Ensemble Phoenix Munich (EPM) was founded in 2003 by Joel Frederiksen, American bass and lutenist, with the recording of "Orpheus, I am." The ensemble focuses on music of the Renaissance and early Baroque, but does not limit itself to any one epoch exclusively. Programs range from Medieval to contemporary music reflecting the interests of its artistic leader, Joel Frederiksen. This freshness of programming is reflected in its concert series "Between Mars and Venus" in Munich (Germany), begun in 2007 and held at the Bavarian National Museum. EPM recorded four CDs for harmonia mundi France and now records exclusively for SONY/Deutsche Harmonia Mundi. Joel Frederiksen, the aritistic director, and the ensemble have won numerous prizes (Echo Prize, German Record Critics' Prize, Orphée d'Or, etc.) and appeared at major festivals around the world. www.joelfrederiksen.com / www.ensemble-phoenix.com
@@Whn1794 It‘s sad to think that he wouldn’t know…he wrote so many beautiful songs. Thankfully, we can hear him through his recordings and yes, through the many renditions which keep the work alive. Connecting Nick to Elizabethan music roots him deeply in a tradition of great songwriting.
Now, O now, I needs must part, Parting though I absent mourn. Absence can no joy impart: Joy once fled cannot return. While I live I needs must love, Love lives not when Hope is gone. Now at last Despair doth prove, Love divided loveth none. Sad despair doth drive me hence, This despair unkindness sends. If that parting be offence, It is she which then offends. Dear, when I am from thee gone, Gone are all my joys at once. I loved thee and thee alone, In whose love I joyed once. And although your sight I leave, Sight wherein my joys do lie, Till that death do sense bereave, Never shall affection die. Dear, if I do not return Love and I shall die together, For my absence never mourn, Whom you might have joyèd ever. Part we must, though now I die. Die I do to part with you. Him despair doth cause to lie, Who both lived and died true.
Ich saz ûf eime steine und dahte bein mit beine: dar ûf satzt ich den ellenbogen: ich hete in mîne hant gesmogen daz kinne und ein mîn wange. dó dâhte ich mir vil ange, wie man zer welte solte leben. deheinen rât kond ich gegeben, wie man driu dinc erwurbe, der keines niht verdurbe. diu zwei sint êre und varnde guot, daz dicke ein ander schaden tuot: daz dritte ist gotes hulde, der zweier übergulde. diu wolte ich gerne in einen schrîn. jâ leider desn mac niht gesîn, daz guot und weltich êre und gotes hulde mêre zesamene in ein herze komen. stîg unde wege sint in benomen: untriuwe ist in der sâze, gewalt vert ûf der strâze: fride unde reht sint sêre wunt. diu driu enhabent geleites niht, diu zwei enwerden ê gesunt.
I must say that seeing Mr Sherwood copying Chris Squire's bass, singing and movements is, well, creepy. Not healthy, in my opinion. What used to be thought of as progressive is now just repeating the past, for me.
ein imposanter und emotionaler Abschluss eines 1 1/2 Std Festes der Stimm - und Klangwelten alter Musik. Ich war im Antiquarium der Münchener Residenz abgetaucht in die mystische Geschichte der Götter, Spären und Dämonen. Ein unvergessliches und für mich ganz besonderes Erlebnis !!!
Absolutely astonishing! I've loved the magnificent Emma Kirkby for years, and never thought I'd hear a voice that could upstage hers. But I just did. Congrats on a wonderful performance!
Never Weather Beaten Sail is perhaps my favourite song (depending on the day) and this is my fave rendition... but imagine my distress I felt to find out the tenor has passed, after listening to this interpretation for years. However sad that is, it makes the lyrics, and the experience of listening to this, even more impactful. "Cold age deafs not there our ears nor vapour dims our eyes... oh come quickly... and take my soul to rest."
Seems I never replied.... We miss Tim every day. Perhaps you have listened to the whole CD-Program? This song occupies an important place in the dramaturgy of the program, just preceding the reprise of "Horn" and a second rendition of the Requiem Mass. Thank you for writing, Joel
Thanks for helping to promote these works. The fact that the artists & composers are women is still worth the emphasis, especially given their biographical & historical context. I just hope the day will come when, other than the desire to shed light on lesser known or obscure composers and musicians, we'll be able to talk about "great composers" without further qualification, i.e. female, black or otherwise.
Thank you so much for your comment! Their music is great, that is the most important thing, for sure. We are happy to promote new music and music by women composers and hope to encourage all people, as you say, regardless of ethnicity or sex, to make music and contribute to culture!
