Collegium Vocale Gen Janáček Říkadla

Collegium Vocale Gent and its founder Philippe Herreweghe continue their recordings of the works of Carlo Gesualdo with 'Silenzio Mio', which contains the Fourth Book of Madrigals, published in 1596. Regarded as one of the most eccentric composers of the late sixteenth and early seventeenth centuries, but also one of the most creative, he experiments here with new melodic and harmonic effects that enthralled listeners of the time. These innovations are applied to poems by Alessandro Guarini and several anonymous writers, all of which focus on the expression of personal feelings, particularly a 'pathos' new on the literary scene.

Collegium Vocale Gent and its founder Philippe Herreweghe continue their recordings of the works of Carlo Gesualdo with 'Silenzio Mio', which contains the Fourth Book of Madrigals, published in 1596. Regarded as one of the most eccentric composers of the late sixteenth and early seventeenth centuries, but also one of the most creative, he experiments here with new melodic and harmonic effects that enthralled listeners of the time. These innovations are applied to poems by Alessandro Guarini and several anonymous writers, all of which focus on the expression of personal feelings, particularly a 'pathos' new on the literary scene.

Threni (1957-58) is his longest, most ambitious and complex dodecaphonic score, and probably one of its summits. A work like the Requiem Canticles (1966) goes even further in this direction: the composer’s last masterpiece, it seems to summarise in itself the evolution of an entire lifetime, combining elements from the different stylistic periods that punctuated his career – whilst marking a highpoint in the spiritual quest that became increasingly important in Stravinsky’s life. In this major album, Philippe Herreweghe reveals with conviction his love for the composer’s music, and under his sure, inspired direction, the Collegium Vocale Gent and the Royal Flemish Philharmonic reveal their pure poetry.

Florence, 19th October 1587: Francesco de Medici, Grand Duke of Tuscany dies with his wife under suspicious circumstances. His brother Ferdinando inherits the title, leaves the monkhood for worldly aspirations including finding a wife. On 2nd May 1589, he married Christine of Lorraine, granddaughter of Catherine de Medici, mother of the King of France. As was the custom at European courts, the wedding was accompanied with splendid festivities, each one outshining the last, to convey the image of the new monarchy.

Composed in 1866 for the inauguration of a votive chapel in Linz Cathedral, Anton Bruckners Mass no. 2 is a fine example of modernity blended with a centuries-old religious tradition, in that wind instruments are set in dialogue with choral writing inspired by Gregorian chant. Shorter in duration but scored for chorus and large orchestra with four soloists, his Te Deum of 1881 was acclaimed by such illustrious contemporaries as Hans Richter and Mahler, while the composer, usually very self-critical, opined that the score of this work would make God judge him kindly.

For the third time on the Phi label, Philippe Herreweghe gives us the opportunity to (re)discover three cantatas by Johann Sebastian Bach – Nimm von uns, Herr, du treuer Gott, BWV 101, Ihr werdet weinen und heulen, BWV 103 and Mache dich, mein Geist, bereit, BWV 115. After two albums of cantatas written during the composer’s first year in Leipzig (LPH006 and LPH012), the Belgian conductor and his Collegium Vocale Gent, orchestra and choir, will be performing three cantatas he composed during his second year as Kantor at St Thomas’s. The choir and vocal soloists are once again challenged to produce performances of subtlety and refined virtuosity, and the instrumentarium is as rich and colourful as those heard previously in this series.

Philippe Herreweghe records his third disc devoted to a controversial figure in the world of music and art in general: Carlo Gesualdo, who had his wife murdered and is suspected of having his son smothered. This time Collegium Vocale Gent performs his fifth book of madrigals (1611), published two years before his death. A collection that even today contributes to the eternal debate: to what extent does art become impregnated with reality, and how can it be appreciated when it emanates from a mind living so close to horror? Here the bold dissonances and sometimes tortured expressiveness that can be perceived in his harmonic language offer food for thought. Can we speak of redemption through art for a murderous composer in the twilight of his life?

There is no shortage of performances of the two Bach cantatas on this release by the Ricercar Consort and the Collegium Vocale Gent, under the direction of gambist Philippe Perlot. They are two of the most imposing among Bach's examples of the form, with two large sections, a variety of movement types and elaborate orchestration, and Bach strove to impress with both. Good readings are available in cycles by conductors John Eliot Gardiner, Masaaki Suzuki, and others, but there's a lot to be said for Perlot's approach, which has been developed over a deliberate set of recordings of cantatas that have something to say to each other.

Philippe Herreweghe and the Choeur et Orchestre du Collegium Vocale 1998 recording of Purcell's celebratory masterpiece may be more a Vivat! Radieuse Cecile, Vivat! than Hail, Bright Cecilia, but it is still one of the all-time great recordings of the work. Herreweghe more than almost any other conductor of the past 20 years captures the heights and depths of the music.