I come here only with the intention to wish to all, with love, a great start to new year and decade.
I want to thank the support they have shown through this site and applaud your honesty and faithfulness to my lines.
And new year always brings new goals, objectives and tasks, one of my goals for this beginning will be, if my schedule permits, spend more time on this blog and tell my worldview that I love and who I do. So much happiness for all and lots and lots and lots of music that surrounds us constantly and continue giving us everything without asking anything in return, as always hace. Que en este nuevo año se valore más la música como arte unificador, puro, sensible y honesto, y a la gente que dedica su tiempo a honrarla con la mejor de las intenciones. Que cada día podamos seguir aprendiendo un poco más de ella y la sensibilidad y la emoción nos siga acompañando para saber apreciarla como merece.
should be clear those waves breaking against the horizon, medium die that sun, red as blood clear that blue sky, awash with stars.
should be clear the wind in your hair lover and take off from there, from the edge of the nostalgia, remove these palms drunk lunar shadow and gradually forget heart.
would have to leave the memory of you aside, soul out of the pores of the body. Forget that dress rocked by the desire to flee to the mountains behind you and forget gradually heart.
forget Let me not talk, I think , I feel not close your eyes breast milk or lean to one side you my into eternal night. Let me forget
as the body forgets the soul in death rapt in silence sighs. We
a river forever smiles when the tree, he slips. The shadow heat between your hands and I forget now, with nothing nothing.
I know it is useless, after all your memory grows on my pillow. You dew caressing the floor, you MECES at dawn in the air and pass before my eyes with your walk and your dance.
I am the martyr who can not be up give up do not know and remember you and I have you in a prohibited place. Slow
me sometimes decompose between flies hovering around my body above the din time
your face your face that I miss, tends proudly in the sky and open your eyes and look at me. Let
I know I know you my hand never touched your bliss or my arms will have encircled the waist foreign to you my eyes have not been sitting on your steps and my lips have never kissed the flower of yours however I feel and my hands touch your absence under the letter of your name, my hope grows under the shadow of your tree I began to dream germinating hopes your black eyes, graceful butterflies to the flight left not slow in coming Let me know you love let me know the dream, your dream have your arms around poison ivy passion let me know beforehand mirages are more than two looking at the same moment in which I write.
I think ... In the boredom of those deaf my absence, but not in my joys gone In the solitude of my body, but not that of my soul In the meanness of the time, but not in the mirror blindness in years, but not that of my days In the brightness of stars, but not the auroras my your breath in rhythmic, but not in the fullness of your body after love In the narrowness of your belly, not in my hands In absence of myself, when I have you by my side ... Eugenio Copyright
Ya se ha comentado, en una entrada de este mismo blog, la importancia capital de Eric Whitacre en el panorama coral mundial. Whitacre, por su fantástica música y su buen hacer en las relaciones sociales vía Internet, siempre esté de moda, pero en estos días it is a bit more, if possible, as it announces the release of their new album Flament-which is scheduled to exit the market next October 18. What is this special? However, despite the work of Whitacre has been recorded on dozens of occasions, even if one or two pieces in an album of this or that chorus, and that already has several case records, some of capital importance - this is something different and that makes it unique and is nothing in this Light & Gold -clear reference in the title of his piece Aurumque Lux - Whitacre first put forward a set to record and manage himself, his music.
On other occasions he had attended recordings and acted as musical consultant on them, who better than the author to advise an interpreter, but this time it has selected two vocal ensembles, linked to occasion, such as Eric Whitacre The Singers "choir created expressly and we will wait a long track-and-chorus Laudibus young talent, integrated within the National Youth Choirs of Great Britain, and surprise participation some friends, including the prestigious vocal ensemble The King's Singers . For the occasion we have selected some of the most familiar characters and settings of American parts, such as Sleep, Water Night , Lux Aurumque , Leonardo Dreams of His Flying Machine , A Boy and a Girl and other lesser known and first world records as The Stolen Child or Nox Aurumque -one of his latest compositions. It miss masterpieces as Cloudburst or -When David Heard for the undersigned, one of the most fascinating coral monuments of history, but these are the things that has to have a limited MINUTES. Actually this release
has created great excitement, which, taking into account the special music, the solvency of the interpreters and tenor of some small fragments and heard, does not look to defraud.
