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> Huelgas - Ensemble / Paul Van Nevel "40 Voices", SACD

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post 12/07/2009, 17:01
Сообщение #1


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Huelgas - Ensemble / Paul Van Nevel "40 Voices", SACD

Huelgas - Ensemble / Paul Van Nevel "40 Voices" , SACD

Genre: Classical – Vocal

Гибридный SACD 5.1


Cantus: Axelle Bemage, Barbara Borden,
Véronique Bourin, Herlinde Ghekiere,
Sabine Lutzenberger, Valeria Mignaco,
Petra Noskaiovà, Poline Renou,
Ellen Van Harn, Els Van Laethem, Witte Weber

Altus: Rupert Damerell, Peter de Groot,
Hasan El-Dunia, Raoul Le Chenadec,
Alex Pridgeon, Cecile Roovers

Tenor: Michael Barrett, Stefan Berghammer,
Robert Coupe, Bernd Oliver Fröhlich, Lucien Kandel,
Tom Phillips, George Pooley, Marco van de Klundert,
Albert Van Ommen, Matthew Vine

Baryton: Matthew Baker, Robert Buckland,
Geoffroy Buffière, Gregor Finke, Jasper Schweppe,
Thomas Van Essen, Tim Whiteley

Bassus: Frédéric Albou, Marc Busnel,
Willem Ceuleers, Lieven Deroo, Joel Frederiksen,
Christoph Sam, Bart Vandewege

Direction: Paul Van Nevel

  1. WILLEM CEULEERS(b.1962)
    Nomen mortis infame à 35 12'27

  2. JUAN BAUTISTA COMES (1568-1643)
    Gloria à 12 4'57

  3. JOSQUIN DESPREZ (c.1440-1521)
    Qui habitat à 24 5'30

  4. ROBERT WYLKYNSON (c.1450-ap.1515)
    Jesus autem / Credo in Deum à 13 3'09

  5. ALESSANDRO STRIGGIO Sr (c.1540-1592)
    Ecce beatam lucem à 40 8'05

  6. PIETER MAESSINS (c.1505-1563)
    En venant de Lyon à 16 2'07

  7. JOÃO LOURENÇO REBELO (1610-1661)
    Lauda Jerusalem à 16 8'56

  8. GIOVANNI GABRIELI (c.1555-1612)
    Exaudi me Domine à 16 5'18

  9. THOMAS TALLIS (c.1505-1585)
    Spem in alium à 40 10'23

    total time 62’02

Enregistrement public juillet 2005, Abbaye de Noirlac
Direction artistique, prise de son et montage : Markus Heiland, Tritonus
Couverture : Giulio Romano, La Chute des Titans (détail), 1526-35 Mantua, Palazzo del Te, Sala dei Giganti

harmonia mundi s.a. (HMC 801954, 7 94881 81899 2), 2006
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post 12/07/2009, 17:10
Сообщение #2


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Цитата( буклет )

This CD is a live recording of a concert devoted to extraordinary vocal compositions of the Renaissance, that period of discoveries, dreams, Utopias, scientific challenges, experiments, triumphs and new laws. But also, sometimes, a time of inevitable failures resulting from the urge to explore ever new horizons, and to try out in practice plans that seemed feasible on paper.

Leonardo da Vinci (1452-1519) was the archetype of the new European. He turned his hand to everything: at once painter, architect, sculptor, mathematician, researcher, inventor, technician, writer, musician (he sang and played the lute, and was a friend of the maestro di cappella of Milan Cathedral, Gaffurius) and stage designer (he painted, among others, the sets for Poliziano's Favola d'Orfeo). And Leonardo was but one among many: Copernicus (1473-1543) literally and figuratively turned the world upside down; Petrucci (1466-1539) invented music printing, by means of which music was diffused all over the world; the Jewish scholar Abraham Zacuto (c.1450-c.1515) created an Almanach perpetuum enabling man to look into the future, while Thomas More (1478-1535) cultivated a new yearning, a world in search of dreams that had not yet come to pass.

This mundus novus also manifested itself in the sphere of music. In their desire to explore new horizons and overstep existing limits, the composers of the Renaissance produced some quite extraordinary pieces for uncommonly large forces and unusual combinations of voices. In so doing they produced a counterpart in sonic terms to the achievements of Francesco di Giorgio Martini (1439-1502) with his new insight into perspective, or Giulio Camillo (c.1480-1544) with his 'Theatre of Memory' (1544): the creation of a highly original setting to stun the listener.

