Showing posts with label renaissance music. Show all posts
Showing posts with label renaissance music. Show all posts

El Barroco Español: Spanish Secular Music, c.1640-1700 Review

El Barroco Español: Spanish Secular Music, c.1640-1700
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El Barroco Español: Spanish Secular Music, c.1640-1700 ReviewThis is a great recording by Hesperion XX. Jordi Savall,called for an ensanble of first class instrumentalists.Some of the most prominent scholars,perform in this recording. Lutenist,Hopkinson Smith,a graduate from Harvard, is today one of a respected lute soloist.Ton Koopman plays the harpsichord in this recording, he is today conductor of one of the foremost early music group around,the Amsterdam Baroque Orchestra.He plays in this recording three solo pieces by the Spanish composer,Juan Bautista Cabanilles.Christophe Coin,plays the viola da gamba,he is also a first class cellist in field of early music performance,he has performed with groups such as the Academy of Ancient Music,under C.Hughwood,Mr.Cin displays himself in this recording,with his performance of "La Folia" a set of variations in a popular tune by Martin y Coll.Soprano Moserrat Figueras was splendid in this recording too,this was her first colaboration with Jordi Savall.My favorite track were#3"Peynandose Estaba un Olmo".The quality of the recording is great for a re-issue.The only problem was that the liner notes failed to tell about the performers.El Barroco Español: Spanish Secular Music, c.1640-1700 Overview

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Village Lanterne Review

Village Lanterne
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Village Lanterne ReviewBlackmore's Night return with a brand new album titled The Village Lanterne, in some ways their most realized effort. After several releases and years of touring together, Ritchie Blackmore and Candice Night seem to have a more clear idea of what they want to do with their music, and where to take it. Especially Candice Night has grown and improved immensely both as a lyricist and singer. Her voice is more mature now, with a distinct sense of confidence and passion. She sings with sheer emotion and conviction through the whole album, proving she's a key element in the unique sound of Blackmore's Night. As for Ritchie Blackmore, no words would do justice to describe his talents and songwriting skills, let alone his distinctive tone and phrasing he puts behind his compositions.
For those of you not familiar with Blackmore's Night (however unlikely that may be), they play an impressive style of Renaissance era music, combining it with elements of new age, folk, rock, and blues, among others. Though heavily acoustic guitar driven, their songs blend a rich array of mandolins, violins, cellos, tambourines, drums, trumpets, bagpipes, and keyboards. Still retaining the classic Blackmore's Night sound, The Village Lanterne is arguably their most modern-sounding release to date. This seems to be because of the recording techniques they employed in the studio, rendering some of the pieces noticeably more contemporary than their earlier work. They are not omnipresent, however. It's more like the band and producer Pat Regan decided to incorporate some new textures and a heavier focus on atmospherics on some tracks. Songs like "Olde Village Lanterne" and "I Guess It Doesn't Matter Anymore" are both marked with effective rhythmic patterns, particularly in the way the drums and percussion are played. Aside from that though, the songs are your typical Blackmore's Night numbers, highlighted by Night's convincing voice and Blackmore's crystal-clean acoustic guitar, both worth dying for. The symphonic backdrop on "The Olde Village Lanterne" lends it an ethereal new age vibe (thanks to its creative arrangement) while Blackmore fuses wonderful blues licks with 16th century folk melodies on its successor.
As with previous albums, there are mini instrumentals present on The Village Lanterne as well. "The Messenger" merges Blackmore's love for new age and acoustic guitars, utilising subtle keys and orchestral motifs; while "Village Dance" is a more laidback yet more direct acoustic number. Much like these two tracks, "Mond Tanz" (Moon Dance) is the first instrumental part of the band's "Child in Time" rework on track nine. The instrumental piece starts out as a happy, upbeat cut, secretly slipping into the classic Deep Purple anthem, where Candice Night's harmony vocals are so beautiful you may want to freeze. Blackmore throws out full-on blues-inflected riffs before the band goes back to the playfulness of "Mond Tanz" to wrap the piece up. Another "cover" song on the album is the special bonus track "Street of Dreams", found only on the Japanese import of the album. This one features Blackmore's counterpart Joe Lynn Turner, who exchanges verses with Candice Night. The two singers duet, harmonise, and swap choruses, while Blackmore plays an enchanting lead solo with a medieval touch.
Candice Night's vocals on the emotional "Once In A Garden" recall her pure yet powerful performance on the debut album Shadow of the Moon, still a personal favourite of mine. The chanting-like male back vocals and Celtic bagpipe melodies on "World of Stone" and the almost-live performed "Olde Mill Inn", or the hard-rocking "St. Teresa" all help diversify the album, with impressive results.
The Japanese version of the CD contains the aforementioned essential bonus track with Joe Lynn Turner, two booklets (the black and white one being in Japanese) and a neat packaging with a nice sticker. Though Shadow of the Moon and Fires At Midnight will remain on top of many fans's lists, I believe The Village Lanterne will make a great addition to the Blackmore's Night discography.Village Lanterne Overview

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The Bells of St. Genevieve and Other Baroque Delights Review