Missa pro Defunctis 8. Introitus 9. Kyrie 10. Graduale 11 Offertorium 12. Sanctus & Benedictus 13. Agnus Dei 14. Communio
15. Responsorium: Libera me 16. Responsorium: Peccantem me quotidie 17. Responsorium: Credo quod Redemptor
Ensemble Plus Ultra - Michael Noone Archiv Produktion (The Golden Age) 2008 77'20
When in 1587, Luis de Victoria-Tome universal Avila and arguably the greatest English composer of all time- returns to Madrid after spending 20 years in Rome, where he studied (very possibly under the command of the great Palestrina) and a professor in the Collegium Germanicum , which would later be appointed maestro di cappella , succeeding himself in office Palestrina (some argue that proposed by the master himself) - had spent much of his life and had already established an important part of corpus composition, however, far from settling in, the teacher, who in Madrid he served as chaplain and choirmaster of Royal Convent of the Poor Clares , followed by creating and editing various publications of his sacred works-no composed secular music, remember. Thus, the period of Victoria Madrid is one of the most prolific and important of his life, but perhaps the least served by the performers over the years. Hence the Ensemble Plus Ultra and director Michael Noone , with the sponsorship and auspices of the Fundación Caja Madrid , through his series record The Golden Age, and the edition by the well-known stamp Archiv Produktion, have raised this series of ten albums that give a good account of this period in Victoria in Madrid, and the publication of some works of other periods, but have not been previously recorded in the same way that some later and revised editions of singularity important. Thus, the UPR has spent about 60 days, between 2008 and 2009, to record ten albums, which are being published regularly since 2008 and will end in 2011, taking advantage of the anniversary Victorian and 10 th anniversary of the creation of this English side. In those ten CDs will be given a good account of 90 pieces from the catalog of genius, in which 42 players participated, including the components of the set itself, as well as other guests, including English organist Andrés Cea , all minstrels Sagbutts and His Majestys Cornetts or set of English plainsong Schola Antiqua, directed by Juan Carlos Asensio. discs have been recorded from Spain, Church of San Pedro, Tordesillas, the Collegiate Church of San Pedro, Lerma (yes, the one where the Gabrieli Consort recorded this wonderful album ), both with important historic organs, and England-St. Georges's Church, Chesterton, Cambridge and S t. Judes-on-the-hill, London.
For the premiere of this series have been recorded two masses of Avila and some loose pieces. In this first volume is clear compositional evolution of the teacher and shows both the road that will pass this series. From the collection of pieces from 1598, but published in 1600:
Thomae Ludovici De Victoria. Caesare Sacrae Abulensis
maiestatis Chaplaincy Missae, Magnificat, Motecta, Psalmi, et alia quam Plurimo. Quae Octonis partim, Nonis alia, alia Duodenis vocibus concinuntur. [HAEC omnia sunt in hoc ad pulsandum book in organisms.] Permissu superiorum, Matriti
anno Ex Regia M. Typography DC. Apud
Ioannem Flandrum. MDC.
sequence have been selected Veni, Sancte Spiritus , which actually is a motet that a sequence and is composed of 8 parts by double chorus, clearly jubilant style, the Missa pro Victoria , Mass Battle - "that gave great pleasure to the King our Lord" (Philip III, of course) - to 9 parts ( svperivs, svperivs, svperivs, altvs, altvs, tenor, tenor, bassvs, bassvs ), also double choir (SSATB / SATB) and composed on the famous Victoria La Guerre , Clément Janequin. It is a curious work, it is the only Victoria designed to 9 parts and also includes organ that accompanies the first chorus. In it are also great variation in the treatment of lines, so we can find imitative, homophony, reduction of lines. The third part of 1600, but reprinted since it was composed in 1573, is the psalm Super flumina Babylonis , a piece of festive, even melancholy, and is composed of 8 parts by double choir. It also found that more than one psalm motet and two choirs Avila us a 4 partes, pero desiguales (SSAB/SATB), en un estilo más arcaico, alejado de los adornos barrocos.
De su colección de 1583:
Thomae Ludovico A Victoria Abulensis Missarum Libri Duo Quae Partim Quaternis. Partim Quinis. Partim Senis. Concinuntur Vocibus Ad Philippum secundum Hispaniarum Regem Catholicum. Romae Ex Typografia Dominici Basae. MDLXXXIII Cum Licentia superiorum.
