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Isaac: In the time of Lorenzo de’ Medici and Maximilan I

Isaac: In the time of Lorenzo de’ Medici and Maximilan I

1450-1519


1. La morra (instrumental) - Henricus Isaac

2. Motet : Sustinuimus pacem ? 4 v. - Henricus Isaac

3. Fanfare of the Medicis: Palle, palle (instrumental) - Henricus Isaac

4. Motet : Parce, Domine - Henricus Isaac

5. Chanson : Innsbruck, ich mu? dich lassen - Henricus Isaac

6. Carnival song: Hora e di maggio - Henricus Isaac

7. Instrumental song: A la battaglia - Henricus Isaac

8. Lament: Quis dabit capiti meo aquan? Henricus Isaac / Angelo Poliziano

9. Motet : Sancti spiritus assit nobis gratia - Henricus Isaac

10. Motet : Angeli, Archangeli ? 6 v. - Henricus Isaac

11. Instrumental motet (Duc de Ferrara) : La Mi La Sol - Henricus Isaac

12. Motet : Optime Divino date munere pastor ovili ? 6 v. - Henricus Isaac

13. Motet (Choralis Constantinus) : Circumdederunt me - Henricus Isaac

14. Song : O Welt, ich mu? dich lassen - Henricus Isaac / Texte Anonyme

15. Motet (Contrafactum de Virgo prudentissima) : Christus, filius Dei ? 6 v. - Henricus Isaac


This new album is not only the opportunity to discover the music of Heinrich Isaac under the inspired direction of Jordi Savall ; it is also the portrait of an era during which the Hundred Year's War ended, the Medici family reached its peak, the idea of the Reformation surged and Charles V was crowned at the head of an Empire that redefined the idea of Europe, as did the music of this time.

Recorded December 23rd, 2016 - January 19th, 2017 in Spain

Format: digipak deluxe - 1 hybrid multichannel

SACD

Booklet: English, French, German, Italian, Castillan, Catalan

“a musical narrative assembled with real skill and the judicious interweaving of the instrumental forces of Hesperion XXI with the voices of La Capella Reial de Catalunya keeps it all fresh, lively and unpredictable” Record Review, 23rd July 2017

“a wide-ranging recital, associating each meticulously crafted, sumptuous piece with an event relevant to the composer, not least his time in the employ of de’ Medici and Maximilian I. It’s all beautifully performed and lavishly presented.” Sunday Times, 23rd July 2017

“There’s a vast range of expression, from laments and motets to carnival songs and ceremonial music. Jordi Savall and his musicians excel in this repertoire and seem more at home with this harmonious idiom than they do in later work.” The Observer, 30th July 2017 ****

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De Falla: El Amor Brujo

De Falla: El Amor Brujo

The essence of Manuel de Falla’s music


Cantemir:

Escena Bestenigar

Falla:

Canción del amor dolido (from El amor brujo)

Ritual Fire Dance (from El amor brujo)

El Amor Brujo: Pantomime

Las campanas del amanecer (El amor brujo)

Koumiss y Fuego Fatuo

Pasacalle en Círculo Mágico

Rodrigo:

Concierto de Aranjuez: Allegro con spirito

Concierto de Aranjuez: Adagio (extract)

Santa Cruz:

Xácara del juego de Amor

Sanz:

Canarios

trad.:

Taranta de la Siega


Enrike Solinís (guitar & laouto, musical director), María José Pére (vocals)

Euskal Barrokensemble

Following the album 'Euskal Antiqua', this new release by Enrike Solinis in the series Alia Vox Diversa offers new insight on the Spanish traditional music through a masterpiece by Manuel de Falla: The Enchanted Love (El Amor Brujo). In this ballet, Spanish tradition and classical music are intimately linked and Solinis’ new approach - on baroque instruments - makes the essence of De Falla’s music perfectly audible.

In addition to De Falla’s work, the Euskal Barrokensemble performs other pieces inspired by fertile encounters between popular and classical music. This sheds new light on well known masterpieces like the famous 'Concerto de Aranjuez' by Rodrigo or Scarlatti's Sonatas.