The Bells of St. Genevieve and Other Baroque Delights
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The Bells of St. Genevieve and Other Baroque Delights Review"The Bells of St. Genevieve" is a compilation of Baroque pieces that would serve as an excellent introduction for someone who would like to hear more of the Baroque style beyond "Spring" from "The Four Seasons" or "Canon" by Pachelbel. Granted, this cd does contain "Canon" (what Baroque compilation could resist including it), but it doesn't stop there.
I'm not an expert when it comes to Baroque music, but I am something beyond a beginner; I guess I'd consider myself a moderately knowledgable amateur. However, before purchasing this album, I had never heard the title piece, "The Arrival of the Queen of Sheba," or track # 10 "Guitar Concerto" by Vivaldi. Some of the other tracks were familiar but not well-known to me. I was also pleased to see the inclusion of the turbulent Presto from "Summer" instead of the ubiquitous "Spring."
Compilations are often quite useful in helping neophytes get a better understanding and appreciation for classical music (I know they've helped me over the years). Not all compilations are a good mix or contain decent recordings; many seem like carbon copies of each other. This one, however, has good sound quality and great recordings from the likes of James Galway, Pinchas Zukerman, Canadian Brass, and James Levine.
I recommend this album to anyone wishing to branch out a bit in Baroque music but who is not sure where to start. I've discovered new favorites from listening to this album.The Bells of St. Genevieve and Other Baroque Delights Overview

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Ancient Airs and Dances: 16th Century Songs & Dances for Lute Review

Ancient Airs and Dances: 16th Century Songs and Dances for Lute
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Ancient Airs and Dances: 16th Century Songs & Dances for Lute Review'Ancient Airs and Dances' performed by Paul O'Dette on lutes and guitar, accompanyied by vocals from tenor Rogers Covey-Crump, violinist, John Holloway, lutist, Nigel North, and base viol player Christel Thielmann has all the qualities I like in medieval performances, with the bonus that even I, who has virtually no real training in either stringed instruments or ancient music can appreciate the skill with which these pieces, many by an anonymous composer, are performed.
I would probably not have bought this CD if it were not for the combination of artist O'Dette's reputation plus the recording label, Hyperion, whose relatively pricy works are always superior, especially for performances involving a small ensemble.
I usually listen to all music simply for the visceral punch, or in an attempt to educate my viscera to get more punch from an unfamiliar style of music.
While this recording does not leave my viscera unengaged, it is outstanding in the sense that it successfully involves my higher cognitive functions, which Mick and Keith rarely reach.
Very highly recommended as a sample of old music.Ancient Airs and Dances: 16th Century Songs & Dances for Lute Overview

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The Renaissance Lute Review

The Renaissance Lute
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The Renaissance Lute ReviewThis album now rates as my favorite from among the lute music offerings readily available from commericial sources in the US. Ronn MacFarlane plays enthusiastically and dynamically, and the great affinity he seems to have for the songs is readily transmitted through the recording. There is nothing monotonous here: each rendition sparkles. Here is an album you can listen to again and again, eagerly anticipating every listen.The Renaissance Lute Overview

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Music from the Odhecaton Review

Music from the Odhecaton
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Music from the Odhecaton ReviewThe doucaine was discovered a few years ago (circa 1969+)in the sunken wreck of one of Henry VIII's war ships. It is somewhat like a shawm but has a mostly cylindrical bore instead of conical, which gives it a somewhat more subdued presence. This recording by Piffaro contains several pieces arranged for doucaine(s). Piffaro ranks among the greatest of early music groups and the guest performers in this recording are equally as great. For example, Kiri Tollaksen playing cornetto is among the
best I have heard (having been at one of her performances this summer). This recording should be in the collection of every person who appreciates early music.Music from the Odhecaton Overview

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Stadtpfeiffer: Music of Renaissance Germany Review

Stadtpfeiffer: Music of Renaissance Germany
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Stadtpfeiffer: Music of Renaissance Germany Review"Across early Renaissance Europe," begins commentator Robert Kendrick in the insert introduction, "the best-known wind ensembles consisted largely of players from Germanic lands, who took their craft with them to Italy, Spain, and France." This CD features sophisticated, contrapuntal compositions of Senfl, Isaac, Othmayer and Finck, interspersed with delightfully direct arrangements of simpler tunes by the Piffaro musicians themselves. Alternating consorts of recorders and reeds are enhanced by brass, lute, harp and percussion. Core Piffaro members Adam and Rotem Gilbert, Grant Herreid, Tom Zajac, and co-directors Joan Kimball and Robert Wiemken are joined by guests Benjamin Harris on percussion, Christa Patton on harp, and Mack Ramsey on wind instruments. This is my favorite Piffaro recording so far, because of the variety of distinctive sounds and composition styles. There's a bit of everything on here, and all of it very enjoyable to listen to! Done in a similar vein is the group's 2002 Dorian release, "Music from the Odhecaton: Celebrating the 500th Anniversary of the First Printed Music".Stadtpfeiffer: Music of Renaissance Germany Overview

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The Pleasures of the Royal Courts Review

The Pleasures of the Royal Courts
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The Pleasures of the Royal Courts ReviewI've always liked this recording for the variety of pieces it contains: Italian, Spanish, German, Burgundian. The main drawback is that they only have one singer - some pieces with vocal harmony would have been nice.The Pleasures of the Royal Courts Overview

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