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ID: SIGCD040
CDs: 1
Type: CD
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Kolektion: Choral CollectionSubkolektion: Choir
Signum Records is delighted to announce that the ensemble Concerto delle Donne will release their first disc on Signum Records in 2003. The disc will feature the cantatas and motets of Giacomo Carissimi.
Carissimi is sometimes thought of as a "one-work composer" known to the average music-lover only for his oratorio Jephte. Choral Societies looking for 17th century music earlier than Purcell are therefore likely to choose Jephte.
Alastair Ross first became interested in Carissimi’s music for the 3-soprano Concerto delle Donne line-up when he was asked to prepare a programme “Handel and his predecessors in Italy” for the 1977 Göttingen Festival. A review of Carissimi's oeuvre showed that there were several pieces by Carissimi in the library of Christ Church Oxford just waiting to be performed by the group! He chose the cantata Siam tre miseri piangenti which has become a regular item in their concerts and which is central to this recording. It’s a marvellous piece, full of pain, suffering and anger. The three voices really are equal in the way they intertwine and react to one another. Donna Deam’s solo Piangete and Gill Ross' and Elin Thomas’s duet Ahi, non torna are similar in mood. Maybe in our cynical 21st century we find it difficult to relate to these highly emotional, self-obsessed, texts, but there’s no denying that they inspired some wonderful music! Va dimanda al mio pensiero’ and Si dia bando, alla speranza are lighter in mood - both attractive, tuneful pieces.
There is plenty of variety in the church music as well. Cum reverteretur David, which begins the CD, is brilliant and virtuosic, a dramatic account of the rivalry between David and Saul. The duet Exulta, gaude, filia Sion is a joyful celebration of Christmas. In Benedictus Deus et Pater the voices weave rich dissonances to convey the suffering of the text; there’s something of the mood of Allegri’s Miserere here.
In addition to the vocal pieces the disc includes a set of variations by Frescobaldi and Michelangelo Rossi’s flamboyant and chromatic Toccata Settima for harpsichord, together with Kapspereger’s charming improvisations for chittarone.
We believe that only one of the Carissimi pieces on this CD, Exulta, gaude, filia Sion, has been recorded before, so the disc will be an important event in the recorded-music world, and one which we hope will revive interest in this unjustly neglected composer. |
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ID: SIGCD025
CDs: 1
Type: CD
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Subkolektion: Choir
Songs and Instrumental Music by Josquin des Pres, his pupils and contemporaries. |
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ID: SIGCD036
CDs: 1
Type: CD
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Kolektion: RenaissanceSubkolektion: Choir
Signum Records are proud to present the eighth and penultimate volume of Chapelle du Roi’s recording of the Complete Works of Thomas Tallis.
This volume brings together Tallis’s two masterly settings of the Lamentations of Jeremiah and English adaptations of several of his best-known Latin motets.
Thomas Tallis was one of many continental and English composers who composed settings of texts from the Lamentations of Jeremiah, the opening five verses of which formed part of the office of Matins (or Tenebrae) during Holy Week. Tallis’s two settings could have been performed ritually but in all likelihood they are Elizabethan works intended for use at the private devotions of staunch Catholic sympathisers.
The statutory introduction of the First Book of Common Prayer on Whitsunday, 9th June 1549 precipitated an urgent need for a repertory of service music in the vernacular. One straightforward solution to the predicament was to adapt existing Latin motets to English texts, a genre of composition that has come to be known as a contrafactum. Contrafacta survive of liturgical music by pre-Reformation English composers as well as by several composers whose working life spanned the period of Reformation.
During the Elizabethan and Jacobean periods contrafacta and their models assumed several forms of dual existence, and were performed not only within a liturgical setting but also in a domestic context for recreation or private devotion. Usually there is no textual relationship between the model and the contrafactum. Indeed the finale of this disc, Sing & Glorify heaven’s high majesty, an adaptation of Tallis’s celebrated eight-choir (40-part) motet Spem in alium was adapted to celebrate Prince Henry’s investiture as Prince of Wales in 1610. |
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ID: COR16038
CDs: 1
Type: CD
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Kolektion: Choral CollectionThe works on this album show some of the breadth and range of Benjamin Britten's choral writing, embracing the masque from his opera 'Gloriana,' his own take on the English part song tradition in 'Five Flower Songs,' and his last work for unaccompanied voices, 'Sacred and Profane.' The latter sets medieval texts described herein as a "mixture of the devotional and the rumbustiously secular." The Sixteen is one of the jewels in the musical crown of Britain, and enjoys a worldwide reputation for clarity and beauty with precision and dramatic intensity.
