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> stile antico "Song of Songs", SACD

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post 29/06/2009, 22:31
Сообщение #1


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stile antico "Song of Songs" SACD

Le cantique des Cantiques à la Renaissance
Works by Palestrina - Gombert - Lassus
Victoria - Clemens non Papa - Guerrero
Lhéritier - Ceballos - Vivanco

stile antico "Song of Songs" , SACD

Genre: Classical – Vocal

Гибридный SACD 5.0

stile antico
Helen Ashby, Kate Ashby, Rebecca Hickey, sopranos
Emma Ashby Eleanor Harries, Carris Jones, altos
Peter Asprey Andrew Griffiths, Tom Herford, tenors
Will Dawes, Oliver Hunt, Matthew O'Donovan, basses

with Alison Hill, soprano (tracks 1, 4 & 19)
and Benedict Hymas, tenor (tracks 2, 5, 8 & 11)
  1. Jacob Clemens non Papa (c. 1510/15-1555/56) - Ego flos campi 6'05
  2. Giovanni Pierluigi da Palestrina (c. 1525-1594) - Osculetur me 3'24
  3. Plainchant - Antiphon: Dum esset rex 0'44
  4. Francisco Guerrero (1528-1599) - Surge, propera arnica mea 6'07
  5. Nicolas Gombert (c. 1495-c.1560) - Quam pulchra es 6'11
  6. Plainchant Antiphon: Nigra sum 0'41
  7. Orlande de Lassus (1532-1594) - Veni, dilecte mi 4'19
  8. Tómas Luis de Victoria (1548-1611) - Vadam et circuibo 10'41
  9. Plainchant - Alleluia: Tota pulchra es 2'41
  10. Francisco Guerrero - Ego flos campi 3'18
  11. Jean Lhéritier (c. 1480-after 1552) - Nigra sum 5'34
  12. Plainchant - Antiphon: Laeva eius 0'37
  13. Rodrigo de Ceballos (c. 1530-1581) - Hortus conclusus 5'33
  14. Giovanni Pierluigi da Palestrina -Nigra sum 3'58
  15. Plainchant - Antiphon: Speciosa facta es 0'42
  16. Sebastian de Vivanco (1551-1622) - Veni, dilecte mi 4'22
  17. Francisco Guerrero - Trahe me post te 5'16
  18. Plainchant – Antiphon: lam hiems transiit 0'49
  19. Tômas Luis de Victoria - Vidi speciosam 6'39

    Total Time 77:42

Recorded March, 2008 at St, Jude-on-the-Hill, Hampstead Garden Suburb, London
Producer: Robina G. Young
Recording Engineer & Editor: Brad Michel
Recorded, edited & mastered in DSD

harmonia mundi usa (HMU 807489, 0 93046 74896 8), 2009
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post 29/06/2009, 22:35
Сообщение #2


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Цитата( буклет )
What is the Song of Songs? Why is it in the Bible? And why did it gain such popularity amongst Continental composers of polyphony in the sixteenth century? In short, it is a love poem (or perhaps a collection of poems), ascribed to King Solomon, who reigned over Israel between 971 and 931 BC, and after whom the work is sometimes named. The beautiful and often erotic poetry tells of the relationship between the lover and his beloved, traditionally thought to be Solomon and a Shulamite girl. It speaks in colourful and poetic terms of the joys, delights, and the sorrows of their relationship, as well as relating the girl's dialogue with the young Israelite girls around her. Above all, it consists in rich expression of the love of one for the other, in all its facets.

For many the literal sense of the book alone has not been considered sufficient grounds to merit its place in the canon of holy writ (in spite of the fact that it contains inspiration and wisdom for many an aspiring couple!). Surely it must have a yet more profound meaning! The most established tradition of interpretation reads the relationship between the lover and his beloved as an allegory for the covenant relationship between God and his people. It is a long tradition: as early as the first half of the first century BC Jewish interpreters understood the book as an allegorical account of God's dealings with Israel; Christian commentators from the early Fathers onwards have continued this tradition, seeing it as referring to the relationship between Christ and his Church, or Christ and the Soul. Such a reading is supported by similar allegories used elsewhere in both the Old and New Testaments.

Yet the surge in the book's popularity in medieval times, and the resulting proliferation of musical settings, often revolved around the practice of Marian devotion. The so-called 'Marian interpretation' of the Song of Songs has sometimes been misunderstood: it is not that the beloved of the poem has ever been seriously understood to refer exclusively to Mary- but rather that, if Mary is revered as the church's most perfect flowering (as she often was in medieval times), then the poem is about her inasmuch as she 'represents' the Church. It is for this reason that the poem was adopted (and often adapted) for use in various medieval Marian liturgies, and seen as prophetic in justifying certain Marian doctrines.

The texts included here fall into two categories. Some, including the more explicitly Marian ones, are settings of antiphons or responsories which are adaptations of Song of Songs verses. (Some, indeed, take considerable liberties with the source.) Trahe me post te is an example of this - indeed, this particular Marian adaptation could, to the casual, unschooled hearer seem rather more lewd than devotional in the way it appears to apply the erotic depictions of the poem directly to Mary's person. Similarly Victoria, in his motet Vidi speciosam, sets a responsory for the feast of the Assumption, the second half of which freely adapts a verse from the Song of Songs. The other, larger category contains motets in which the composers set verses taken more or less unchanged from the Bible.