“Curious, quirky, but performed so well as to compel attention.” The Observer, 28th May 2017

“it works so brilliantly well … I love the earthy singing of Maria Jose Perez, it’s very nuanced; she goes from this hoarse throaty sound to a lighter head voice, it’s absolutely soaked in tradition and very artful … the huskiness and smokiness of her voice is just wonderful” Record Review, 24th June 2017

“There's no doubting the enthusiasm of the performers or the frequent brilliance of the playing. The sound, dominated by guitars, sackbut and an almost guttural low flute can in itself be attractive, above all in Cantemir's Bestengiar, new to me and utterly beguiling. Solinís himself is a real virtuoso, and Pérez deliver the vocals with a sexy, arthy tone and trememdnous flamboyance.” Gramophone Magazine, July 2017

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Les Éléments: Tempêtes, orages et fêtes marines

Les Éléments: Tempêtes, orages et fêtes marines


Locke:

Music from The Tempest

Marais, M:

Suite No. 4 "Airs pour les Matelots & les Tritons"

Rameau:

Air pour les Zephirs (from Les Indes Galantes)

Orage et air pour Boree (from Les Indes galantes)

Tonnerre (from Hippolyte Et Aricie)

Zoroastre: Contredanse

Zoroastre: Contredanse très vive

Rebel, J-F:

Les Élémens

Telemann:

Overture (Suite) TWV 55:C3 in C major for wind, strings & b.c. 'Hamburger Ebb und Fluth' ('Wassermusik')

Vivaldi:

Flute Concerto, Op. 10 No. 1 in F major, RV 433 'La tempesta di mare'


This double album is an invitation to explore the forces of nature, so vividly depicted by the composers at the turn of the XVIIth and XVIIIth centuries.

With this stunning (and first) recording of Jean-Fery Rebel’s Les Elements, Jordi Savall displays his unmatched vision of the baroque orchestral repertoire, proving that authenticity and timbral beauty aren’t mutually exclusive.

New recordings of works by Locke, Vivaldi, Marais, Telemann and Rameau - a splendidly varied and expressively wide-ranging selection - is a welcome addition to the existing landmark recordings made by Savall in this repertoire.

Pellucid engineering complements the live performances perfectly, offering warmth without excessive resonance, and letting the players shine.

“Jordi Savall’s inventive programming explores earth, air, fire and water. The ferment of Rameau’s Tonnerre from Hippolyte meets the cooler but highly original Curtain Tune from Matthew Locke’s Tempest and Vivaldi’s bubbling Tempesta di mare concerto. Hidden in Marin Marais’ Alcione, with its tremendous Chaconne, is the surprise of a march that became a popular Christmas carol. Le Concert des Nations plays with typical verve and energy” The Guardian, 10th January 2016 ****

“a live recording of an excellent programme with the theme of musical ‘tone painting'...I enjoyed the discs very much.” Early Music Review, 24th January 2016

“Jordi Savall directs with typical grandeur and depth of tone. The subject-matter means plenty of work for the two-man wind machine and rumbling drum department, but there is exquisite contrast too in, say, the fluty stillness of Marais’s Ritournelle or the exquisitely graceful ‘sleeping Thetis’ Sarabande of the Telemann.” Gramophone Magazine, February 2016

“All through there are striking moments with Le Concert des Nations weaving some wonderful sounds with lovely textures and harmonies, particularly towards the end … Jordi Savall has gathered together a terrific collection of music to which he and Le Concert des Nations bring life and buoyancy, colour and great textures” The Classical Reviewer, 6th February 2016

“a very rewarding exploration of how several Baroque composers treated the themes of nature and the elements.” MusicWeb International, May 2016

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Rameau: L’Orchestre de Louis XV

Rameau: L’Orchestre de Louis XV


Rameau:

Les Indes galantes: Suite

Naïs: orchestral suite

Zoroastre: orchestral suite

Les Boréades: orchestral suite

Les Indes Galantes 1735:

Ouverture, Musette en Rondeau, Air vif, Air des Incas pour la dévotion du Soleil, Air pour les amants qui suivent Bellone, Air pour les guerriers, Menuets pour les Guerriers et Amazones I&II

Orage, Air pour les esclaves africains, Air pour Borée et la Rose, 2ème Air pour les Zephirs, Tambourins I/II, Chaconne

Naïs 1748:

Ouverture, Musette tendre, Rigaudons I /II, Sarabande, Gavotte pour les Zéphirs, Loure, Musette, Tambourins I/II, Entrée des Luteurs, Chaconne, Air de Triomphe

