Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 2019 | 01 | The Medieval Mindset | 20190826 | Donald Macleod explores the rich and profoundly moving music Dufay planned for observances at the end of his life. The beauty, originality and technical mastery of Guillaume Dufay's music illustrate why the Florentine ruler Piero de'Medici gave him the epithet `the greatest ornament of our age`. Undoubtedly he is one of the 15th century's most distinctive voices. He was in his late 70s by the time he died in 1474; a long life by medieval standards. His outstanding talent transported him from an uncertain start in life as the illegitimate son of a servant and an unknown man, to being a musician who was feted at court, and respected by the church and the papacy alike. As his fame spread across Europe, he commanded the admiration of his fellow composers, influencing not only his direct contemporaries but also the generation of composers who succeeded him, among them Johannes Ockeghem. Donald Macleod is joined by William Lyons, a historical music researcher and the founder, director of the ensemble The Dufay Collective. Pulling together what's known about Dufay, across the series of five programmes, they build a picture of the man behind this illustrious reputation, examine the key relationships he fostered, and consider how his music flourished as he navigated the turbulent political currents of the age. Dufay set out his funeral obsequies in detail and he regarded his transition to the after-life to be of paramount importance; naturally all such arrangements required some exceptional music. St. Anthony of Padua Mass - Kyrie The Binchois Consort Andrew Kirkman, conductor Ce jour de l'an Bernhard Landauer, counter -tenor Unicorn Ensemble Michael Posch, director St. Anthony of Padua Mass - Gloria Quel fronte signorillo C'est bien raison de devoir essaucier La Reverdie Ave Regina caelorum The Orlando Consort Missa Ave regina caelorum - Sanctus, Agnus Dei Cantica Symphonia Giuseppe Maletto, director Producer: Johannah Smith for BBC Cymru Wales Donald Macleod explores the deeply moving music Dufay selected for his funeral rites. |
| 2019 | 02 | A Medieval Cleric | 20190827 | Donald Macleod explores Dufay's life as a chorister at one of the most prestigious institutions of the period, Cambrai Cathedral, where he would have learnt the foundations of his craft. The beauty, originality and technical mastery of Guillaume Dufay's music illustrate why the Florentine ruler Piero de'Medici gave him the epithet `the greatest ornament of our age`. Undoubtedly he is one of the 15th century's most distinctive voices. He was in his late 70s by the time he died in 1474; a long life by medieval standards. His outstanding talent transported him from an uncertain start in life as the illegitimate son of a servant and an unknown man, to being a musician who was feted at court, and respected by the church and the papacy alike. As his fame spread across Europe, he commanded the admiration of his fellow composers, influencing not only his direct contemporaries but also the generation of composers who succeeded him, among them Johannes Ockeghem. Donald Macleod is joined by William Lyons, a historical music researcher and artistic director of the ensemble The Dufay Collective. Pulling together what's known about Dufay, across the series of five programmes, they build a picture of the man behind this illustrious figure, examine the key relationships he fostered, and consider how his music flourished as he navigated the turbulent political currents of the age. Dufay's training was rigorous, with studies in Latin, grammar and the catechism, as well as learning music, predominantly plainsong for services, so quite how and where he perfected his skill in writing in a polyphonic multi-voiced style is still something of a mystery. Motet: Apostolo gloriosum Huelgas Ensemble Paul Van Nevel, director Seigneur Leon, vous soy退s bienvenus Continens Paradisi Missa Sancti Jacobi - Offertorium La Reverdie Magnificat tertii et quarti toni Capella Reial de Catalunya Vocal Ensemble Jordi Savall, director Missa Ecce ancilla Domini - Sanctus Ensemble Gilles Binchois Dominique Vellard, director Malheureulx cueur Blue Heron Scott Metcalfe, director Motet: Moribus et genere Heulgas Ensemble Donald Macleod explores Dufay's life as a chorister at the prestigious Cambrai Cathedral. |
| 2019 | 03 | The Land Of The Lemon Trees | 20190828 | Donald Macleod tells how Guillaume Dufay enchants a noble Italian family and avoids falling foul of warring factions, with music including one of his most famous songs, Vergene Bella. The beauty, originality and technical mastery of Guillaume Dufay's music illustrate why the Florentine ruler Piero de'Medici gave him the epithet `the greatest ornament of our age`. Undoubtedly he is one of the 15th century's most distinctive voices. He was in his late 70s by the time he died in 1474; a long life by medieval standards. His outstanding talent transported him from an uncertain start in life as the illegitimate son of a servant and an unknown man, to being a musician who was feted at court, and respected by the church and the papacy alike. As his fame spread across Europe, he commanded the admiration of his fellow composers, influencing not only his direct contemporaries but also the generation of composers who succeeded him, among them Johannes Ockeghem. Donald Macleod is joined by William Lyons, a historical music researcher