, fol. 88r—90r - Conrad Paumann c. 1409/15 — 1473
- Mit ganczem Willen wünsch ich dir
- Bernart de Ventadorn c. 1130/1140 — c. 1190/1200
- Can vei la lauzeta — chanson
- King Richard I (The Lionheart) 1157—1199
- Ja nuns hom pris — lament
- Polorum Regina — pilgrim song (Anonymous, Llibre Vermell) 14th c. or earlier
Montserrat, Monasterio de S. Maria, MS 1, 24v - Magister Piero before 1300 — after 1350
- Con dolce brama e con gran disio — caccia (Codex Panciatichi)
Florence, Biblioteca Nazionale Centrale, MS Panciatichiano 26 - Lorenzo da Firenze (Lorenzo Masi) † 1372/73
- A poste messe veltri et gram mastini — caccia (Codices Panciatichi and Squarcialupi)
Florence, Biblioteca Nazionale Centrale, MS Panciatichiano 26, MS Mediceo Palatino 87 - Alexander Agricola c. 1446 — 1506
- Transit Anna timor — motet
- Guillaume Du Fay 1397? — 1474
- Flos florum fons ortorum — motet
Præambulum
On-stage interview with the musicians before the concert at 17:30—17:45 More details »
About the programme
At this concert, held in the church of Szokolya which dates back to medieval origins, the musicians of the Sebastian Consort take us into the extraordinary world of musical styles and polyphonic techniques that flourished between the 13th and 15th centuries. Although this classification can only be rigidly applied to these three highly exciting centuries, filled with experimentation and innovation, some of the works in the program are traditionally classified as medieval, while others are already considered Renaissance music. The starting point in time is a three-part rondeau by Adam de la Halle, who lived in the second half of the 13th century and is often called the last troubadour. The endpoint is marked by Alexander Agricola, a composer belonging to the second generation of the 15th-century Franco-Flemish school, of whom several pieces will be performed. One of the most unique pieces on the programme, which also gives the concert its title, is ‘A poste messe’, representing the late medieval ars nova style. Composed by Lorenzo da Firenze, who was active in the second half of the Italian trecento (14th century), the piece is a caccia, or hunting canon — a highly popular genre of the era. Rather than merely narrating a medieval hunting scene, this three-part canon brings it to life through musical and poetic devices: we are introduced to Vilant and Baril, two hunting dogs, and we can hear their barking (ciof, ciof!), the shouts of the hunters, and the sounding of the horns. The works featured in the concert will be performed in diverse instrumentations (recorder, rebec, lute, trombone) and will be enriched by the voice of soprano Orsolya Ligeti.
About the performers
Concert of the Sebastian Consort in Szokolya, 2024 (photo by Ferenc Kis)
The Sebastian Consort early music ensemble was founded in 2003 by recorder player Imre Lachegyi, with the aim of popularizing and promoting the historically informed performance of Renaissance and Baroque consort music in Hungary, as well as researching and performing unique, rarely played works. Originally consisting purely of recorders, the ensemble’s lineup has evolved over the years, and its repertoire has expanded both in terms of genre and historical scope. In line with the concept of their unique programs spanning from the Middle Ages to contemporary music, they perform with a diverse range of instrumentation and performers. Throughout their existence, they have given numerous concerts nationwide, while also maintaining a distinct commitment to serving as a permanent early music workshop in the Danube Bend.
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