Zoroastre 1749:

Ouverture, Passepieds I/II, Loure, Air des Esprits, Infernaux II, Air tendre en Rondeau, Air Grave, Gavotte en Rondeau, Sarabande, Contredanse

Les Boréades 1764:

Suite d’Orchestre, Ouverture, Entrée, Entrée des Peuples, Contredanse en rondeau, Les Vents Gavotte I&II pour les heures et les Zephirs, Menuets I- II, Contredanse très vive


Following the success of the albums L’ Orchestre de Louis XIII (Philidor l’Aisné) and L’ Orchestre du Roi Soleil (Lully), Jordi Savall delivers another dynastic opus consisting of music by Jean-Philippe Rameau. Le Concert des Nations sparkles in these four orchestral suites which document the genius of the French composer and Jordi Savall’s affinity with the repertoire of the the XVIIIth century.

“This is dance music of dizzying variety and instrumental colour...There's lively, rumbustious playing from Le Concert des Nations...The angular contredanses with their quirky intervals, and the magnificent chaconnes, are splendid – the one for Naïs (1748), involving dancing athletes, boxers, runners and wrestlers, is made for the Olympics opening.” The Observer, 19th June 2011

“Jordi Savall and his ebullient Baroque orchestra, Le Concert des Nations, have released recordings of the music Philidor wrote for Louis XIII, and Lully for Louis XIV. All is eclipsed by the double-CD of Rameau’s fabulously spirited rococo pieces for Louis XV’s orchestra...these suites have a tunefulness, an instrumental diversity and a quirky joyousness that even the most curmudgeonly Anglo-Saxon soul will find hard to resist.” The Times, 18th June 2011 ****

“The exhilarating effect of this joyous music could scarcely be better conveyed. Savall has chosen his “suites” to reflect the astonishing variety of Rameau’s instrumentation and inventiveness as a composer of ballet music...The wonderfully windy music for Les Boréades (sons of Boréas, the north wind) culminates in a sizzling contredanse très vive — guaranteed to set the toes tapping.” Sunday Times, 26th June 2011 *****

“The Chaconne ending Les Indes Galantes shows Savall's breadth, roving with equal conviction from pastoral sensuality to blazing, robust militarism. The whiplash strings of the Nais Overture free an infectious rhythm and the off-beat timpani create thrilling thunder in a voluminous acoustic.” Classic FM Magazine, September 2011 ****

“With a large and varied orchestra and (optional) surround sound, Jordi Savall revels in the unmatched opulence, extravagance and scale of mid-18th century France...The music is divorced from its dramatic context and the visual accompaniment of costume, dancing and scenery, but is speaks splendidly for itself, displaying Rameau's kaleidoscopic orchestration and arresting devices...A magnificent production - the high Baroque doesn't get higher than this” BBC Music Magazine, October 2011 *****