Romae Apud Alexandrum Gardanum MDLXXXIII.
su Missa pro Defunctis , una obra muchos menos conocida que la de 1605 y que fue compuesta a 4 partes. Reeditada en 1592, añadiéndole los responsorios Peccantem me quotidie -este a 5 partes- y Credo quod Redemptor en su colección:
Thomae Ludovici De Victoria Abulensis Missae, quattuor, quinque, sex, et octo vocibus conci- nendae, una cum Antiphonis, Asperges, et Vi- di aquam totius anni. Liber secundus. Superiorum Permissu. Romae, Ex Typografia Ascanij Donangeli. M. D. XCII. Apud Franciscum Coattinum. Romae, Apud Francismum Coattinum. MDXCII.
es la que se nos presenta en esta grabación. Una obra maestra a todas luces, en la que encontramos clear references in his work of 1605-made up to 6 parties, but in which they are used Gregorian melodies, "though I can not speak of this, 1605 is a mere reproduction of the 1583.
versions offered by the Ensemble Plus Ultra are intimate, elegant and very expressive. Using a vocal group of two sopranos, three high, three tenors and two basses, besides organ obbligato at Mass, and a group of minstrels, consisting of three cornetti sackbuts and two, we have a fairly live readings regarding the choice of tempo and a really superb clarity of line. Exhibited vocal quality is very high in all lines except the bass, in which we find a bell and very questionable taste at times, which makes one ask how can a director of the likes of No one will have passed a similar color, or has decided permit. The other voices perform at a really high level, highlighting the sopranos and tenors like the beautiful color and line high, with the magnificent Clare Wilkinson among them. No one goes to solvency and shows why he is considered one of the leading specialists in English Renaissance polyphony.
Moreover, we are offered a presentation very carefully, very much in line with the discs in the series The Golden Age Glossa appeared in its moment, although with somewhat puzzling covers, and program notes, signed by Alfonso de Vicente, totally enlightening and very interesting.
A good start for a series that promises, but from which I can not speak without mentioning, with a touch of indignation asombroy, the dreadful of communicating and in-store presence. You just do not understand how a project of this magnitude and fills a gap so wide, once started, is just announced and is surrounded by much mystery. Gentlemen, give it the attention it deserves!
Missa pro defunctis a 4: Introitus Super flumina Babylonis a 8
Thomas Tallis (c.1505-1585) & William Byrd (c.1540-1623)
Tallis: Why fumth' in fight
Byrd: Vigilate
Tallis: E'en like the hunted hind
Byrd: Ne irascaris Domine
Tallis: Let God arise
Byrd: Exsurge, Domine
Tallis: Expend, O Lord
Byrd: Infelix Ego
Tallis: God grant with grace
Byrd: Laetentur coeli
Tallis: Man blest no doubt
Byrd: Quis est homo Byrd: Mass Propers for Pentecost
Introit: Spiritus Domini
Offertory: Confirma hoc Deus
Communion: Factus est repente
Tallis: Why brag'st in malice
Byrd: Tribulationes civitatum
Tallis: O come in one
Byrd: Laudibus in sanctis
Stile Antico Harmonia Mundi (Production USA) 2008 78'51
Con el sugerente y muy adecuado título de Heavenly Harmonies , Stile Antico presentaba su segundo disco. Un segundo disco que hacía presagiar muchas cosas, como así ha sucedido a posteriori . Like English, the repertoire of Tallis and Byrd as their own and assume it really fits them perfectly. Keeping natural structure of three singers per part, with the exception of the addition of a soprano on tracks 14-16 and 20 and low, with four singers, divided into two bass-baritones and two basses pure-us closer parts for four voices Tallis teacher, in particular its 9 Psalms Tunes for Archbishop Parker's Psalter . Tallis compose pieces that are four parties that have a distinctly homophonic and very austere style of the Anthems of the Anglican tradition. These pieces are sung in the vernacular and Tallis devoted to the new Archbishop Matthew Parker's Psalter in 1567. Despite its modest composer, Tallis surprise us with some daring and a very advanced language, as can be seen in grace with God grant, for example.
