TY - JOUR
AU - Milsom, John
AB - •> PERFORMANCE IN CONTEXT •> John Milsom OR the past quarter of a century the six-voice cent ear, it speaks even more eloquently to those F Missa pro defunctis by Jean Richafort (c.1480- who bring to the work some advance knowledge of c.1547) has been quietly doing the rounds of concert the quotations it contains, and who are aware of the halls and early music workshops. Now, suddenly, way it was made. Like all other polyphonic there are two recordings of it. Requiems, this one is based upon plainchant; each movement draws on a different melody. That point Chapelle du Roi, dir. Alistair Dixon, Music for Philip of will register only to listeners who recognize those Spain (Signum SIGCD005, rec 1998) melodies as keenly as 16th-century hearers would Huelgas Ensemble, dir. Paul van Nevel, Jean Richafort: have done. Unlike all other Requiems, however, its Requiem, motets (Harmonia Mundi France HMC movements additionally quote from a polyphonic 901730, rec 2000) work, the six-voice chanson Nimphes, nappes by As the wider world wakes up to the existence of this Josquin. Since Nimphes, nappe's is itself based on remarkable Requiem—many more performances chant—the antiphon 'Circumdederunt me gemitus and recordings are confidently predicted—this 
TI - Sense and sound in Richafort's Requiem
JF - Early Music
DO - 10.1093/em/XXX.3.447
DA - 2002-08-01
UR - https://www.deepdyve.com/lp/oxford-university-press/sense-and-sound-in-richafort-s-requiem-gpeAjCFARH
SP - 447
EP - 464
VL - XXX
IS - 3
DP - DeepDyve
ER -