Kelk 2007

The reign of Philippe IV the Fair of France, from the late thirteenth through the early fourteenth centuries, was marked by prosperity and a flourishing of the arts. During Philippe's reign, several important collections of music were copied, including the Montpellier Codex, the Chansonnier Cangé, and the Robertsbridge Codex, which remain the most significant sources of music of the era. The selections from those manuscripts recorded here are delightfully diverse: estampies – perky folk-like dances, polyphonic secular motets, and soulful Trouvère love songs. The music has a rough-hewn quality to it – it was written well before the conventions of western classical music had fallen into place, and it follows a logic that's foreign to modern sensibilities accustomed to music from the Renaissance to the Contemporary periods.

C'est à partir d'un “Avertissement” de Marin Marais lui-même, dans son IIe livre de pièces de viole (1701), qu'est née l'idée de cet enregistrement tout à fait original et inédit. En effet, il y invite les musiciens à ne pas jouer le pièces de viole seulement sur la viole : “J'ai eu attention en les composant à les rendre propres pour être joués sur toutes sortes d'instruments comme l'orgue, clavecin, théorbe, luth, violon, flûte allemande…”, et prié les interprètes de “se donner la peine de les mettre sur chaque instrument en particulier”. Il ajoute, dans l'“Avertissement” de son IIIe livre : “Il ne s'agira que d'en savoir faire le choix pour chacun des instrument” (et) remplir le vide entre le sujet et la basse afin de ne pas faire de mauvais sons, ce qui est une règle très essentielle à l'harmonie.”

The recording is entirely devoted to French Baroque composer Jean-Féry Rebel and comprises some of his most admirable ballet music, along with the enigmatic suite Les Elemens.
The orchestra was awarded two Opus Prizes in January 2007 (voted by the Conseil québécois de la musique) for this program, which was featured in Arion’s 2006 activities. One Prize was for the ‘Concert of the Year in Montreal’ and the other for the ‘Concert of the Year, Music of the Middle Ages, the Renaissance and the Baroque eras’.

The Peruvian band We All Together, though unknown beyond a core cluster of cultists, was among the prime exponents of Beatlesque pop/rock in the early '70s. Led by singer and frequent composer Carlos Guerrero, who (along with some other members) had been in the Peruvian rock band Laghonia, they released two albums (singing in English) in the first half of the '70s. These were fashioned after the lighter side of the late-'60s Beatles, particularly in the vocal harmonies, melodic tunes, and sophisticated arrangements blending keyboards, acoustic guitars, and electric guitars in a graceful manner. Although Lennon, McCartney, and for that matter, Harrison's influence, show up in We All Together's work, they had more of an affinity for McCartney's engaging melodicism, to the point of covering some obscure, early McCartney solo tunes.

Besides hardcore Led Zeppelin fans, it's a little known fact that Jimmy Page produced and played on a 1970 album by theatrical rocker Screaming Lord Sutch, Lord Sutch and Heavy Friends. In addition to Page's appearance (he also co-penned a few tracks), the other 'friends' included John Bonham, Jeff Beck, Nicky Hopkins, and Noel Redding. Since the album is quite difficult to find nowadays, select tracks have popped up over the years on compilations, such as the 2000 set Rock and Roll Highway.