Conductus, organum, and discantus may not be words in your everyday vocabulary, but these terms identify musical forms that defined everyday musical activity during one of music history's most fruitful periods. The 12th century in France, especially in Paris–the artistic, educational, and religious center of Western Europe–saw enormous progress in the arts, architecture, and education. Not surprisingly, technical and theoretical aspects of music advanced as well. On this disc, the six-voice men's ensemble Lionheart demonstrates in vivid, rich vocal tones the sometimes stark but always powerful sound of Medieval chant and its expanded two- and three-part forms. The liner notes give clear explanations of the compositions and provide the listener with meaningful historical context. But listening to these excellent voices is not just an educational experience. The music has an inherent purity, sensuality, and honesty that's refreshing and reassuring.
Composed in feverish bouts interrupted by long periods of inaction, Hugo Wolf’s Italienisches Liederbuch was brought to completion in 1896. The 46 songs are settings of poems in German by Paul Heyse, after Italian folk songs – miniatures with a duration of less than 2 minutes in most cases. Heyse’s collection numbered more than 350 poems, but Wolf ignored the ballads and laments, and concentrated almost exclusively on the rispetti. These are short love poems which chart, against a Tuscan landscape, the everyday jealousies, flirtations, joys and despairs of men and women in love. Heyse’s translations often intensify the simple Italian of the original poems, and in their turn, Wolf’s settings represent a further heightening of emotion. Miniatures they may be, but many of the songs strike unforgettably at the heart.
The 37 songs in this recital, written by 27 composers – male, female, English, French, Swiss, German, Romantic, modern and contemporary – bear witness to the richness of Shakespeare’s works to which this recital is dedicated.
Icelandic music of the last half century is the focus of this recording by the Choir of Clare College, Cambridge, led by its conductor, Graham Ross. Born from his close collaboration with the native composers of the “Land of Fire and Ice,” this programme sets out to explore and highlight their hypnotic soundworld, instinctively leaning towards contemplation. A prime example is the touchingly beautiful Requiem by Sigurður Sævarsson, which here receives its world premiere recording.
Those of us who rejoice in the crystalline beauty of Carolyn Sampson’s interpretations of Bach, Handel and Purcell will welcome this bouquet of songs on a floral theme, her debut recital disc. It’s been a long wait, but our patience is repaid handsomely. With pianist Joseph Middleton she savours some choice blooms from, among others, Britten, Chabrier, Schubert, Schumann, Gounod and Strauss, her glorious soprano particularly affecting in Fauré’s Le papillon et la fleur and the wonderfully perfumed Les roses d’Ispahan. Middleton plays with dextrous delicacy throughout and brings real virtuosity to Strauss’s Mädchenblumen. Highly recommended.