The bulk of the album has other parts of Latin genius of Renaissance England, William Byrd. In it we offer parts removed from their Cantiones Sacrae I , in 1589-above all, Cantiones Sacrae II , 1591, and Gradualia II, 1607. Byrd's Latin motets are very high indeed a master of composition and in a few works by other masters of the time we find something similar. Compounds in the vast majority five parts with a fairly wide line structure, but we find that the distribution: svperivs, altvs, tenor, tenor, bassvs , is usually used more frequently, "Byrd bill clears interesting texts-some of them excellent literary quality, I dare say, of an exquisite way. A clear example of this is found in the melancholy and glorious Domine Ne irascaris 5. It is admirable check the immense talent that Byrd played music in the various Latin texts and how it is adapting the look of the piece to the textual requirements. Thus we have, first, jubilant pieces like Vigilate to 5, Luadibus in sanctis to 5, Domine Exsurge to 5, while on the other hand we find pieces of a more intimate and plaintive, such as ego infelix to 6 or even the Ne irascaris already named.
highlight at this stage the absolute genius of these two masters would be almost totally unnecessary, just as you would explain why the Stile Antico has become such a short time in one of the leading ensembles in the interpretation of Renaissance polyphony. Listening to this album, all doubts will be resolved. The crisp lines, the enormous technical quality and stylistic knowledge would enough to lift them among the best, but we also add an incredible depth and expressiveness with which interpret the pieces. Their sound is british , no doubt, but go a step further, and that coldness that is sometimes attributed to these joint British, technically excellent, but sometimes superficial supposedly, is here quite eradicated the roots. not surprising really great vocal and interpretive maturity showing this set, especially considering the youth of its components, the recording of this album was about an average of just 25 years.
In short, an absolutely wonderful album, that does not disappoint and in view of this passionate "byrdiano" Byrd contains the best I have ever heard and one of the best times record, your ears have received, in the stunning, beautiful and captivating by other irascaris Ne-and that means a lot believe me.
William Byrd: Vigilate to 5 William Byrd: Domine irascaris Ne to 5
With the start of the new course are many the record companies who take the opportunity to announce new releases, of which we can call high importance. I attract your attention, among many, the following, entirely devoted to English music and interpreted in the same way, by English teams.
The first-announced for September 20-is in the hands of young laureate and praised me and set Stile Antico, who under the title of Puer natus est , bring a dedicated disk, so majority, the Missa Puer natus est , by Thomas Tallis, which compose the British on plainchant namesake, and that presents a unique seven-part structure in which all voices are repeated with the exception of the tenor. In addition to the main work of the yields we find parts from other English masters as William Byrd, whom we offer several motets from his Gradualia I , in 1605, and other motets by John Taverner, John Sheppard and Tallis himself and the Magnificat of Robert White. As a gift to buyers, it appears that the disc includes a bonus track which performs a pre-recorded work ever. A disc recorded in January 2010 and we still showing that these young people are taking as a true specialist in the Tudor era music.
The second one, which also has to Headline the two great talents of the English Renaissance, comes from the voices, too young in terms of training time, set Alamire , who heads and David Skinner appears to be released in November on his label, Obsidian Records . is a double-disc apparently they still do not know much information about same-in which gives us the integral Cantiones quae ab sacrae argument vocantur , by Thomas Tallis and William Byrd and Thomas Vautrollier were published in 1575, after haberles been granted to both, the same year, through Her Majesty Elizabeth I, the sole and exclusive license for the publication and sale of sheet music .
Finally, two excellent albums, with music by great masters and two sets of quality rather than tested, of which much is expected. here and have a secure buyer. In Alamire page on Facebook can access footage of the recording of very interesting fragments.
I know it is useless the caress that comes before your mind, melancholy offering distance and this distance is diluted in our hands. Time is immemorial, I know for you by your footsteps on the stairs barefoot and I know you, when you get and you!
Now everything is over, the minutes, hours, details, sincere love, friendship, smiles and dreams small, forgotten incense tables and in corners of your melancholy .. .
Now everything has gone, and everything is useless, there is no worth hug the top of your smile or break us into pieces waist and we hang on this fragile bond of illusion.
