17 Apr 2019

Love is Come Again: Music for the Springhead Easter Play

Love is come again: Music for the Springhead Easter Play
Monteverdi Choir English Baroque Soloists John Eliot Gardiner
SDG731 


If, like me, you enjoyed the eclectic and beautifully poised Christmas disc ‘Once as I remember’ from Sir John Eliot Gardiner and his Monteverdi choir some two decades ago (Philips 462 050-2PH) you will be both intrigued and delighted by his Easter offering. ‘Love is come again’ revisits music from the annual mime-play held at Gardiner’s family home, Springhead, directed by his mother. The music was chosen by Gardiner himself when an undergraduate and in his words contains “a fantastic sort of mosaic of magnificent pieces all associated with the Easter story.” This recording includes several additions to that original programme and the booklet contains a history of the Easter festival experience with archive photographs.

If all that sounds rather quaint fear not, this is no sepia-tinged indulgence: it packs a punch. [...] wait for L'Héritier’s (c.1480-1552) ‘Surrexit pastor bonus’ to hear Gardiner’s midas touch: I love the slow sumptuous tempo, like honey dripping from a spoon.
 

[...] There is so much to explore on this disc, from an adaption of Britten’s ‘Canticle II’ to a glorious performance of ‘Ego sum panis vivus’ attributed to Leonora d’Este (1515-1575) that, on paper at least, it looks like the mosaic is too complicated for the programme to hang together, but in reality it really does work. Springhead must have been a magical place.

To read the full text of this article please visit www.gramophone.co.uk (May 2019)

26 Mar 2019

‘Ibn Battuta’ ‘The Traveler of Islam

Ibn Battuta: The Traveler of Islam, 1304 1377
Hespèrion XXI / Jordi Savall 
Alia Vox AVSA9930


‘Travel first leaves you voiceless, before it turns you into a storyteller’, according to Shams ad-Din Abu Abdullah Muhammad ibn Ibrahim ibn Muhammed ibn Ibrahim ibn Yussuf al-Lawati at-Tanji, the 14th century traveller and qadi (judge) known as Ibn Battuta (‘Son of the Little Duck’). His travels are captured in the famous rihla (travel narrative) he dictated to Ibn Juzayy al-Kalbi in the early 1350s. 

This double album with accompanying book spans episodes from this rihla over the course of two live concerts – 1304-35, recorded in 2014 in Abu Dhabi with English narration, and 1335-77, recorded in 2016 in Paris with French narration – and was inspired by a new translation: Travels of Ibn Battuta by Margarida Castells and Manuel Forcano (2005).

[...] At each turn Savall evokes the atmosphere of a time with results more cinematographic than drily historical. Such a diverse programme and impressive cast of musicians will surely inspire every listener with a sense of wanderlust. Yet it is perhaps the subtext of this album – travelling through the world before modern borders – which is the most poignant part of Savall’s message for us today.


To read the full text of this article please visit www.gramophone.co.uk (Apr 2019)

26 Jan 2019

Amarae Morti: Lamentations and Motets

Amarae Morti: Lamentations and Motets
EL LEÓN DE ORO / Peter Phillips

Now here is a delightful disc made to an interesting recipe: Lamentation texts in alternation with joyful settings of Regina caeli sung with passion and puppyish intensity by a large and charismatic chamber choir directed by the éminence grise of Ars Perfecta, Peter Phillips. The result has the air of joyful adventure about it; proudly choral (as opposed to consort) but with absolutely captivating clarity.

[...] Their sound is soft, warm and favours long flowing phrases over bulging points of imitation. In short, they sound the way Mensurstriche looks. Yet, in comparison to many British ensembles their balance is slightly bottom-heavy, but the lower voices make such an attractive sound in the resonant acoustic of Iglesia de Santiago el Mayor, Sariego, Asturias that it often works in their favour. In particular, I love the passage "Cervicibus minabamur" (Our necks were threatened) in Phinot’s Lamentation setting in which the lower voices create great shimmering puddles of rich polyphony. The words are occluded but the sound is sumptuousness itself.

[...]

To read the full text of this article please visit www.gramophone.co.uk (Feb 2019)