and artistic director of the ensemble The Dufay Collective. Pulling together what's known about Dufay, across the series of five programmes, they build a picture of the man behind this illustrious figure, assess the key relationships he fostered, and consider how his music flourished as he navigated the turbulent political currents of the age. Thanks, presumably, to his reputation preceding his arrival, it isn't too long before Dufay's name is linked with one of the most important noble families in Northern Italy. Then, when another of his employers, no less a personage than the Pope is forcibly expelled from Bologna, the enterprising Dufay is able to use his connections to return to the relative calm of Rome. Adieu ces bons vins de Lannoys The Orlando Consort Missa Sine Nomine - Kyrie & Gloria Cantica Symphonia Giuseppe Maletto, director Ballade: Resvelli退s-vous et faites chiere lye Diabolus in Musica Antoine Guerber, director Vasilissa ergo gaude Huelgas Ensemble Paul van Nevel, director O Sancte Sebastiane La Reverdie Missa Sancti Jacobi - Sanctus, Agnus Dei Capella Pratensis Rebecca Stewart The Hilliard Ensemble La Belle se siet Donald Macleod charts Dufay's progress, as the young man crosses the Alps to Italy. |
| 2019 | 04 | Marking The Event | 20190829 | Donald Macleod recounts how the Dufay finds work at the Court of Savoy, an important centre of culture, and writes some exceptional music for the coronation of Pope Eugenius IV. The beauty, originality and technical mastery of Guillaume Dufay's music illustrate why the Florentine ruler Piero de'Medici gave him the epithet `the greatest ornament of our age`. Undoubtedly he is one of the 15th century's most distinctive voices. He was in his late 70s by the time he died in 1474; a long life by medieval standards. His outstanding talent transported him from an uncertain start in life as the illegitimate son of a servant and an unknown man, to being a musician who was feted at court, and respected by the church and the papacy alike. As his fame spread across Europe, he commanded the admiration of his fellow composers, influencing not only his direct contemporaries but also the generation of composers who succeeded him, among them Johannes Ockeghem. Donald Macleod is joined by William Lyons, an historical music researcher and the artistic director of the ensemble The Dufay Collective. Pulling together what's known about Dufay, across the series of five programmes, they build a picture of the man behind this illustrious figure, assess the key relationships he fostered, and consider how his music flourished as he navigated the turbulent political currents of the age. From the 1430s Dufay's standing and versatility was such that he was able to supply music to one of the great European courts and turn his hand to writing music for the Pope of equal brilliance, seemingly at the drop of a hat. Ballade: Se la face ay pale Cut Circle Jesse Rodin, director Flos Florum Ensemble Musica Nova Lucien Kandel, director Ecclesiae militantis Blue Heron Scott Metcalfe, director Balsamus et munda cera Huelgas Ensemble Paul Van Nevel, director Supremum est mortalibus bonum Cantica Symphonia Giuseppe Maletto, director Ave Maris Stella L'alta tua bellezza Salve flos Tusce gentis Donald Macleod follows events in Dufay's life as his Italian sojurn takes a new twist. |
| 2019 | 05 LAST | A Maker Of Music | 20190830 | Donald Macleod considers why Dufay was seen as a practictioner of music, and a glimpse across the centuries into his character, through the only letter of his that survives. The beauty, originality and technical mastery of Guillaume Dufay's music illustrate why the Florentine ruler Piero de'Medici gave him the epithet `the greatest ornament of our age`. Undoubtedly he is one of the 15th century's most distinctive voices. He was in his late 70s by the time he died in 1474; a long life by medieval standards. His outstanding talent transported him from an uncertain start in life as the illegitimate son of a servant and an unknown man, to being a musician who was feted at court, and respected by the church and the papacy alike. As his fame spread across Europe, he commanded the admiration of his fellow composers, influencing not only his direct contemporaries but also the generation of composers who succeeded him, among them Johannes Ockeghem. Donald Macleod is joined by William Lyons, an historical music researcher and the artistic director of the ensemble The Dufay Collective. Pulling together what's known about Dufay, across the series of five programmes, they build a picture of the man behind this illustrious figure, assess the key relationships he fostered, and consider how his music flourished as he navigated the turbulent political currents of the age. In the concluding part of this week's series Donald and William look at how Dufay's view of his role changed over the years and how the world in which he lived would have understood it. Ce moys de may Continens Paradisi Bon jour, bon mois Il sera par vous combatu Cut Circle Jesse Rodin, director Missa L'homme arm退 - Kyrie Oxford Camerata Jeremy Summerly, director S'il est Plaisir Diabolus in Musica Antoine Guerber, director Je me complains Blue Heron Scott Metcalfe, director Par le regard Ave regina caelorum II Cantica Symphonia Kees Boeke and Giuseppe Maletto, directors Sanctus Ave verum corpus Gaude virgo Ensemble Musica Nova Donald Macleod considers how Dufay's role as a practioner of music was regarded. |