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Granada 1013-1526

Granada 1013-1526


1. Invocación Qamti be-Ishon Layla (Cantar de los Cantares. Inspirado en Cantar 3, 1-4)

2. Taqsim instrumental & Danza morisca (Ney)

3. Moaxaja: Billadi askara min aadbi Llama - Al-Andalus

4. Preces: Penitentes orate - Plegaria mozárabe s. XI

5. Ductia (instr.) - Cantiga de Santa María (CSM 123) - Alfonso X El Sabio

6. Siónida: Yefe Nof - Yehudá Haleví (1075-1141)

7. Taqsim (Kanun) - Improvisación - Moaxaja: Ya gosan naqa - Ibn Zuhr - Tradición Al-Ándalus

8. Fragmento de la Carta sobre la conversión forzosa Iggeret ha-Shemad, cap. IV - Las Estrellas de los cielos

9. Danza morisca

10. Lamento: Plange Castella misera - Anónimo, Códice de Las Huelgas, f. 160, s. X

11. Danza de iniciación (instrumental)

12. Lamento hebraico-andaluz Dror yiqrá - Dunash ben Labrat, s. X

13. Poema en piedra de la Alhambra de Granada. Texto en árabe de Ibn Zamrak - Taqsim

14. Pero que seja a gente - Cantiga de Santa María (CSM 181) - Alfonso X El Sabio

15. Romance fronterizo: Cerco de Baeza - Anónimo, Cancionero de Palacio (CMP 106)

16. Lamento: El camino – La angustia - Improvisación andalusí

17. Propiñan del Melyor (instr.) - Anónimo, s. XV

18. Villancico: Aquella mora garrida - Gabriel, Cancionero de Palacio (CMP 254)

19. Villancico: Viva el gran Re Don Fernando - Carlo Verardi

20. Romance: El pan de la aflicción - Plegaria sefardí

21. Diario de abordo de Cristóbal Colón, Noche del 11 al 12 octubre 1492

22. Villancico: Todos los bienes del mundo - Juan del Enzina

23. Crónica de los Reyes de Castilla, cap. CXCVI

24. Lamento andalusí Maqam hijaz - Ibn Zaydún (Córdoba 1003-Sevilla 1071)


Jordi Savall examines 500 years of history in this portrait of a city that symbolises like no other the fruitful, and at the same time, conflictual encounter of the three monotheistic religions. The succession of the Zirid, Almoravid, Almohad and Nasrid dynasties, their relationship with the neighbouring Christian kingdoms and the often precarious situation of the Jews (the first inhabitants of this area) are reflected in this wide musical fresco, in which each culture displays its most advanced refinement.

“imaginatively chosen, memorably performed, well documented with essays and illustrations.” Record Review, 11th June 2016

“Here is a fascinating range of music Islamic, Jewish and Christian, charting half a millennium of history...The performances under Savall’s direction are always evocative, and some are touching and some vibrant.” Sunday Times, 3rd July 2016

“A classic Jordi Savall project with Iberian cultural history lesson and loads of misty reverb attached...the performances are full of finesse and intensity...What stands out for me is the Mozarabic polyphony – vibrant, poised singing from La Capella Reial de Catalunya.” The Guardian, 28th July 2016 ****

“The celebration of musical interconnectedness is manifest in the smoothness of Savall’s programme and its execution … Heart-rending moments of beauty abound such as Manuel Forcano’s (director, Institute Ramon Llull) recitation concerning the forced conversion of the Jews in 1148.” Gramophone Magazine, September 2016

“The music itself is packed full of discoveries and treasures which often reveal themselves through juxtaposition … The choral work is also typically excellent … In short, this is a breathtaking achievement. It’s the kind of disc that often left me in quiet astonishment not just at its ambition, artistry or skill, but at the way it tries to further the human story and enrich the experience of us all. Bravo!” MusicWeb International, September 2016

“As ever, Savall points up the sources’ colour, vitality, expressiveness and socio-political context in an exciting, fascinating and utterly beguiling programme … The singers are superb, displaying gorgeous timbres and honest emotional dimensions … the realisations are consistently moving and beautiful. Even the spoken texts sound mellifluous and resonant.” BBC Music Magazine, November 2016 *****

“In yet another Tardis of a disc, time-traveller extraordinare Jordi Savall packs five centuries and seven epochs of Granada’s history into a haunting, atmospheric, evocative, heart-rending, -stopping, -warming by turns melange of three medieval cultures: Arabic, Christian and Jewish … this SACD with (as ever) stunningly beautiful booklet enthrals, enchants and demands total attention.” Choir & Organ, November/December 2016

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Llibre Vermell de Montserrat

Llibre Vermell de Montserrat

Red Book of Montserrat


Jordi Savall (rabec, rebab, viella & direcció)

Hespèrion XXI & La Capella Reial de Catalunya

Recorded live in Barcelona (Church Santa Maria del Pi) November 25th, 2013

Jordi Savall had every historical, geographical and emotional reason to pay a well deserved tribute to one of the most famous manuscripts of ancient music. The 'Llibre Vermell de Montserrat' is a collection of devotional texts containing late medieval songs and dances. The 14th-century manuscript was compiled in and is still located at the monastery of Montserrat outside Barcelona in Catalonia (Spain). The title describes the red binding in which the collection was placed in the 19th century. The songs were written in Catalan, in Occitan and in Latin for the pilgrims to have something appropriately «chaste and pious» to sing and dance. In this beautiful live recording made at the Santa Maria del Pi church in Barcelona, the colorful succession of songs and dances offers us a pleasant trip to the heart of the medieval music.

