laohu
08-05-2013, 05:21 AM
Un Camino De Santiago - Ariana Savall & Jean Tubery & Ensemble Le Fenice (2011, FLAC)
(http://imageshack.us/photo/my-images/266/7ukd.jpg/)
Tracklist:
1. Procedens Jesus vidit Jacobum, antiphon (Ad vesperae in festo Sanci Jacobi) by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Medieval
Length: 1 Minutes 56 Secs.
2. O beate Dei athleta Jacobe, for voice & ensemble by Urbani Loth
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 2 Minutes 49 Secs.
3. Justes, chacun se pr�sente, song by G. de La Tour
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 1 Minutes 25 Secs.
4. Chantez au Seigneur, song by G. de La Tour
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 1 Minutes 37 Secs.
5. Bienheureuse est une �me, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Classical
Length: 2 Minutes 8 Secs.
6. Fantasy No.3 on "Une jeune fillette" by Eustace du Caurroy
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 1 Minutes 47 Secs.
7. Di Jacopo si canti, for voice & ensemble (Lauda di Jacopo, apostolo Maggiore) by Matteo Cofrati
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 3 Minutes 53 Secs.
8. N'esp�rez plus, mes yeux, song by Etienne Moulinie
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 3 Minutes 34 Secs.
9. Cancion real francesca in �cho, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Classical
Length: 1 Minutes 38 Secs.
10. De cor, de boux celebrats, cantats toutis, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Classical
Length: 5 Minutes 19 Secs.
11. Ga�ta spa�ola (sobre La Girometa), for ensemble by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 5 Minutes 16 Secs.
12. Canzon a due, canto e basso by Bartolem� de Selma y Salaverde
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Written: 1638
Length: 3 Minutes 25 Secs.
13. X�cara for organ de 1 Tom by Fr. Bartolomeu de Olagu�
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 2 Minutes 14 Secs.
14. Folias para mi Se�ora Dona Tarolilla, for ensemble by Andrea Falconiero
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 4 Minutes 15 Secs.
15. Canten dos jilguerillos, villancico by Francisco Escalada
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Written: 16th Century; Mexico
Length: 2 Minutes 21 Secs.
16. El baxel esta en la playa by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Written: Spain
Length: 1 Minutes 53 Secs.
17. La Gaita Francesa, for harp (Manuscrito 816) by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Written: 18th Century
Length: 3 Minutes 11 Secs.
18. Vuelve, vuelve barquilla, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 2 Minutes 38 Secs.
19. Canzon La Benedetta, song by Andrea Falconiero
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 2 Minutes 12 Secs.
20. Vilancico de nacions, de Gascu�a, Aragon y Catalu�a by Antonio Soler
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 2 Minutes 58 Secs.
21. Ce qui me plait d'avantage, song by G. de La Tour
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 2 Minutes 54 Secs.
Link
https://mega.co.nz/#!hAknGSSa!K_n0oXDr_jq1Tb_DWLkAQgGrhRQyfLgYtJuAf2U cCCI
---------- Post added at 05:21 AM ---------- Previous post was at 05:21 AM ----------
When musicians of our generation seek to provide musical depictions of the pilgrimages to St. James of Compostela, they turn most frequently to the Middle Ages. The La Fenice ensemble, however, has chosen a different approach by taking a map of the Camino Franc�s (1648) as its inspiration. Here they bring formal as well as popular repertoire of the time back to life with songs both sacred and secular, combining these with the joyfully festive music that accompanied the travellers from France to Galicia via Languedoc, Aragon and Castile. This recording mirrors our concerts based on the French and Spanish music of the Way of St. James, although with an occasional detour to China and Latin America; we have preferred to give a free and imaginative idea of the types of music that would have been heard on the Way in those times rather than a true musicological reconstruction.Our dearest wish is to communicate, outside the normal concert situation, the emotions and the pleasure that we experienced in playing, reciting and singing these works; our ambition is that all may come to share the beauty and the harmony that form every musician’s reason for living.
Composer: Anonymous, Urbani Loth, G. de La Tour, Eustace du Caurroy, ...
Performer: Arianna Savall
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Reviews: What we hear is not in any way a reconstruction of the music pilgrims would have heard during their journey. Jean Tub�ry underlines this in his programme notes. It is a collection of pieces they could have heard. Even that is questionable, though: a pilgrim in 1648 can't possibly have heard Di Jacopo si canti by Matteo Coferati as the composer was born only in 1638. The documentation of this disc is rather poor: Jean Tub�ry mentions most of the pieces in his liner-notes, but he is not very specific about the sources and there is hardly anything there about the composers. That is a shame as several of them are virtually unknown. That is one of the attractions of this disc quite apart from the performances; more of that later.
