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Biber: Baroque Splendor - Missa Salisburgensis

Biber: Baroque Splendor - Missa Salisburgensis

Recorded in Cardona (Catalunya) January 14-16, 2015 except for La Battalia à 10, recorded on February 11th, 2002


Biber:

Motet 'Plaudite tympana'

Battalia à 10

Sonata Sancti Polycarpi

Missa Salisburgensis

Fanfara


Hanna Bayodi-Hirt, Marianne Beate Kielland, Pascal Bertin, David Sagastume, Nicholas Mulroy, Lluis Vilamajó, Daniele Carnovich, Antonio Abete

La Capella Reial de Catalunya & Le Concert des Nations, Jordi Savall

cd book

The 'Missa Salisburgensis à 53 voci' (in comparison, 'Spem in alium' was written by Thomas Tallis for «only» 40 voices) is perhaps the largest-scale piece of extant sacred Baroque music, an archetypical work of the Colossal Baroque. It is a polychoral composition which takes advantage of the multiple organs and various locations available for groups of singers and musicians to perform in Salzburg Cathedral, probably for the 1682 celebrations marking the 1100th anniversary of the founding of the Archbishopric of Salzburg. This stunning recording features Jordi Savall’s ensembles at their best and fully reveals the «splendour» of this masterpiece. A recording of cosmic proportions that Jordi Savall has decided to illustrate with a celestial image of the Helix Nebula. Nothing less.

“Savall rallies his ensembles to scale the exultant heights but still keeps things nimble; the full ensemble sound is warm, vibrant and spacious, while shapely solo voices make clear work of all that counterpoint...Savall is in his element [in Battalia], leading the dance with supple, graceful swing.” The Guardian, 10th September 2015 ****

“an ingenious balancing act between solo voices, choirs and brass, particularly in the ensemble developments of the Gloria and the lengthy Credo, with its shift from angelic high voices to deep, sorrowful ones as the crucifixion weighs heavily.” The Independent, 10th October 2015

“[a] superb new recording … The venue chosen for this recording – the Romanesque chapel of Cardona Castle in Catalonia – also possesses generous reverberation, but Savall knows how to capitalise on it, allowing the music to bloom and blaze but also to withdraw intimately into itself … the overall impression of sumptuousness certainly lives up to the CD’s Baroque Splendour title.” The Telegraph, October 2015

“Savall marshals the music with a keen sensibility to momentum, balance and colour…[his] more organically natural acoustic makes for an easier overall listen [than the Koopman or McCreesh versions] while losing only a little in forthright splendour…[the Mass] makes its awesome point.” Gramophone Magazine, November 2015

“This is Biber in gargantuan mode … superbly recorded. Groups ranging from solo voices with a pair of recorders to the full ensemble complete with brass and drums are thrown across the huge spaces of the chapel with palpable excitement and thrilling effect. The reverberation lasts over five seconds, yet every detail in the small scale passages is crystal clear, and the sheer weight of the full forces is shattering.” BBC Music Magazine, Christmas 2015

“The central work on the disc is the astonishing Missa Salisburgensis, but Savall surrounds this with a range of other works, choral and instrumental, that show this remarkable composer off to a dazzling degree. It's my greatest musical discovery of the year so far...It's very well sung but the effect when the voices, trumpets and drums all combine is breathtaking, and the engineers deserve credit for capturing it so faithfully...Overall, tremendous.” MusicWeb International, February 2016

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Marais, M: Suite in a Foreign Style (Suitte d'un Goût Etranger)

Marais, M: Suite in a Foreign Style (Suitte d'un Goût Etranger)


Pierre Hantaï (harpsichord); Xavier Díaz-Latorre, Rolf Lislevand (theorbs, guitars); Philippe Pierlot (bass viol); Andrew Lawrence-King (harp 'di tre ordine'); Pedro Estevan (percussion); Jordi Savall (bass viol)

Jordi Savall

To celebrate Marin Marais' 350th birthday, Jordi Savall has made his first complete recording of Marais' most intricate work: the Suitte d'un Goût Etranger. As indicated in the detailed liner notes, these 33 pieces offer the quintessence of the art of Marais, with fascinating titles like La Rêveuse (The Dreamer), La Singulière (The Special), La Bizarre (The Weird), La Superbe (The Proud), including the final Badinage, full of nostalgia. No other work in the baroque repertoire surpasses this fabulous 'Suitte'.