1-8 - Ian Partridge (Tenor); Helen Tunstall (Harp)
9 - Stephen Westropp (Piano)
10 - Ruth Dean (Soprano); Neil MacKenzie (Tenor); Margaret Phillips (Organ) |
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ID: SIGCD032
CDs: 1
Type: CD
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Kolektion: Chamber MusicRecording Location: St. Andrew's Church, Toddington, Gloucestershire
Louis (c.1626-1661), François le Grand (1668-1733) and Armand-Louis (1727-1789) were the three most celebrated members of the distinguished Couperin family of musicians who flourished from the late 16th century until the middle of the 19th, holding a position of esteem parallel to that of the Bachs in Germany.
The Sultan and the Phoenix presents both masterpieces and rare gems from the Couperins and their contemporaries, all delivered with a rare insight by the ensemble charivari agréable. The programme presents an overview of the ensemble use of the viol in its various manifestations and stages of evolution in France. The Couperin dynasty offers a convenient chronological framework within which the viol could be heard in various guises: from a consort setting to a ‘pičces de clavecin en concerts’ configuration; from a six-string bass viol to a five-string hybrid ‘quinton’. Underpinning this programme is the historical practice of adaptation, transcription and arrangement with which French baroque music is replete.
Historical tradition is followed by the arrangement of some pieces by the players. Some involved direct transcription, such as the L. Couperin Pavan for a viol consort or the F. Couperin harpsichord piece for theorbo (in the style of de Visée, see above). Other pieces are left untouched, such as L. Couperin’s Fantaisies and Corrette’s Phénix, as well as the large-scale chamber works of Dornel and Couperin.
Charivari Agréable’s reputation as one of the most original ensembles in the period-instrument scene was recently articulated by the BBC Music Magazine, which noted that the ensemble “has carved something of a niche for itself in imaginative and well thought-out programming”, reasoning that its work is the fruit of both scholarly research and charismatic musicianship, a combination which puts it at the forefront of period-instrument ensembles.
This recording is refreshing and rewarding. Charivari Agréable is a rare combination with a distinct sound and sonority, displaying sincere empathy and love for the repertory they choose to record. |
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ID: SIGCD029
CDs: 1
Type: CD
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Kolektion: RenaissanceSubkolektion: Choir
Signum Records are delighted to release the seventh volume of their celebrated nine-disc series, presenting the Complete Works of Thomas Tallis (1505 - 1585).
Queen Elizabeth’s reign (1558-1603) was a golden age for the arts. England enjoyed a growing cultural exchange with continental Europe. England’s rich, but essentially conservative pre-Reformation heritage was infused with increasing continental influence and innovations.
Elizabeth I was the fourth monarch to sit on the throne in Thomas Tallis’s lifetime. From the outset of her reign Elizabeth allowed considerable freedom of practice and belief. She was firmly in favour of a vernacular liturgy for the general population, although in her own chapels she preferred a more lavish ceremony to music.
Tallis had witnessed the wholesale destruction of much of England’s church music tradition, however the ever adaptable composer met the challenges of a new liturgy, its new styles and genres, with the imaginative force of a man half his age.