The disc is divided into sections, in accordance to the stages of the journey. It begins with an antiphon in plainchant about the apostle St James (Jacob), followed by a sacred concerto by Urban Loth. He was a German composer, probably of Bohemian birth, who from 1610 until his death worked as organist in Passau. The largest part of his music was printed in two collections. The sacred concerto O beate Dei athleta Jacobe is written in the concertante style of the early 17th century, and shows Italian influence.
The second section is entitled 'following the Rh�ne', with three pieces by Guillaume Chastillon - Sieur de La Tour, to use his full name. He was born and died in Caen and belonged to the Huguenots. He received the privilege of having three of his books of airs published. Of these the first two have been preserved. His aim was "sweetness of melody rather than harmonic profundity". The three songs performed here bear witness to that: these are beautiful and charming songs on a French text of a spiritual character. "At the crossroads in Avignon we met Italian pilgrims who sang with all their heart", the text in the booklet says by way of introduction to the third section. Bienheureuse est une �me has a melody which was well-known in Europe, and turns up with several titles, like Une jeune fillette, La Monica, or The Queen's Almaine, and was used in Germany for the hymn Von Gott will ich nicht lassen. Eustache du Caurroy wrote several variations on this tune, one of which is played here. This is an example of a piece which was written long before the imaginary pilgrimage in 1648, and one wonders whether such pieces were still known and performed about half a century after the date of composition. Du Caurroy was an important composer who worked for the royal chapel. This section ends with the piece by Mattei Coferati already referred to above, which is based on the same tune. He was a composer from Florence, who was also active as music editor, theorist, organist and singer. The piece performed here is one of his many laudi spirituali - technically rather simple music to be sung in congregations.
The next stage is entitled "Languedoc and Gascony", and here there are two anonymous pieces and a composition by �tienne Moulini�, who was from Languedoc and acted as director of music to Gaston d'Orl�ans, younger brother of King Louis XIII. N'esp�rez plus, mes yeux is one of the many airs de cour for which he was most famous. The anonymous De cor, de boux celebrats, cantats toutis is a short Christmas cantata with recitatives and choruses. In the next section, devoted to Aragon and Castile, we hear mainly instrumental pieces. The ga�ta is the term which was used at, among others, the Iberian peninsula for an instrument which is comparable to the bagpipe. La Girometa (usually known as girolmeta) is a well-known tune which appears in various compositions of the 17th century. Bartolomeo de Selma y Salaverde was a Spanish composer and bassoonist, who worked in several places in Europe. Very little is known about Bartolomeu de Olagu�, who was Spanish or Portuguese, probably of Basque origin. A jacara is a rather wild dance which was often used in Spanish music of the 17th and 18th centuries. The last piece in this section, by the Italian composer and lutenist Andrea Falconieri, is a folia, one of the most frequently used bassi ostinati in music history.
In the next section we move to the church of Leon, where we are greeted with bell ringing. We hear another air de cour by �tienne de Moulini�, followed by variations for recorder on the same tune by Jacob van Eyck, the Dutch recorder player and carillonneur. I couldn't find any information about Francisco Escalada, but it seems Canten dos Jilguerros was written in Mexico. That makes it rather unlikely that any pilgrim in 1648 could have heard it ... The last stage is Galicia where we hear a piece by Gabrielle Bataille, a French composer and lutenist who was mainly known for his airs de cour, and two anonymous pieces, among them another ga�ta. The pilgrimage ends in Santiago. First we hear a canzon by Falconieri, and the programme then appropriately ends with the Vilancico de nacions by Francisco Soler, who was choirmaster in several cathedrals. It describes how several people from various regions in Spain come "to adore the child".
This disc is a good example of creative, albeit speculative, programming. All historical considerations apart, the music is engaging, and as many pieces and even composers are little-known this is also a musical voyage of discovery. Adding to the delight is singing and playing which is of the highest order. Arianna Savall has a very beautiful and sweet voice which is perfectly suited to this repertoire. Her diction is immaculate, and she catches the character of the various songs perfectly. The players also give brilliant performances, and in particular the Spanish and the more 'popular' items are played with fire and passion. In two items the instrumentalists show that they can sing pretty well too.
This imaginary journey through Europe has resulted in an entertaining and musically compelling programme of mostly little-known music, fit for repeated listening.