And yet, in spite of you and me the rope that binds us together, whatever it is called continues to resist and I remember those, your distant sunrises and yet, always return to the same point and a smile is enough for us then, a letter, impenetrable light in each cornice in each row that sometimes tells me that I'm thinking of you.
I remind you that I resist, I respirarte up that I drown in your tears lungs of melancholy, in your body, your eyes what you are you in me.
You see love, I always say : than ever, never stop loving you ... Eugenio
just 12 blocks from NuevoCentro Shopping ... no traffic problems or congestion. No parking meters, or inspectors. with bus lines to and from the center on Avenida Duarte Quiros
Date: April 28, 2010. 20:30. Location: Church of Sant Felip Neri, Barcelona. Context: Fourth concert XXXIII Festival de Música Antiga Barcelona , entitled Europa 1610: Les Musiques Noves. Program: Requiem for the Renaissance. The latest masterpieces Victoria and Byrd. Performers: Stile Antico . Young
although amply prepared. That could be, perfectly, the phrase to sum up the good work of this young English side. Stile Antico is a set UK made up of young professional singers, trained in some of the best music centers in Britain, including The Royal Academy of Music, Royal Opera House, Trinity College Cambridge, Oxford University, King's College London, which in turn have worked and been part of some sets of world-class in the UK, such as The Brabant Ensemble , The Cardinall's Musick , Voces8 , The King's Singers , Oxford Camerata, The Sixteen , Polyphony , Gabrieli Consort , The BBC Singers, Dunedin Consort, among others. In addition, Some of them are trained as professional musicians and others are also directors of the choir. Ultimately, with such a curriculum of voices, the result may seem obvious. And it is, but this set is that there is more than a number of excellent young singers. Noted that in 2005 when they had not yet made the leap to the "fame", and picked up the first prize in the prestigious Early Music Network International Young Artists' Competition , speaks volumes about the tremendous quality treasured for years . But most striking is the average age of the group, which at this time will be around 27-28 years, but five years ago, when won that award, it was insulting. And I say that there is something else, because observing their interpretation is to realize the deep knowledge of style and interpretive depth achieved.
in Spain were presented for the second time in his career, the first was last year at the International Festival of Music and Dance in Granada, and did so with a program dedicated to one of the most brilliant works of the English Renaissance, as Requiem is -6 Tomás Luis de Victoria. A piece that, a priori requires a special knowledge of the period, because it is a work of special spiritual depth and remarkable structural complexity. The program, as shown, inserting planned movements Requiem other sacred works of William Byrd, for his collection Gradualia I . This structure, but could be more fun for not "understood", I did not quite satisfy, since it makes losing important piece unit victory. Note that both the mass of Victoria as the cycle of motets by Byrd, were published the same year, 1605, becoming one of the last pieces of the authors, quite master pieces on the other hand.
already knew their good work in the interpretation of English composers, his real specialty and have captured conveniently in three of the four albums that are currently published, recorded for Harmonia Mundi, "but I arose some doubt in its interpretation of the work of Victoria, and more in the case of a work as thoughtful as this, because I only knew his portrayal of a pair of motets Avila, recorded their third album. is true that my expectations for the concert were really high, it is a package that has been achieved in a short time encandirlarme and get me. Despite all this, I must confess that met and exceeded my expectations by far.
Stile Antico's sound, although sound british , in the most complimentary term Nor is the typical English sound that other sets of fame we are accustomed. The training base is three voices together by rope. In this case, since the Requiem to 6 is made to svperius, svperivs, altvs, tenor, tenor and bassvs , added a fourth tenor of the whole, to deal with two-line version, leaving, however, only three sopranos, ie, one in a line of superivs -which, incidentally, covered to perfection one of the sisters Ashby. And I say that not a sound british use for several reasons: no use for the lines countertenors high, getting a sound very natural and powerful, the color of the tenor is more dark and powerful and low sound with greater presence and a sound more carefully. The sound of the sopranos asemajea itself is more than usual, with an enviable brilliance and purity. At times, no doubt lines using small controlled vibrato to emphasize certain passages, a resource that is often annoying, but sometimes is a little too much for my taste. Victoria His interpretation was brilliant, because the line was amazing clarity and expressive depth finally subdue. It is extraordinary to witness the great rapport between them and the effectiveness and accuracy entries, cuts, melodic games ... getting ahead without a director, something many should learn. Except at certain times of entries, especially in plainsong, the accuracy displayed was amazing. Performed by mixing the vocals parts, ie any singer not singing the same line next to each other-what some call-and fed American placement is an excellent resource for locals with good acoustics, as in this case, but in sometimes leads inaccuracies rhythmic and melodic, was not the case. Actually the lines are mixed and cohere well with this placement, but do not know if I really like these codes Renaissance couple. The motets by Byrd, without some of the most inspired, from my point of view, were excellent in performance. English repertoire adopt it as their own and it shows, in addition, Byrd is a composer who understood, analyzed and portrayed really well. Your Iustorum animae, Nunc dimittis or In manus tuas, were certainly beautiful and exciting.