The years of Reformation, and Elizabeth’s protestant settlement, freed the Latin-texted tradition of liturgical propriety, allowing composers to reinvigorate the language and harness it to new, expressive and personal ends. This recording presents Tallis’s Elizabethan Latin motets (which number fifteen). The mighty occasional piece, the forty-voice motet Spem in alium, concludes the disc. |
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ID: COR16041
CDs: 1
Type: CD
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Kolektion: Sacred MusicSubkolektion: Choir
Brand new recording from The Sixteen (recorded in 2006) features new editions and world premiere recordings. It was largely through the efforts of "Captain" Henry Cooke (c.1615-1672) that the choir of the Chapel Royal was successfully restored at the Restoration in 1660. He invoked ancient press-gang legislation to purloin promising choirboys from cathedrals across the country. Two of them, Pelham Humfrey and John Blow, went on to write groundbreaking music. |
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ID: SIGCD019
CDs: 1
Type: CD
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Kolektion: Choral CollectionSubkolektion: Choir
Signum Records is delighted to present Chapelle du Roi’s eleventh release with the label. This recording offers a selection of music spanning the life and reign of Charles V, undoubtedly the most powerful man in 16th-century Europe, from his early teenage years to his death in 1558.
Charles was a devout Catholic, and maintained a chapel employing some of the most notable composers of the period, including Nicolas Gombert and Thomas Crecquillon, who Charles referred to as ‘the truest Opheus of the age’. Closely identified with the Order of the Golden Fleece, which gave rise to the L’homme armé tradition, Charles V was said to have a musical ear. A great deal of music survives that is associated directly with him and his patronage - a selection of which is presented on this recording.
The music composed for rulers frequently mixed the heavenly with the secular, and a great many pieces were written to celebrate political conquests and occasions within the court. For example, Cristóbal Morales possibly wrote his Missa L'homme armé as an offering for Charles’s wedding to Isabella of Portugal.
Near the end of Charles’s reign, the young composer Orlandus Lassus was just starting his career, and seeking preferment. He offered his secular motet, Heroum Soboles to Charles in the hope that he would join the prestigious Capilla Flamenca. He was unsuccessful, however Charles’s minister, Bishop Granvelle of Arras helped Lassus to secure his position at the court of Duke Albrecht of Bavaria - a musical establishment that was no less magnificent.
The last years of Charles life were troubled by his failure to convert the Protestants back into the Roman Catholic Church, and to lead a universal Catholic empire. His death resounded throughout the Empire, and Don Fernando de las Infantas marked his passing with a setting of Parce Mihi Domine, the best-known of the texts from Matins pro defunctis. |
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ID: COR16042
CDs: 1
Type: CD
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Kolektion: BaroqueAbout this title: The small British chorus called the Sixteen and director Harry Christophers have delivered consistently popular recordings of Renaissance and Baroque music, maintaining very high standards of performance. Here they couple two of the most popular Baroque works of all, Vivaldi's Gloria in D major, RV 589, and Bach's Magnificat in D major, BWV 243, and the results are handsome indeed. The tenor of the performances flows from the conceptions of each work that Christophers expresses in one of the little personal essays that appears at the beginning of each booklet in this series: Vivaldi, he said, is "effective," and even operates in places here "at his simplest," while Bach is "complex." Some would use other words first, for each composer -- daring or kinetic for Vivaldi, devotional or a dozen other words for Bach. There are recordings that give Vivaldi in general and the Gloria in particular more of an edge; there are recordings of Bach that seem warmer, or more rooted in the sacred texts. |
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ID: COR16045
CDs: 1
Type: CD
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Kolektion: Vocal CollectionSubkolektion: Choir
Recorded live at The Sixteen's Handel in Oxford Festival, 2006, Elin Manahan Thomas gives a performance of captivating communication and sparkling intelligence in these stunning and contrasting Handel Cantatas, bringing to life the world of four women, all of whom have been betrayed by love and its deceitful charms.
Agrippina, sister of Caligula and wife of Claudius, vacillates from fiery monarch in outrage to a tender mother appalled by her son's weakness. At the last, she resigns herself to a noble death at the hands of her cruel, ignoble son. Nel dolce dell' oblio descries the sweet oblivion of sleep as the beloved Fili lies dreaming of her darling. Tu fedel, Tu Costante has the singer berating her beloved, Fileno, for his philandering ways as he loves a hundred beauties and wishes to share himself with them all. In the last aria she decides either to love another, or to live entirely with out love henceforth. Armida abbandonata tells a tale of desperate, unrequited love. When the Saracen witch Armida falls in love with captured warrior Rinaldo, Armida bewitches him to love her in return but eventually her spell fails and Rinaldo returns to his ship and abandons her. |
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