(http://imageshack.us/photo/my-images/266/7ukd.jpg/)Tracklist:
1. Procedens Jesus vidit Jacobum, antiphon (Ad vesperae in festo Sanci Jacobi) by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Medieval
Length: 1 Minutes 56 Secs.
2. O beate Dei athleta Jacobe, for voice & ensemble by Urbani Loth
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 2 Minutes 49 Secs.
3. Justes, chacun se pr�sente, song by G. de La Tour
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 1 Minutes 25 Secs.
4. Chantez au Seigneur, song by G. de La Tour
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 1 Minutes 37 Secs.
5. Bienheureuse est une �me, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Classical
Length: 2 Minutes 8 Secs.
6. Fantasy No.3 on "Une jeune fillette" by Eustace du Caurroy
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 1 Minutes 47 Secs.
7. Di Jacopo si canti, for voice & ensemble (Lauda di Jacopo, apostolo Maggiore) by Matteo Cofrati
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 3 Minutes 53 Secs.
8. N'esp�rez plus, mes yeux, song by Etienne Moulinie
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 3 Minutes 34 Secs.
9. Cancion real francesca in �cho, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Classical
Length: 1 Minutes 38 Secs.
10. De cor, de boux celebrats, cantats toutis, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Classical
Length: 5 Minutes 19 Secs.
11. Ga�ta spa�ola (sobre La Girometa), for ensemble by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 5 Minutes 16 Secs.
12. Canzon a due, canto e basso by Bartolem� de Selma y Salaverde
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Written: 1638
Length: 3 Minutes 25 Secs.
13. X�cara for organ de 1 Tom by Fr. Bartolomeu de Olagu�
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 2 Minutes 14 Secs.
14. Folias para mi Se�ora Dona Tarolilla, for ensemble by Andrea Falconiero
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 4 Minutes 15 Secs.
15. Canten dos jilguerillos, villancico by Francisco Escalada
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Written: 16th Century; Mexico
Length: 2 Minutes 21 Secs.
16. El baxel esta en la playa by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Written: Spain
Length: 1 Minutes 53 Secs.
17. La Gaita Francesa, for harp (Manuscrito 816) by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Written: 18th Century
Length: 3 Minutes 11 Secs.
18. Vuelve, vuelve barquilla, song by Anonymous
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 2 Minutes 38 Secs.
19. Canzon La Benedetta, song by Andrea Falconiero
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Baroque
Length: 2 Minutes 12 Secs.
20. Vilancico de nacions, de Gascu�a, Aragon y Catalu�a by Antonio Soler
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Length: 2 Minutes 58 Secs.
21. Ce qui me plait d'avantage, song by G. de La Tour
Performer: Arianna Savall (Harp)
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Period: Renaissance
Length: 2 Minutes 54 Secs.
Link
https://mega.co.nz/#!hAknGSSa!K_n0oXDr_jq1Tb_DWLkAQgGrhRQyfLgYtJuAf2U cCCI
---------- Post added at 05:21 AM ---------- Previous post was at 05:21 AM ----------
When musicians of our generation seek to provide musical depictions of the pilgrimages to St. James of Compostela, they turn most frequently to the Middle Ages. The La Fenice ensemble, however, has chosen a different approach by taking a map of the Camino Franc�s (1648) as its inspiration. Here they bring formal as well as popular repertoire of the time back to life with songs both sacred and secular, combining these with the joyfully festive music that accompanied the travellers from France to Galicia via Languedoc, Aragon and Castile. This recording mirrors our concerts based on the French and Spanish music of the Way of St. James, although with an occasional detour to China and Latin America; we have preferred to give a free and imaginative idea of the types of music that would have been heard on the Way in those times rather than a true musicological reconstruction.Our dearest wish is to communicate, outside the normal concert situation, the emotions and the pleasure that we experienced in playing, reciting and singing these works; our ambition is that all may come to share the beauty and the harmony that form every musician’s reason for living.
Composer: Anonymous, Urbani Loth, G. de La Tour, Eustace du Caurroy, ...
Performer: Arianna Savall
Conductor: Jean Tubery
Orchestra/Ensemble: Ensemble la Fenice (France)
Reviews: What we hear is not in any way a reconstruction of the music pilgrims would have heard during their journey. Jean Tub�ry underlines this in his programme notes. It is a collection of pieces they could have heard. Even that is questionable, though: a pilgrim in 1648 can't possibly have heard Di Jacopo si canti by Matteo Coferati as the composer was born only in 1638. The documentation of this disc is rather poor: Jean Tub�ry mentions most of the pieces in his liner-notes, but he is not very specific about the sources and there is hardly anything there about the composers. That is a shame as several of them are virtually unknown. That is one of the attractions of this disc quite apart from the performances; more of that later.