In short, a really splendid concert would say that the best I have witnessed and I've a lot on my back, and I will not forget easily. The music, sound, ambience and interpretation combined to create something unique, magical and special. Witnessing such proposals is something very rare in our country and the only reason we should all celebrate. For a server, worthy heirs of The Tallis Scholars , thus: "Long live Stile Antico!
Tomás Luis de Victoria (1548-1611): Graduale , of Reqeuim to 6 Album: Requiem The Tallis Scholars - Peter Phillips Records 1987 Gimell William Byrd (c.1540-1623): Nunc dimittis to 5, I Gradualia Album: Music for Compline Stile Antico Harmonia Mundi 2007
all comes down to a simple table my arms and your arms my heart alone, and nothing solitaire and eyes that grow as the first time to make light and look between your hair chestnut leaves sometimes leaves my heart falls.
There was, arrested in the vast solitude of a few seconds, labia morning immersed in it and ate silent but watching the fall water in the street feeling passing seconds and closing his eyes to the destination.
There was, and thought of love, different sensations that are amortized over their temples wallowing in pools of water at his feet, in people thronged both sides of body and said nothing, he devoured his universe that different universe within himself vibrations broken only by distant shouts nailed by the memory somewhere in your ear or your soul or whatnot, the heart.
And there it was, standing in the shadow of the cornice with heart and eyes fixed on the water and beyond, waiting for him, his accent daily their daily chores, work outside their universe, the imagination of his soul with resignation to be outside in these days when the sky is falling.
He said nothing to anyone just took a step and then another and another.
The water is not falling down, falling in front next to the car ...
About Eve "arpeggiated" Interview with a music library
Date: April 25, 2010. 20:30. Location: Room Pau Casals, L'Auditori, Barcelona. Context: Second concert XXXIII Festival de Música Antiga Barcelona , entitled Europa 1610: Les Musiques Noves. Program: Claudio Monteverdi, Vespro della Beata Vergine . Cast: L' Arpeggiata - Christina Pluhar, address.
The French L'Arpeggiata , well known by all, was presented in Barcelona in a European tour, to give an account of what had been his recent recording label, not yet submitted and held in the French city of Metz, in a monograph devoted to Monteverdi Vespers. Little or nothing can be said because of this sacred monument Il Divino Claudio , published in 1610 and who is not already known, so, here I leave a link in some detail to know for Those not so clear about the intricacies of this great work.
