The works on this 2-CD set all come from a single source: a document called "Cancionero de Montecassino" which is believed to contain works composed between 1430 and 1480. Somehow the document has survived down through the centuries; it was almost lost when the Abbey where it was stored was bombed in 1944. Luckily the document survived so that this amazing CD set could be recorded by the - also amazing - Le Capella Reial de Catalunya. This CD is the second in a series entitled "Musicas Reales", the first of which being "Carlos V" containing works mainly from the 16th century. If you enjoyed that one, then "Alfons V el Magnanim" will be a welcome addition to your CD spinner.
Lawes's "sets" are actually suites for five or six viols with an organ playing "underneath" them. Each shortish set is broken into even shorter parts: Fantazy, Aire, Paven, etc.–and while the formula remains essentially the same, the textures and harmonies are constantly changing, with dissonances and conversations between and among the various strings giving the works great variety. On these two beautiful CDs (the first devoted to Five parts, the second to Six), Jordi Savall and Hesperion XXI play on a pair of violins, four viols, and organ, offering great contrast and flavor and making us aware of just how energetic and fascinating counterpoint can be. The colors the six (or seven) musicians get from their instruments and the interplay among them is fantastic; the playing is superb. Fans of any type of chamber music will want to hear what this underrecorded composer who died too young (43) added to the genre. It's as if he created a new language, one that seems to have been waiting to be heard. A lovely, thoughtful couple of hours of music-making.
This LP, in my opinion, is the highlight of the Gieco's race. I bought it for the song "Sólo le pido a Dios (I Only Ask Of God)"…
Norwegian drummer/composer Thomas Strønen presents a revised edition of his acoustic collective Time Is A Blind Guide, now trimmed to quintet size, and with a new pianist in Wakayama-born Ayumi Tanaka. Tanaka has spoken of seeking associative connections between Japan and Norway in her improvising, a tendency Strønen seems to be encouraging with his space-conscious writing for the ensemble, letting in more light. As on the group’s eponymously-titled and critically-lauded debut album there are excellent contributions from the string players – the quintet effectively contains both a string trio and a piano trio – and Manfred Eicher’s production brings out all the fine detail in the grain of the collective sound and the halo of its overtones, captured in the famously-responsive acoustic of Lugano’s Auditorio Stelio Molo in March 2017.