21 Aug 2016

GRANADA 1013-1502

GRANADA 1013-1502
Dirección: Jordi Savall (Alia Vox AVSA9915)

The indefatigable Jordi Savall continues to unite musicians from East and West as he traverses five centuries of musical traditions in Granada. Describing it as ‘one of the most important and admired cities in Muslim Andalusia’ the majority of performances on this new album were recorded live in 2013 at a concert in the Alhambra Palace to celebrate the 1000th anniversary of Granada’s foundation.

Savall is consistent and unflinching: he states that this album ‘is a passionate testimony to the power of music in bringing about intercultural dialogue’. With this message I feel he joins Daniel Barenboim and Edward Said in a pantheon of intellectual icons calling for cultural understanding across political divides.

To read the full text of this article please visit www.gramophone.co.uk (September 2016)

17 Jul 2016

Gramophone Collector

Wanderlust and exile
Edward Breen listens to a collection of discs exploring the boundary between East and West

Early musicians look east not because they find it quaintly exotic, nor because they learned from Disraeli that is a career. They look, and have always looked, because they realise the roots of the ‘Western’ story are as inextricably intertwined with The East as is its present.

The modern early musician (if you forgive the oxymoron) is heir to an important lineage of musical thought, one that has fundamentally shaken the broader frame of classical music in which it perches. Whereas early twentieth century performances tended to come straight-from-the-page in the prevailing chamber music style, things changed in the 60s when, for instance, performers like Thomas Binkley looked to Andalucían improvisatory practices to inform the performance of medieval dance, he and others began to view monody as a starting point rather than an absolute. By the 1980s Christopher Page moved away from what he once described as the ‘medieval-banquet, rosy-cheeked-wench, sucking-pig view of the medieval past’ towards a more ‘cathedralish’ middle ages and perhaps it was no coincidence that around this time Peter Phillips also discovered an urtext renaissance suited the clean digital sound of CD.

Having now established a canon of early music, the movement is restless again and seems to be revisiting its 1960s roots. I for one detect wanderlust.

To read the full text of this article please visit www.gramophone.co.uk (August 2016)

16 Jul 2016

Chorus vel Organa

Chorus vel Organa
Choir of Gonville & Caius College, Cambridge 

Geoffrey Webber director, Magnus Williamson organ.
Delphian DCD34158

There is much to be celebrated here as early music scholarship inspires joyful performances from the Choir of Gonville & Caius College. The album presents pre-Reformation liturgical music for the Feast of St Stephen (26th December) alongside plainsong and its alternatives; chanting in chords, faburden and organ improvisations. Consequently, the jewel in this particular crown is the St Teilo organ, a reconstruction in the early English 16th-century style following research from John Harper at Bangor University’s “The Experience of Worship” project. Organist, Magnus Williamson, revives improvisatory techniques appropriate for both plainsong and polyphony leading to an album whose polyphonic delights are embedded in a liturgical soundscape likely to reflect practice in the chapel of St Stephen during Henry VIII’s reign.

To read the full text of this review please visit www.gramophone.co.uk (August 2016)

4 Jul 2016

Firminus Caron: Twilight of the Middle Ages

Firminus Caron: Twilight of the Middle Ages Huelgas Ensemble / Paul van Nevel
Deutsche Harmonia Mundi 88875143472

[...] The sublime and despairing rondeau, Le despourveu infortune, one of the most popular in the second half of the fifteenth century, here showcases this ensemble at their best, mourning and yearning with wonderfully judged delicate vocal lines cascading like gentle tears. The contrast could not be greater with their grittier, wittier tone in the delightfully smutty Corps contre corps where sequential vocal entries reveal a mischievous plan: no-holes-barred [sic] lusty singing from the lower voices and a smooth upper line which makes sense only when you read the text closely…

To read the full text of this review please visit www.gramophone.co.uk (July 2016)

3 Jul 2016

Alonso Lobo: Lamentations

Alonso Lobo: Lamentations
Westminster Cathedral Choir / Martin Baker

[...] Nothing, however, will prepare listeners for the beauty of Lobo’s lamentations. Those who know them from Bruno Turner’s 2002 recording with Musica Reservata de Barcelona will find this performance statelier. This is a good thing: as the cycle unfolds it becomes apparent that Lobo uses the Hebrew letters as elaborate weeping gestures, a point made by Bruno Turner in his sleeve notes. Listen especially to the first setting of Iod (track fourteen) as a heart-stopping example of the famous Westminster Cathedral treble sound. This, for me, is as good as it gets both in terms of performance and also in terms of a school of polyphony beyond the works of Victoria. [...]

To read the full text of this review please visit www.gramophone.co.uk (July 2016)

30 Jun 2016

Travel in Space, Travel in Time

Travel in Space, Travel in Time: Michael Morrow’s Approach to Performing Medieval Music in the 1960s

Medievalism and Modernity

Thurston Dart’s dictum “travel in space: travel in time” serves as a moniker for Michael Morrow’s London-based early music ensemble, Musica Reservata. Morrow developed a hard-edged performance style for medieval and Renaissance music throughout the 1960s and 1970s that baffled many critics. In particular, Morrow demanded “bite and attack” from singers to promote a congruent sound with period instruments. By using folk models for this philosophy, Morrow’s medievalism also displayed aspects of an orientalist approach.

The other then-major performing ensemble for medieval music in Britain was David Munrow’s Early Music Consort of London. Munrow took a different approach to performance, an approach driven by his belief that early instruments attempted to imitate the human voice. Both ensembles were regularly broadcast on BBC radio, and their interviews and scripts make it possible to contrast their convictions.

Taking Johan Huizinga’s notion of medieval contrast as a starting point, this essay traces several themes of medieval performance through the middle decades of the twentieth century to suggest ways in which such constructs of space and time are made manifest in Morrow’s 1969 recording of Landini’s yearning love-song Questa fanciulla. This striking performance is contrasted with another, made just days later, by David Munrow.

For full details of this publication please visithttps://boydellandbrewer.com/studies-in-medievalism-xxv-hb.html 

15 Mar 2016

Balkan voices and medieval music in the work of Michael Morrow and Musica Reservata

Guest Blog for Semibrevity: A blog about early music pioneers

Michael Morrow (1929-94) was the director of Musica Reservata, an early music ensemble active in the 1960s and 70s with a repertoire that spanned from medieval to baroque.

Although Morrow was the director and often the editor of the editions used by the ensemble, harpsichordist John Beckett conducted performances. The ensemble included many superb musicians such as the organologist and percussionist Jeremy Montagu; recorder player John Sothcott; singers Ian Partridge, Nigel Rogers, Grayston Burgess, Paul Elliot and Jantina Noorman; and other instrumentalists David Fallows and Christopher Page, David Munrow, Anthony Rooley and Andrew Parrott. Parrott, incidentally, also conducted the ensemble in the early 70s after Beckett’s departure. Musica Reservata was not of course the only early music outfit to boast such specialist personnel at that time, but it does appear to have been quite an important meeting place for those musicians who specialised in medieval repertoire.

For the full text of this article please visit: