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.
"By the end of Middle Ages the monks of Montserrat had assembled a distiguished library. Unfortunately this was largely destroyed in 1811 during the Napoleonic wars. The most precious surviving medieval manuscript in the Scriptorium at Montserrat is undoubtedly the famous Ms. No. 1, known as the Llibre Vermell or Red Book of Montserrat, from the colour of the late 19th century velvet which covers the binding of the codex. The manuscript completed in 1399, originally contained about 172 double pages, or folios, of which 35 have been lost. Included in the Llibre Vermell are ten musical works - possibly more originally - by a number of unknown composers."
There are more than one dozen recordings of Monteverdi's great masterpiece, the Vespers of 1610, a distinction reserved for very few works and composers from the late 16th and early 17th centuries. With this kind of attention, you'd think that this substantial work for choir, soloists, and instruments would be more easily accessible–but it is in fact a structurally complex and musically intricate compilation of hymns, antiphons, and psalms, concluding with a magnificent setting of the Magnificat. Most recordings can't seem to overcome the strategic and technical problems of presenting such a three-dimensional work on a recording. But this one is different: the music literally comes alive and grabs our attention. If you're in the market for Monteverdi's Vespers, look no further. This is the most dynamic, dramatic version on disc.
Le Concert Spirituel was essentially a Parisian concert series held at the Tuileries Palace, begun in 1725 as an opportunity for musical performances during Lent and other Holy Days when secular musical activities like opera were forbidden. The concerts continued until 1790, just after the beginning of the French Revolution. The music of French composers filled most of the programs, but German and Italian music was occasionally heard, and this CD includes five pieces by Corelli, Telemann, and Rameau that were known to have been played at the concerts. Jordi Savall and Le Concert des Nations, one of the many stellar ensembles he is responsible for founding, play these works with such surging vibrancy that anyone who thinks of the Baroque as a period of stiff formality would be disabused of that notion on hearing these performances.
Jordi Savall has brought us yet another treasure on his own Alia Vox label, this time a mixed bag of music by Reformation Era composers and a handful of slightly earlier works. It’s all taken from a concert program Savall gave last year under the aegis of “greatest hits of the court of Charles V”. The composers presented are mostly court musicians for that Holy Roman Emperor, but Josquin and Heinrich Isaac also are included, the latter as a nod to Charles’ grandfather, Maximilian I, who was responsible for getting Charles the crown. Savall combines his first-rate instrumental ensemble, updated to Hespèrion XXI, with his own vocal group, La Capella Reial de Catalunya. The results are captivating. Savall’s musicians are tops in the field, and their collective talents, constantly on display in this varied program, are simply a joy to hear.
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.
This beautiful recording, once long out-of-print, is now remastered in high definition multi-channel hybrid SACD, and is the first album made by Jordi Savall for the Astrée label, now reissued on Alia Vox. With this rare 1975 disc, Savall confirmed François Couperin as a master composer for viola da gamba with affinities to the previous masters of French music. On the recording Mr. Savall plays an authentic 7-string bass viol, anonymously constructed in 17th century France. He is joined by musicians Ton Koopman playing a Gilbert des Ruisseaux harpsichord built in the late 17th century and Ariane Maurette playing a Barak Norman bass viol constructed in London in 1697. Couperin’s music for these colorful instruments is marvelous, contemplative and beguiling. The highly collectible album, a must-have of the Savall oeuvre, is now available again and features a very informative booklet.
During the final years of his life, Johann Sebastian Bach (1685-1750) created the monumental body of music that can be considered his “Testament”, comprising the Musical Offering, the Art of Fugue and the B minor Mass. This latter work is a perfect synthesis of all his skill and flair in the art of composition (and essentially in that of counterpoint), as well as his gift for invention and his extraordinary sense of form, structure and number.
The Ensalada (musical salad) is a poetical work which combines lines in different languages, as well as instrumental sonatas. It is rooted in the medieval practice of singing different texts simultaneously, and incorporates well-known romances and madrigalist elements. Generally based on stories from Christ birth, ensaladas a big portrait, a la Janequin, occupying a midway position between art and folk music.
If he were so minded, Jordi Savall might hand copies of this CD out to new acquaintances as the musical equivalent of a calling-card. True, he appears here only in the guise of soloist, whereas a more complete portrait would need to include samples of his work as director and conductor; but as an illustration of the range of the viola da gamba, this generously filled disc is exemplary. And although the calling-card might not be handmade, it is the nearest thing to it, since Alia Vox is Savall’s own, newly established label.