This album takes off from where a previous Jordi Savall release, Villancicos y danzas criollas (Creole Dances and Villancicos), left off. Now Savall, aided by his wife and lead vocalist Montserrat Figueras, as well as several of his longtime co-conspirators, has formed a new group, Tembembe Ensamble Continuo, specifically devoted to the Latin American Baroque repertory heard here. The album is accompanied by an impressive 172-page booklet, with all texts in the original language, generally Spanish but with mixtures of Native American and African speech, English, French, Castilian Spanish, German, and Italian, and booklet notes (in all those languages plus Catalan), including an overview of the genres involved plus a historical essay on the culture of the Spanish-colonized Latin-Caribbean region.
This new project is a Tribute to Erasmus (1466-1536), a Dutch Renaissance scholar, known as the 'Prince of the Humanists'. Using humanist techniques for working on texts, he prepared important new Latin and Greek editions of the New Testament and also wrote 'In Praise of Folly', 'Handbook of a Christian Knight' and many other works. Erasmus lived against the backdrop of the growing European religious Reformation; but while he was critical of the abuses within the Church and called for reform, he kept his distance from Luther and Melancthon and continued to recognise the authority of the Pope. His middle of the road approach disappointed and even angered scholars in both camps. Jordi Savall regards him as a model of wisdom and tolerance.
The name of gambist and conductor Jordi Savall's new Alia Vox Diversa label may seem puzzling, inasmuch as it's hard to imagine anything more diverse that the existing Alia Vox catalogue, covering music that spans half the globe. The unifying factor seems to be that Savall himself is not present; the leader of the Euskal Barrokensemble here is multi-instrumentalist Enrike Solinís, a member of Savall's Hesperion XXI. The music is for the most part not "Baroque" but covers a wide range of music associated with the Euskel Antiqva, the Basque legacy.
A homage to the memory of victims of the slave trade. This new multicultural project from Jordi Savall and his musicians on The Routes of Slavery (1444-1888) marks a world first in the history of music and of the three continents involved in the trade in African slaves and their exploitation in the New World, which are brought together through the early music of the colonial period, the musical traditions of Mali and the oral traditions of the descendants of slaves in Madagascar, Brazil, Colombia and Mexico. This 'Musical Memoir' is accompanied with historical texts on slavery, beginning with the early chronicles of 1444 and concluding with texts written by the Nobel Peace Prize-winner Martin Luther King shortly before his assassination in 1968.
In 1996, the label Musique en Wallonie published an album with works for Lute by Jacques de Saint-Luc (c. 1616-1708). These pieces were brilliantly performed by Stephen Stubbs. Recent studies allow us to affirm that the present release, the second to be devoted to works by a Saint-Luc, consists of music, not by Jacques, as it was wrongly mentioned in the first album, but by his son Laurent de Saint-Luc (1669 – after 1708). In addition to two traditional suites, the present programme offers two ensembles of pieces either chosen from certain suites or free-standing – including the mournful allemande in G minor – all taken from manuscripts of lute pieces preserved in Vienna or Prague.
This reissue in the Heritage Series - the original album was released in 1988 - enables us to hear the unique Montserrat Figueras singing a repertoire she embodies like nobody else : the traditional songs of Catalonia. This performance is the natural continuation of her exploration of the great works connected to Catalogne,eg: the Song of the Sybille or the Red Book of Montserrat (Gregorian manuscript): on this shore of Mediterranean Sea, traditional and "classical" repertoires are connected in a very intimate way. This album is a landmark of in the career of Montserrat Figueras: her innovative style of interpretation, characterised by great fidelity to the historical sources combined with an extraordinary creative and expressive power, sounds at its best.