BBC Music Magazine Awards 2008

Chamber Finalist

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Mozart: Serenades, Notturno in D major & Ein musikalischer Spass

Mozart: Serenades, Notturno in D major & Ein musikalischer Spass


Mozart:

Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik'

Serenade No. 6 in D major, K239 'Serenata Notturna'

Notturno in D major K286

Ein musikalischer Spass K522


(Recorded on September 5 - 8, 2005 at the Castle of Cardona (Catalunya))

“Savall sets some brisk tempos, particularly for the slow movement of Eine kleine Nachtmusik, but they're convincing. …it's vivid playing from everyone, well defined in outline and responding imaginatively to the varied character of Mozart's music.” BBC Music Magazine, May 2006 *****

Penguin Guide

Rosette Winner

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Biber: Missa Bruxellensis

Biber: Missa Bruxellensis


“The performance here, superlatively recorded in the echoing - but never blurring - acoustics of Salzburg Cathedral, re-creates the work's premiere and is truly inspired. This marvellous disc cannot be recommended too highly.” Penguin Guide, 2011 edition

Penguin Guide

Rosette Winner

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Bach, J S: Musical Offering, BWV1079

Bach, J S: Musical Offering, BWV1079


Building a Library

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The Forgotten Kingdom

The Forgotten Kingdom

The Cathar Tragedy - The Albigensian Crusade


CD1: The Emergence and Heyday of Catharism - The Rise of Occitania c. 950-1204

I The origins of Catharism: East andWest: 950-1099

II The Rise of Occitania: 1100-1159

III The expansion of Catharism: 1160-1204

CD2: The Albigensian Crusade - Invasion of Occitania 1204-1228

IV Heading for confrontation: 1204-1208

V The Albigensian Crusade: 1209-1229.

CD3: Persecution, diaspora and the end of Catharism 1229-1463

VI The Inquisition: persecution of the Cathars and the elimination of Catharism 1230-1300.

VII Diaspora to Catalonia and the end of the Eastern Cathars 1309-1453


Catharism was the name given to a Christian religious sect that appeared in the Languedoc region of Southern France and flourished in the 12th and 13th centuries. Catharism had its roots in the Paulician movement in Armenia and the Bogomils of Bulgaria with whom the Paulicians merged. The Cathars saw matter as intrinsically evil: they denied that Jesus could become incarnate and still be the son of God. The Catholic Church regarded the sect as dangerously heretical. Faced with the rapid spread of the movement across the Languedoc region, the Church called for a crusade, which was carried out by knights from Northern France and Germany and was known as the Albigensian Crusade. The anti-Cathar Albigensian Crusade, and the inquisition which followed it, entirely eradicated the Cathars. The Albigensian Crusade had the effect of greatly weakening the semi-independent southern principalities included in the area of Occitania, such as Toulouse, ultimately bringing them under direct control of the King of France. Occitania, which had the misfortune of being the collateral victim of the Albigensian Crusade, used to be the crossroads of many cultures: Arabic Al-Andalus, Northern France and Flanders, Italy and even Constantinople. From this melting pot emerged a very refined culture, which culminated in the troubadour tradition: it subsequently spread to Italy, Spain and even Greece. Under the influence of the troubadours, related new movements sprang up throughout Europe: the Minnesingers in Germany, trovadorismo in Galicia and Portugal and that of the trouvères in northern France. This album explores the ‘classical' period of the troubadour school around the turn of the 13th century, but also provides us with a comprehensive historical and artistic background of this Golden Age. It is time we remembered this ‘forgotten' kingdom from which so much Western culture evolved.

“Savall takes ownership of the more elaborate versions of the Joan of Arc songs...and his own playing is sublime. Montserrat Figueras and the other vocal soloists and readers deliver superbly vivid performances...Altogether an impressive and deeply fascinating achievement.” Gramophone Magazine, April 2010

“As is customary with Jordi Savall's projects, the album presents vivid theatre for the ear...The performances by La Cappella and Hespèrion are as magical as ever” BBC Music Magazine, April 2010 *****

GGramophone Magazine

Disc of the Month - April 2010

CD Review

Critics' Disc of the Year - December 2010

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Maestros Del Siglo De Oro

Maestros Del Siglo De Oro

Masters From The Golden Century


Guerrero, Francisco:

Sacrae Cantiones

Morales, C:

Officium Defunctorum

Missa Pro Defunctis, A 5

Victoria:

Cantica Beatae Virginis


Building a Library

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