The name of the Balkans has an unusually graphic etymology: having discovered the beauty of this pivotal part of Europe, which stretches from Italy to the Bosphorous, and the ruggedness of its people, who put up fierce resistance to invasion, the Turks chose to describe the region with the words Bal (Honey) and Kan (Blood). Honey & Blood: never was there so apt a metaphor! So much richness and drama packed into such a small area is guaranteed to fire the imagination of historians and artists, especially musicians. Thanks to the magic of an ambitious programme built around the cycles of life, Jordi Savall invites us to travel the length and breadth of a region which has always had more than its share of human and historical drama. 230 minutes of music scan the full range of human emotions illuminated by 1001 different musical traditions, all of which nevertheless spring from a common source. "The future belongs to those with the longest memory", wrote Nietzsche. Once more, Jordi Savall brilliantly demonstrates that music is a key component of the collective memory that enables us to face our future. This lavishly documented CD-Book, translated into 12 languages, is a must for any self-respecting collector.
Ostinato is an anthology which brings together the most representative works of the art of improvisation and of a musical form based on a unique concept of the basso, which is repeated sequentially throughout the compositions.
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.
Jordi Savall, once more time, shares with us a beautiful program of instrumentals and chorals pieces from the middle age. Alfons X El Sabio Cantigas are the most popular music pieces about this period, but also really majestic. The sound of this album is really magic. A very good choice for a first approach…
Sixteenth-century Spanish composer Francisco Guerrero is featured in a reissued disc of motets for four, five, six, eight and 12 voices, with and without instruments. They come from a handful of collections published between 1555 and 1597 and show Guerrero’s skill in evoking a wide range of moods, joyful, sombre and contemplative in turn. Jordi Savall’s ensemble is well-equipped to project the skilfully wrought structures and expressive allure of the music. Some of the pieces fare better than others in respect of vocal texture and ensemble. Tenors and basses occasionally lack tonal refinement but, at their strongest the performances provide a radiant conspectus of Guerrero’s masterly motets.
"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."
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.
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.
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.