It is 22 years since Savall and Koopman first recorded the Bach gamba sonatas, in the days when Koopman still looked like he should have been presenting The Old Grey Whistle Test. This release for Savall's own Alia Vox label, however, is right up to date, a tame-haired Koopman and an amazingly unaltered Savall having set them down at the beginning of this year. The recording's quick turnaround is a fitting reflection of the state of the musical relationship that has obtained between these two ever since they first performed together in 1970 after only half an hour's rehearsal. Make no mistake, these Bach performances are right in the slot.
Over 1,000 years, from the Byzantine Empire to the Napoleonic Wars, Venice played a key role in shaping the Western music. Jordi Savall and his ensembles pay a tribute to a place that fully profited from its priviliged links with the Orient while hosting geniuses like Monteverdi, Gabrieli and Vivaldi. As you have come to expect from Alia Vox, this CD-book is lavishly illustrated and documented.
Loving performances caught in lovely sound, so what's not to love? Not, as it turns out, much, but not, regrettably, nothing at all. Jordi Savall, the gambist cum conductor who directs Le Concert Des Nations, is a genial, even affectionate leader who in these four light works of Mozart grants his players a considerable amount of interpretive freedom. Le Concert Des Nations, Savall's all-purpose classical and pre-classical chamber orchestra, responds with funny, even frothy, playing is as technically assured as it is brilliantly colorful. Alia Vox, Savall's label for everything he records from El Sabio to Monteverdi, catches the performances in a warm, natural, and deep acoustic of amazing vividness.
To celebrate the 25th anniversary of the Capella Reial de Catalunya, the choir he founded in 1988, Jordo Savall has gathered four examples of their work, rich in Catalan heritage, luxuriously presented in a box and all published originally on the Astree label. In 1987, after 13 years of intense research, concerts and recordings with the ensemble Hespèrion XX, the decision to send our children to school in Catalonia led to us spending more time there and gave us the opportunity to contact and select various Romance language-speaking singers from Catalonia, Spain and other countries. Convinced of the defining influence that a country’s cultural roots and traditions inevitably have on the expression of its musical language, Montserrat Figueras and I founded La Capella Reial with the aim of creating one of the first vocal ensembles devoted exclusively to the performance of Golden Age music according to historical principles and consisting exclusively of Hispanic and Latin voices.
The liturgy of the Dead – including the Requiem Mass, the Burial Service and the Office of the dead, properly speaking – was granted considerable importance by the Spanish ecclesiastical authorities and by the local church composers from very early times. Throughout the Middle Ages, according to the extant documentary descriptions, the death of a great Lord, such as the Count of Barcelona or the sovereign of any of the Spanish kingdoms of León, Castile, Aragon or Navarre, was usually mourned with impressive ceremonies in which the solemnity of the liturgy was often enhanced by the addition of the planctus, a kind of lengthy optional lament that was sung monophonically and of which several examples have survived.
The Misteri d'Elx (Mystery Play of Elche) is a religious drama performed annually in the southeastern Spanish city of Elche (or Elx in the local dialect) since medieval times. The play reenacts the Assumption of Mary in a two-act musical production, entirely sung, that takes place over two successive days in August. The Mystery Play is a major European tourist attraction, and UNESCO in 2001 named it a Masterpiece of the Oral and Intangible Heritage of Humanity. With typical boldness, Jordi Savall and La Capella Reial de Catalunya plunge into a slice of the musical past that is rewarding yet raises complex issues in performance. Here, however, the group is not resurrecting a half-buried tradition but rather dealing with one that is living.
The years from 1670 to 1673 mark one of those crossroads at which history in general, and the history of art in particular, sometimes judiciously brings together just the right combination of people, events and even instruments. In fact, the events of those years were to have major consequences, not only for the future of French music, but also, to a certain extent, for Western music as a whole.
Each year the magical setting of the gardens of the Castle of Versailles (one of the most visited sites in France and, indeed, Europe) are the setting for a fairy-tale fountain display. Devised during the reign of Louis XIV, this impressive spectacle set to music reflected the power and the majesty of the King himself. This year, the musical programme has been entrusted to Jordi Savall, who has selected some of the finest treasures from the Alia Vox catalogue. This is a landmark album, a unique selection performed by the leading specialists in the repertoire, those same artists who popularised this music and contributed to the success that it enjoys today.
This release is titled as Elizebathan Consort Music, Vol II and we have already savoured the flavours of that previously immensely successful release which reads like a roll-call from the 'greats' of English 16th century music. This time Jordi Savall and his splendid Hesperion XXI have devoted a whole CD to the talents of Anthony Holborne, a rather obscure figure but one who evidently was held in great esteem in those days.
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.