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.
Vigorous and colourful medieval dances revealed by Jordi Savall! The Estampie is a medieval dance consisting of four to seven sections, called puncta, each of which is repeated (in the form aa, bb, cc, etc…).The more widely accepted etymology relates it to stamper, to stamp the feet. Illuminations and paintings from the period seem to indicate that the estampie involves fairly vigorous hopping. The earliest reported example of this musical form is the song "Kalenda Maya" (track 3), supposedly written by the troubadour Raimbaut de Vaqueiras (1180-1207) to the melody of an estampida played by French jongleurs. In this irresistible album, Jordi Savall explores a Royal manuscript from the French National Library.
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.
A homage to the memory of victims of the slave trade. This new multicultural project from Jordi Savall and his musicians on The Routes of Slavery (1444-1888) marks a world first in the history of music and of the three continents involved in the trade in African slaves and their exploitation in the New World, which are brought together through the early music of the colonial period, the musical traditions of Mali and the oral traditions of the descendants of slaves in Madagascar, Brazil, Colombia and Mexico. This 'Musical Memoir' is accompanied with historical texts on slavery, beginning with the early chronicles of 1444 and concluding with texts written by the Nobel Peace Prize-winner Martin Luther King shortly before his assassination in 1968.
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.
The 1991 French film Tous les matins du monde (All the Mornings of the World) attracted an audience of unexpected size for a story about French Baroque viol music, becoming a runaway hit in France and Germany and even gained wide distribution in the classical-chary U.S. The commercial ramifications grew with the release of the film's soundtrack, featuring early music giant Jordi Savall on viol; the soundtrack achieved platinum sales levels in its initial release. The film's story, built on a very few sketchy facts about the reclusive seventeenth century viol player known only as Monsieur de Sainte Colombe, drew viewers with its modern resonances touching on the conflict between art and popular success, and partly with its dramatic lighting reminiscent of the paintings of Louis le Nain. The soundtrack has a few pieces with vocals or with a small ensemble of other players.
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.
Although the first full consort of viols did not arrive in England until 1540, there were actually several intriguing examples of what are now called "consort" music from before that time. Of course, the homogenous viol consort became supreme, and the present program (also featuring some 2-lute arrangements) focuses on the first part of that repertory. This developed at Elizabeth's court in the 1570s & 1580s, among professional musicians, but based on relatively restrictive models. Some pieces in the present program are composed freely, heralding the next step in consort development which, along with the small output of Byrd, allowed the English consort idiom to fully flower. Of course that was followed closely by the even larger and more famous repertory of consort music by composers such as Gibbons which was eventually geared more toward amateur players.
Alfonso Ferrabosco the younger (b. Greenwich, c. 1575; bur. Greenwich, March 11, 1628) was an English composer and viol player of Italian descent. Although he gained access to the royal court as early as 1592, it took him almost 10 years to come to the attention of the queen, but in 1601 he became a member of the royal consort of viols. Ferrabosco marks the true beginning of the English Baroque. When Elizabeth I died in 1603, her successor James IV appointed Ferrabosco as music teacher to Henry, Prince of Wales and Ferrabosco continued to work in the king's service, becoming Composer of the King's Music in 1625, in 1626 succeeding John Coprario in the post of official court musician. The respect shown for him by his contemporaries proves that Ferrabosco was the court musician of his day, borne out by the fact that he was also the most copied.