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.