The most prominent composer to do this was Palestrina, who published a substantial cycle of twenty-nine settings, in 1584, in which he exploited the range of different musical modes. He made his allegorical understanding of the text clear in the preface:

'There exists a vast mass of love-songs of the poets ... the songs of men ruled by passion, and a great number of musicians, corrupters of youth, make them the concern of their art and their industry: and in proportion as they flourish by praise of their skill, so do they offend good and serious-minded men by the depraved taste of their work. I blush and grieve to think that once I was of their number. But... I have mended my ways... and now I have produced a work which treats of the divine love of Christ and His Spouse the Soul, the Canticle of Solomon.' We may or may not choose to take Palestrina's words with a pinch of salt - after all the book (and accompanying preface) was dedicated to none other than Pope Gregory XIII. Whether such a worthy impulse existed in the minds of the other composers represented here we cannot be sure, but Guerrero, likewise, had this allegorical interpretation in mind: in Surge propera, arnica mea he weaves verses from the Song of Songs contrapuntally beneath the cantus firmus 'Come, bride of Christ', which is repeated in a slowly descending sequence throughout the first part, and then re-ascends in like manner during the second. For Clemens, Ego flos campi had a more Marian association: he seems to have written his setting for the Marian Brotherhood in 's-Hertogenbosch, where he worked briefly as singer and composer in 1550. The Brotherhood's motto was 'sicut lilium inter spinas' - words from the very text he sets, which Clemens highlights by setting them homophonically three times, in contrast to the surrounding seven-part counterpoint. Whatever the reason for choosing the texts (and their sheer poetic beauty must have something to do with it) the Song of Songs was a popular source for composers of the time - one of the most popular books of the Bible in fact - and Palestrina was certainly not alone in the disproportionate attention he lavished on the book. Indeed, Zarlino (probably a better theorist than he was a composer) had already attempted in the 1540s to set the entire book, with each of its eight chapters set to a different mode - a project he never completed, though the finished motets were published alongside others in 1549.

And what of the music? The motets represented here span much of the sixteenth century and the dawn of the seventeenth. It was a period of considerable change in musical styles as composers became increasingly inspired by ideas about text setting, and the possibilities of communicating meaning through their settings. Lhéritier's Nigra sum - probably the earliest motet included here, dating from the first half of the century-emerges very clearly from the tradition of Josquin and Richafort, and exploits the dark sonority of a five-part texture within a fairly restricted compass, and the range of sultry harmonic colours afforded by the mode. Gombert's Quam pulchra es, another relatively early motet (published 1539), is similar in its narrow range; the resulting close intertwining of the four parts leads to a striking sense of fervent intimacy. At the opposite end of the timescale, Guerrero's Ego flos campi and Vivanco's Veni, dilecte mi (published in 1589 and 1610 respectively) are both polychoral, heralding the advent of the early Baroque - indeed, one could almost envisage them performed with basso continuo, cornetts and trombones. Both composers bring out the rhetorical and sensual qualities of the text through their contrasting use of texture and control of harmony. Vivanco also makes adventurous contrasting use of slow and fast passages in order to convey the excitement of the text.

As a general rule the later works (published in the 1570S/80S) display a more developed sense of tonality, using a wider range of chords, often to expressive effect. This is particularly striking in both Victoria's epic motet Vadam et circuibo, where the beloved travels through the city in search of her lover, and in the more madrigalian Veni dilecte mi by Lassus, where the journey is that of the excited couple going out into the fields. Both composers use primitive sequential writing and experiment with the cycle of fifths (techniques which were later to become a staple of the Baroque musical language) in order to illustrate the text with a sense of 'journeying through the keys'. Palestrina's tonal palette, though less bold, is no less masterful in its control of colour, and his melodic points are highly characterful. Perhaps the most carefree of all is Victoria's magnificent motet Vidi speciosam, where the fragrant perfume of the beloved and the fresh beauty of the spring flowers are beautifully portrayed using a kaleidoscopic array of musical devices.

Particularly striking for its expressive power, especially given its economy of forces, is Hortus conclusus by the lesser-known Spaniard Rodrigo de Ceballos. This is scored for only four parts, yet maintains a riveting emotional intensity, often governed by masterful control of phrasing and tessitura, lending it a fervently devotional quality. Guerrero employs some word-painting of a fairly obvious nature in his setting of Trahe me post te (1555) where the opening words ('draw me after you') are illustrated throughout the piece by a canon at the third in the upper two voices. Yet perhaps the most sublime motet of all is Clemens' Ego flos campi, where it is in fact the static qualities of the harmony, never straying far from the warm, glowing, even comforting tonic chord - combined with a rich and intricate yet remarkably unfussy seven-part texture - that lend it such an opulent beauty.


Британский ансамбль Стайл Антико появился недавно, молодые певцы, это их третий альбом. Первые два: Music for Compline и Heavenly Harmonies получили много наград, первый, например был номинантом Грэмми за дебют. Ансамбль последовательно осваивает музыку Возрождения. Были близкие по крови Таллис и Бёрд, теперь пришла пора представить остальную Европу. Здесь собраны: франко-фламандец Якоб Клеменс-не-Папа, ярчайший римлянин Джованни Пьерлуиджи да Пелестрина, Франсиско Герреро из Севильи, фламандец Николя Гомберт, Орландо Лассо из Фландрия, кастилиец Томас Луис Виктория, француз Жан (или Йоханнес) Леритье, андалузец Родриго де Себальос (Себайос) и Себастьян де Виванко из Кастилии. Спокойная, бесконечная, где-то завораживающая полифония. Дюжина исполнителей вот они, расположились дугой перед вами. Мягкий зал, оставляющий эхо ровно столько, чтобы украсить эти голоса. Великолепное звучание и не менее великолепное исполнение.

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