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Titre : Johannes Regis : Opera Omnia

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Critique :
« Regis, d’évidence, est un chercheur et sa musique s’impose par son architecture austère et grandiose que sert avec une majesté distante l’ensemble anglais The Clerks, qui fait ici figure de découverte. »
Serge Martin, Le Soir, Septembre 2009

« In short, this is the sort of repertory that sees The Clerks at their best. The packaging is compact and handsome, the presentation scholarly and elegant : all in all, this recording will do as much to put Regis back on the map as anything one could imagine or wish for. »
Fabrice Fitch, Early Music, July 2009

« Cette intégrale de son oeuvre, soit deux messes (dont une sur le fameux thème de l’Homme armé), un credo, sept motets et deux chansons, comble donc un vide important. [...] L’élégance du petit livre cartonné qui sert d’écrin à ces deux CD, et la qualité du répertoire qu’ils invitent à découvrir, satisferont tout amateur de polyphonie savante du début de la Renaissance. »
David Fiala, Diapason, Septembre 2009

Johannes Regis is certainly not a household name, mainly because very little of his music survives, far less than for the two figureheads of his generation, Ockeghem et Busnoys. Scholars have rated him for many years, but for lovers of early polyphony, the chance ti hear his output in the round will indeed be a treat, because this is a master of the first rank who sounds quite unlike either of his more famous colleagues. Listen to his marvellous Puisque ma dame, not only one of the most unusual songs of its time, but also an instantly seductive one : I bet you’ll be hooked.
Much of this has been recorded once before in performances of real value, but the cumulative effect of hearing it all done by a single group yields a different level of insight. That the group in question is on top form is more than a bonus : for those who’ve felt that The Clerks’ Group has sounded uncertain of its direction in recent years, its return to the repertory on which it cut its teeth is a delight. Edward Waickham’s choice of tempi is sure-footed, as a result of which most details simply fall into place. The close recording captures the energy and zest with which they tackle the music. It’s also quite unforgiving in exposing the odd technical wobble (particularly in two-to-a-part singing when an unwonted vibrato creeps into one voice but not the other), but here that’s a small price to pay. Add the stylish presentation and an informative text, and the project makes the leap from self-recommending to essential listening : wonderful.
Fabrice Fitch, Gramophone, July 2009