Viol Consort

Jordi Savall & Hespèrion XX - Folias & Canarios (1994) {Astrée E 8516}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 247 Mb | MP3 @320 -> 132 Mb | Artwork | 5% repair rar
© 1994 Auvidis / Astrée | E 8516
Classical / Renaissance / Baroque

Savall and Hesperion XXI often return to the same material, almost obsessively; yet this repertory - the interface of early Iberian art music and the traditional - sustains endless re-visiting and re-interpretation; there can never be one definitive interpretation of this endlessly rewarding music, as Renaissance and Baroque composers knew - producing as they did endless variations on traditional themes which had woven their way from the popular sphere to the realm of 'art' music. Some of these bass melodies are presented here - the 'Follia' and 'Canaries' -and it is wonderful that Savall has the artistic freedom to perform versions of these again and again on his own label, Alia Vox.

Various - Pärt, Palestrina, Browne - Stabat Mater
Angel Records | 17 février 1998 | Classical | APE+CUE | 3% Recovery | 223 MB | Covers+Booklet | 61'26"

This expertly performed "Stabat Mater" compilation includes two important 16th-century works: the Eton Choirbook setting by John Browne, a sumptuous-if-not-solemn fantasia for six-part choir; and Palestrina's serene double-choir setting, performed one-voice-per-part with improvised embellishments–as Renaissance singers commonly did. Pärt's "Stabat Mater" for vocal trio and string trio (performed stunningly on ECM by the Hilliard Ensemble and, among others, Gidon Kremer) is performed here by three voices and viol sextet. The string playing on the ECM disc was, within the confines of Pärt's somewhat abstract style, very emotional. The viols can't replicate the violin family's intense singing tone and dynamic range; consequently, the expression of grief in the music is yet more abstracted. Technically, Andrew Parrott's singers are at least equal to the Hilliard Ensemble, possibly better. Not necessarily an ideal performance, but worth investigating.

Matthew Westphal

When he published his two Apothéoses in memory of two great masters of music in 1724-25, François Couperin was asserting his desire to promote a meeting of the French and Italian styles – from a very Gallic point of view, naturally. The idea was to convince the French Muses that henceforth one could say sonade and cantade in their language – a strategy already pursued in the much earlier La Sultane and La Superbe. But, far from blindly imitating his idols, Couperin takes inspiration from their styles and adapts them to his own brio. The result is a delight for all to share with the musicians of Gli Incogniti and Amandine Beyer, whose first harmonia mundi recording this is.

Schola Cantorum Nürnberg - Maria Magdalena. Renaissancemusik aus Nürnberger Handschriften (2016) [Digital Download 16-44.1] {Spektral}
Official Digital Download 16-44.1 (qobuz.com) | FLAC (tracks) -> 343 Mb | MP3 @320 -> 166 Mb | 5% repair rar
© 2016 Spektral | SRL4-15146
Classical / Renaissance / Early Music

The Egidien Choir Books are an outstanding testimony to the high-quality church music with an international outlook, as it was performed in Nuremberg’s churches in the 16th century. This recording focuses on a diverse and richly instrumented selection of works as performed during the Easter liturgy in St-Egidien Church. Intense samples and four days recording are now behind us. It was a wonderful collaboration with the Basel ensemble I Fedeli, the Lute Consort with Thomas Boysen and a viol consort. The Schola Cantorum and the Nuremberg Egidien Chor Nürnberg were highly concentrated and at its best!

William Byrd (c.1540–1623) was an English composer who wrote in every genre prevalent in his day and displayed proficiency in each musical category he attempted. Whether it was sacred or secular vocal music, his consort writing for viols, or his music for the keyboard, Byrd was a supreme musical architect. His writing reached the height of musical sophistication in England during his lifetime.

William Byrd (c.1540–1623) was an English composer who wrote in every genre prevalent in his day and displayed proficiency in each musical category he attempted. Whether it was sacred or secular vocal music, his consort writing for viols, or his music for the keyboard, Byrd was a supreme musical architect. His writing reached the height of musical sophistication in England during his lifetime.