However, this recording begins not with a piece from the Renaissance, but with a work by a contemporary composer, Willem Ceuleers (born in 1963): Nomen mortis, to a text by Petrarch. This work for thirty-five voices was written to mark the thirty-fifth anniversary of the founding of the Huelgas Ensemble. Ceuleers uses the group's name as a soggetto cavato, with each letter corresponding to a note: B (H) - C (ut = U) - E - A (la = L) - G - A - B (si = S). The theme thus formed is quoted thirty-five times in the course of the piece. His composition is entirely built on the old contrapuntal techniques of canon, imitation, quotations of a cantus firmus, false relations and polychorality, with now and then a wink in the direction of the more adventurous composers of the Renaissance. The total mastery of these ancient compositional techniques and the concomitant ability to renew the past make Nomen mortis a truly timeless work.

Those two legendary 'flagships' of the great voyages of discovery of Renaissance polyphony, the forty-voice motets Ecce beatam lucem by Striggio and Spem in alium by Tallis, were of course musts for inclusion on this recording.

Striggio composed his motet in 1561, on the occasion of Cardinal Ippolito d'Este's visit to Florence. The prelate was on his way to France to try to stem the flood-tide of Protestantism. The text of the motet, a glorification of Catholicism, alludes indirectly to this mission. Although at first glance the forty voices seem to be divided in to ten groups of four, the resulting sonority shows that Striggio was not thinking in terms of individual choirs, but had constantly in mind startlingly different combinations of voices, just as architects assign new dimensions to space. This capricious approach to scoring led to great confusion. When Massimo Troiano, a singer and chronicler at the Hofkapelle in Munich, heard the work performed under the direction of Lassus in 1568, he described it as being for... four choirs!

Striggio assigns different and alternating functions to the various groups. Sometimes a certain number of choirs provide no more than a mere harmonic support to the melodic lines in other groups. This occurs, for instance, at the passage 'Virtus alma et maiestas': choirs 1 and 2 calmly underpin the imitative counterpoint worked out by choirs 5 and 6. At other points, virtually all the voices contribute to an extremely elaborate, pointillist counterpoint, as at 'cantans sonans adhuc aeternum Deum'. Peaks of massive homophony are reached at the words 'hic David' and 'nos hinc attrahunt'. The piece ends almost mysteriously with the repetition of the phrase 'in paradisum' - doubtless not, in the Italians' view, the place the Protestants were heading for.

In 1567 Striggio travelled to England with this motet in his luggage. London greeted him with endless praise (infinitissimi favori). Ecce beatam lucem left the English dumbfounded, so much so that they sought a riposte to the piece. It was probably at the request of Thomas Howard, Duke of Norfolk (1538-72), that Thomas Tallis saved England's honour with Spem in alium. This work for forty voices, written between 1567 and 1572, is full of nods to Striggio's motet. The most obvious likeness is of course the complement of voices required. But the basic key of G is also the same in both works. Moreover, Tallis too employs the effect of the forty voices suddenly emerging simultaneously, which he reserves for the symbolic moment of the fortieth breve. But the resemblance ends here. Tallis's work has an unmistakable spiritual character, with clearly structured imitations (as at the opening) which, apart from the passage for forty voices at 'praeter in te', are explored by voices from the eight choirs. Hence at 'Qui irasceris', for example, the text is built up in imitation form from the bass of the eighth choir to the superius of the third choir.

From 'Domine Deus' onwards, Tallis uses the technique of cori spezzati in varying scorings and combinations, culminating in the mighty A major chord forforty voices on 'respice'. After this the work moves further and further away from homophony to end in complex polyphonic detail. In terms of timbre and aesthetic, this work could scarcely be more English. Whereas Striggio uses numerous semiminim and fusa movements in building his melodic lines, Tallis opts for a calmer rhythm in semibreves and minims. False relations appear frequently, at times buried in the inner voices, at others more prominent in the superius.

The motet Qui habitat for twenty-four voices by Josquin Desprez is a canonic spectacular, in which the composer combines four six-voice canons. Each of the four choirs has its own canon. The architecture of this piece is dazzling, its counterpoint a tour de force. The first canon begins with the six soprano voices. The second begins with the words 'Dicet Domino' in the altus (high tenors). The third and fourth canons start successively at 'Quoniam ipse' (tenors) and 'Scapulis suis' (basses). At the end of the piece there slowly emerges an acoustic effect like a tolling of bells: first when the six basses sing 'perambulant' on an ostinato c-d-c-d, and subsequently, in the final phase, with the constant alternation of chords of F and C. This alchemical counterpoint is further reinforced by numerous examples of word-painting, such as the altus motif a-e'-c'-f' at 'obumbrabit' (he will cover"). In his Ragionamenti accademici (Venice, 1567), Cosimo Bartali asserts that Josquin's art equals that of Michelangelo. In the light of this work, the claim does not appear exaggerated.