I will focus, therefore, in the interpretation of the concert. Given the profusion of recordings of this work, some impressive musical quality, fully referential, such as versions of Herreweghe, McCreesh, Garrido, Jacobs, Parrott and even Savall is more than probable that the need for a new registration is, to all appearances, but unnecessary, unless the record has something new and very good OFEC, I fear that the registration of L'Arpeggiata will not meet such expectations, unless Monteverdi like a wild, rhythmic almost jazz and some folk-yes, even in sacred music. And that is the vision for these eve Pluhar is similar to his vision Monteverdian disk shown Teatro d'Amore , recorded a couple of years. Say
Pluhar like to emphasize the accents of the music, and even alter them in some way, to achieve sustainable natural discursístico other than she thinks appropriate. It is therefore not unusual to find a walking bass by the bass instruments of the string. I have to admit that it was with some reluctance to this concert, because I already knew this side of the harp and French theorbist, which were increased by observing the presence of a psaltery in the ensemble, but ultimately had not been developed their assistance, "but finally held, I suppose that sacred character and more formal of these would throw back the pieces and not hand it was over, although there were hints of his usual do to a server, somewhat marred the beautiful pages of Cremona. Paragraph vocal
performed at a high level. Nuria Rial's participation was more than testimonial, but nevertheless, we again demonstrated that it is an excellent singer and controls infinitely seicento repertoire. Raquel Andujar was really immeasurable. Another authentic Italian music specialist in the seventeenth century and that their continuing education polyphonic helped a lot in the tutti passages , when addressing the pieces on the character they deserve. Okay also Miriam Allan English, with a beautiful timbre and elegant in its line of song. A pleasant surprise was that of mezzo Luciana Mancini, which he did not know. Fleshy ring, he gained a place and was very much on the sound of all-which is not always easy for the stop line. Pascal Bertin went unnoticed, because of its short contests at the concert, as its more discreet performance. Tenors gave an excellent global scale and with the sopranos, the best string. Deserve special mention Emiliano Gonzalez-Toro, really extraordinary in the Nigra sum sed formosa and veteran and and Jan Van Elsacker legendary, very reliable and dramatic in the Audi coelum . The other two tenors, Markus Brutscher and Fernando Guimaraes, were pretty good, but at a lower level than the previous. Note the flow of acute first, though not renowned for their delicacy. In general, the tenors were overly harsh in some passages tutti, showing little finesse and elegance. Low also paid a high standard. baritone Fulvio Bettini, was very discreet and very participatory, not a voice quite like for these codes. Something better, but not brilliant, was the participation of Hubert Claessens. Who however, if embroidered his presence, was under Portuguese Joao Fernandes, who was sensational, especially in the bass. In general a more than good in the voices, especially in solísiticas shares rather than the choral passages, which notes the presence of vocal soloists singing in a band and does not always work.
The instrumental section also paid a really high level. The continuum was really brilliant. Pluhar, sitting well back to the audience, and in the theorbos Daniel Zapico-excellent young Spaniard, and Christine Plubeau in shrimp. The two positive organs, despite being a higher number of normal, were not present in the sound too global, even missed them at certain times. The wind was really part of well represented. Doron Sherwin always a guarantee on the cornetto, despite his soaring imagination, improvisation, and other musicians were more remarkable, remember that there are figures like David Gebhard. Finally, the top fell into the hands of Mira Skuplik Glodeanu and Veronika, two of the great figures of baroque violin today. We really were very solvent, unless the odd little problem tuning in some moments, his performance was remarkable. It shows the great complicity between them.
In short, a good performance, very personal as far as the concept of the work is concerned, very good at what solísitico and less on what group and which ultimately will not go into the annals of time as a brilliant vision of a work, this time rather than a teacher. We will wait to record, but I fear you can still get worse in relation to this concert. We'll see ...
Claudio Monteverdi (1567-1643): Dixit Dominus Album: Vespro della Beata Vergine La Chapelle Royale, Collegium Vocale Gent & Les Saqueboutiers of Toulouse - Philippe Herrewege Harmonia Mundi 1987 Claudio Monteverdi (1567-1643): Pulchra is Album: Vespro della Beata Vergine La Chapelle Royale, Collegium Vocale Gent & Les Saqueboutiers of Toulouse - Philippe Herrewege Harmonia Mundi 1987
few days ago, my esteemed and admired Paul, creator of the blog The Lyre of Orpheus , a special blog dedicated to his musical passions, which I recommend without reservation, " I proposed an interesting project for an entry of "lira", a project that caught me somewhat by surprise and I was really flattered. It was an interview - yes, me! - In which some basic questions ask about my music library and some more specific, focusing on direct my musical activity, such as singing and choral singing in particular that disco. This interview is part of a series, titled my personal collection, my Chilean friend is making a number of characters that he considers of interest within the musical and cultural world-which makes me wonder what on earth am I here - and has been carried out the music critic Paul J. Vayón writer and intellectual and Ana de la Robla.
Well, for those wishing to know more about my music library and some opinions about the choral music of the Renaissance, Baroque and the twentieth and twenty-first century, here are the link to My personal collection: Mario Guada G . I conclude by thanking Paul interest in me, because I am very honored and has been a great pleasure to respond to the questionnaire, which has puzzled me for some of your questions. Hope you like it.
