The dulcet vocal ensemble Chanticleer gave the songs an uncanny immediacy.
Guillaume de Machaut, the master poet-composer of fourteenth century France, served for many years as the canon of the great Gothic cathedral at Reims, where the kings of the realm were crowned. Machautâs most famous creation, the Messe de Nostre Dame, has a singular place in musical history, because it is an early attempt at creating a comparably sublime edifice in soundâa six-movement work in four-part polyphony, lasting well over half an hour, in which austere, granitic harmony is set against delicate contrapuntal play and spiky rhythmic motion. This Mass is, in fact, the oldest extant piece of its type to have been attributed to a single composer. When, the other day, the San Francisco-based vocal ensemble Chanticleer sang it at Grace Cathedral, on Nob Hill, a suitable atmosphere of awe accumulated.
Yet the Mass is ultimately not Machautâs most striking achievement. Superbly constructed as the score is, it does not mark a leap beyond other, anonymous masses of the period. Chanticleer augmented the movements of the Mass with a generous selection of Machautâs works in secular forms, for which he wrote both texts and music: ballades, rondeaux, lais, virelays, and motets. In these, we are confronted with something more modernâand more elusiveâthan a monumental meditation on liturgical ritual. Machautâs subtle, self-aware disquisitions on courtly love rely on the codes of a long-vanished society. Their music adheres to austere formulas. At the same time, they convey enough sensuous truth that, in the right hands, they speak with uncanny immediacy.
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Sniff Test - A maverick perfumer tries to make his mark on a storied fashion house.
What does conspicuous consumption smell like? On a December afternoon in 2013, the Parisian perfumer Francis Kurkdjian was scheduled to meet with the renowned French crystal manufacturer Baccarat at the companyâs chandelier-crammed headquarters, near the Arc de Triomphe. The C.E.O. at the time, Daniela Riccardi, had commissioned Kurkdjian to create a limited-edition fragrance to mark the companyâs two-hundred-andfiftieth anniversary. Baccarat planned to produce two hundred and f ifty diamond-cut crystal flacons of the new perfume, priced at three thousand euros each, and wanted the scent to reflect the quality and opulence of its vessel.
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