The thirteen-part Jesus autem transiens by the English composer Robert Wylkynson (c.1450- c.1515) is also a canon. The power of this piece lies in the fact that all thirteen voices move in the same range, c to a'. With its capricious rhythms, this piece is a typical example of the 'Flamboyant Gothic' style so characteristic of the manuscript in which it is preserved, the celebrated Eton Choirbook.

Giovanni Gabrieli (c.1556-1612) has gone down in history as the pre-eminent composer of ceremonial religious music for the basilica of San Marco in Venice. His strongly madrigalian style is full of dramatic elements, and Exaudi me Domine is one of the finest illustrations of it. Written for four choirs of four voices, it opens with the successive entries of each group in the order 1-2-4-3. Beginning with the words 'dum judicium', Gabrieli combines the choirs in every possible formation. At 'movendi sunt' he introduces hocketing figures, initially within the voices of a single choir, then among the different groups. Here polychorality is no longer used only as an architectonic element, but also makes a dramatic contribution to the animation of the text.

The twelve-part Gloria of the Spanish composer Juan Bautista Comes (1568-1643), who but for a few years spent his whole life in the service of Valencia Cathedral, is built on pure cori spezzati technique. The dominant style here is homophonic and vertical, with rich and colourful harmonies. The three choirs are genuinely conceived in terms of a widely dispersed layout, as is specified at the head of the piece: the first choir is placed at the great organ of the cathedral, the second at the small organ, and the third in the chapel. This music is designed to fill the immense space of the cathedral. Indeed, the score is provided with unexpectedly long pauses at regular intervals to allow the sound to die away in a generous acoustic.

The programme also includes a setting of Psalm 147, Lauda Jerusalem, by the Portuguese composer João Lourenço Rebelo (1610-61). There are numerous reasons for this choice. Rebelo's composition for sixteen voices reveals a strong musical personality, with an original approach to the text (the opening words reappear throughout amid other sections of the text), bold modulations, rich and colourful word-painting (at 'Mittit crystallum', for instance), and virtuosic melismas. All these features make the work a classic example of a compositional art which brought Rebelo fame in his lifetime.

Pierre Maessens (c.1505-63) was in his day the enfant terrible of the art of canon. He is represented here by a sixteen-part adaptation of a four-voice piece by his contemporary Jehan Mouton, En venant de Lyon.


Альбом посвящен многоголосию в Ренессансе. Только сначала о записи. Она произведена в живую в Abbaye de Noirlac, и слушать ее в стерео, это просто обделить себя. Нет, хор не вокруг, я думаю исполнители (а их больше сорока – эта цифра важна) расположились скорее всего на хорах. Этот звук сверху закидывается буквально во все стороны и звучит со всех сторон. Это не стерео в пять каналов, звук действительно ото всюду. А чтобы ощутить вполне это ото всюду здесь представлены произведения различных авторов эпохи Возрождения из разных стран: Хуан Баутиста Комес – Испания, Жоскен Депре – Франция, Роберт Уилкинсон – Англия, Алессандро Стриджо – Италия, Питер Массенс – Фландрия, Жуан Суариш (Лоренсу) Ребелу – Португалия, Джованни Габриели – Венеция Томас Таллис – Англия. Правда альбом начинает современный автор Вилем Сеулеерс (надеюсь правильно написал) с произведением в имитационной манере под 16-й век. Все произведения объединяет многоголосие, только реально МНОГО (до сорока голосов). Хор весь звучит в высоком диапазоне: басы - чуть-чуть, профундо и близко нет, зато имеются альты и мягкое, без звона сопрано. Зачем Гармонии Мунди понадобился канал LFE (большая редкость у них) в этой записи не ясно, саб (у меня выставлен ниже 50гц) изредка чуть-чуть гул собора создает. А вот как звучат голоса, когда их количество заваливает десяток и не один, и они навиваются один на другой в неглухой акустической среде, этому посвящена техника cori spezzati. Причем эту технику переоткрывали позже под именем импрессионизм и эмбиент. Начинается композиция с одного двух голосов, чтобы через какое-то время превратится в вибрирующую массу голосовых звуков. Детальнее Пол Ван Невел описывает в буклете. А общая оценка – восторг.

Музыка – 10
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Многоканальность - 10
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