The disc is divided into sections, in accordance to the stages of the journey. It begins with an antiphon in plainchant about the apostle St James (Jacob), followed by a sacred concerto by Urban Loth. He was a German composer, probably of Bohemian birth, who from 1610 until his death worked as organist in Passau. The largest part of his music was printed in two collections. The sacred concerto O beate Dei athleta Jacobe is written in the concertante style of the early 17th century, and shows Italian influence.
The second section is entitled 'following the Rh�ne', with three pieces by Guillaume Chastillon - Sieur de La Tour, to use his full name. He was born and died in Caen and belonged to the Huguenots. He received the privilege of having three of his books of airs published. Of these the first two have been preserved. His aim was "sweetness of melody rather than harmonic profundity". The three songs performed here bear witness to that: these are beautiful and charming songs on a French text of a spiritual character. "At the crossroads in Avignon we met Italian pilgrims who sang with all their heart", the text in the booklet says by way of introduction to the third section. Bienheureuse est une �me has a melody which was well-known in Europe, and turns up with several titles, like Une jeune fillette, La Monica, or The Queen's Almaine, and was used in Germany for the hymn Von Gott will ich nicht lassen. Eustache du Caurroy wrote several variations on this tune, one of which is played here. This is an example of a piece which was written long before the imaginary pilgrimage in 1648, and one wonders whether such pieces were still known and performed about half a century after the date of composition. Du Caurroy was an important composer who worked for the royal chapel. This section ends with the piece by Mattei Coferati already referred to above, which is based on the same tune. He was a composer from Florence, who was also active as music editor, theorist, organist and singer. The piece performed here is one of his many laudi spirituali - technically rather simple music to be sung in congregations.
The next stage is entitled "Languedoc and Gascony", and here there are two anonymous pieces and a composition by �tienne Moulini�, who was from Languedoc and acted as director of music to Gaston d'Orl�ans, younger brother of King Louis XIII. N'esp�rez plus, mes yeux is one of the many airs de cour for which he was most famous. The anonymous De cor, de boux celebrats, cantats toutis is a short Christmas cantata with recitatives and choruses. In the next section, devoted to Aragon and Castile, we hear mainly instrumental pieces. The ga�ta is the term which was used at, among others, the Iberian peninsula for an instrument which is comparable to the bagpipe. La Girometa (usually known as girolmeta) is a well-known tune which appears in various compositions of the 17th century. Bartolomeo de Selma y Salaverde was a Spanish composer and bassoonist, who worked in several places in Europe. Very little is known about Bartolomeu de Olagu�, who was Spanish or Portuguese, probably of Basque origin. A jacara is a rather wild dance which was often used in Spanish music of the 17th and 18th centuries. The last piece in this section, by the Italian composer and lutenist Andrea Falconieri, is a folia, one of the most frequently used bassi ostinati in music history.
In the next section we move to the church of Leon, where we are greeted with bell ringing. We hear another air de cour by �tienne de Moulini�, followed by variations for recorder on the same tune by Jacob van Eyck, the Dutch recorder player and carillonneur. I couldn't find any information about Francisco Escalada, but it seems Canten dos Jilguerros was written in Mexico. That makes it rather unlikely that any pilgrim in 1648 could have heard it ... The last stage is Galicia where we hear a piece by Gabrielle Bataille, a French composer and lutenist who was mainly known for his airs de cour, and two anonymous pieces, among them another ga�ta. The pilgrimage ends in Santiago. First we hear a canzon by Falconieri, and the programme then appropriately ends with the Vilancico de nacions by Francisco Soler, who was choirmaster in several cathedrals. It describes how several people from various regions in Spain come "to adore the child".
This disc is a good example of creative, albeit speculative, programming. All historical considerations apart, the music is engaging, and as many pieces and even composers are little-known this is also a musical voyage of discovery. Adding to the delight is singing and playing which is of the highest order. Arianna Savall has a very beautiful and sweet voice which is perfectly suited to this repertoire. Her diction is immaculate, and she catches the character of the various songs perfectly. The players also give brilliant performances, and in particular the Spanish and the more 'popular' items are played with fire and passion. In two items the instrumentalists show that they can sing pretty well too.
This imaginary journey through Europe has resulted in an entertaining and musically compelling programme of mostly little-known music, fit for repeated listening.