“The 10 numbers are punctuated by bells and interspersed with instrumental improvisations, so that as so often with Savall, it’s all undeniably atmospheric, but hard to separate what might be authentic from what is purely speculative.” The Guardian, 15th December 2016 ***

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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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The Routes of Slavery 1444-1888

The Routes of Slavery 1444-1888

Africa, Portugal, Spain & Latin America


Kassé Mady Diabaté & Violet Diallo (Mali) & Jordi Savall (viola da gamba and Artistic director)

Hespèrion XXI - La Capella Reial de Catalunya & Tembembe Ensamble Continuo

A homage to the memory of victims of the slave trade.

This new multicultural project from Jordi Savall and his musicians on The Routes of Slavery (1444-1888) marks a world first in the history of music and of the three continents involved in the trade in African slaves and their exploitation in the New World, which are brought together through the early music of the colonial period, the musical traditions of Mali and the oral traditions of the descendants of slaves in Madagascar, Brazil, Colombia and Mexico. This 'Musical Memoir' is accompanied with historical texts on slavery, beginning with the early chronicles of 1444 and concluding with texts written by the Nobel Peace Prize-winner Martin Luther King shortly before his assassination in 1968.

Sponsored by UNESCO, this musical reconciliation is founded on equality, harmony and reciprocal inspiration, constituting the commemoration of a tragic and shameful chapter in the history of mankind. A vast historical and musical fresco, which throws light on the West’s attitude towards Africans in Latin America, the United States and Europe, as well as its indifference towards that 'forgotten' continent of Africa. But it is also a joyful celebration of hearts and spirits united through music and dance, offering us all a vital source of survival, a refuge of peace, consolation and hope.

2 hybrid SACD + 1 DVD filmed live at the Fontfroide Abbey (France) PAL zone 0

Booklet : English, French, German, Italian, Castillian, Catalan

“[Savall’s] latest project explor[es] the musical trail left by the slave trade, and instead of trying to describe it, the narrations of contemporary descriptions of slavery, the music from percussion and simple improvisation to more formal choral works and pieces from Africa and Madagascar, to Spain, Mexico, Latin America …None does this kind of thing quite like Savall and his label Alia Vox.” Record Review, February 2017

“It’s both a timely reminder of our ignoble instinct to subjugate and a moving gesture of reconciliation.” Sunday Times, 26th February 2017

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Couperin, F: Pieces de Viole

Couperin, F: Pieces de Viole

1728. with figured bass by Mr F.C.


Première suite: Prélude, Allemande légère, Courante, Sarabande grave, Gavotte, Gigue, Passacaille ou Chaconne

Deuxième suite: Prélude, Fuguéte, Pompe funèbre, La Chemise blanche


Jordi Savall (bass viol 7-string, anon, French, XVII century), Ton Koopman (harpsichord, Gilbert des Ruisseaux, end XVII century) & Ariane Maurette (bass viol Barak Norman, London 1697)

The first album made by Jordi Savall for the Astrée label!

After Mr Marin Marais and Sainte Colombe, Jordi Savall presents another summit of music for viola da gamba in his Heritage collection. This 1975 disc confirmed Couperin as a master, if proof were needed, and of his affinitities with the masters of French music.

This remastered high definition multi-channel SACD and very informative booklet complete this reissue of a must-have of the Savall oeuvre.

“Savall and co play with a warmth, a passion and a sense of freedom unsurpassed since.” Sunday Times, 16th December 2012

“Although still at the beginning of his career as a viol player, Savall, serenely supported by Ton Koopman, plays with consummate mastery of Couperin's style. He caresses the notes, and shapes and moulds the phrases, adding just the right amount of silence, allowing the music to breathe. However, some tempi now seems a little slow.” Gramophone Magazine, April 2013

“handsomely packaged with excellent documentation … his [Savall] account of the ‘Sarabande grave’ has all the requisite poetry and melancholy” Classical Music, June 2013

“Jordi Savall’s interpretations of the two suites, which comprise Couperin’s Pièces de Viole, are free, spontaneous and sensible to the elusive nuances of what Couperin called ‘le bon goût’.” Early Music Today

GGramophone Magazine

Re-issue of the Month - April 2013

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Vivaldi & Bach: Magnificats and Concerti

Vivaldi & Bach: Magnificats and Concerti


Bach, J S:

Keyboard Concerto No. 1 in D minor, BWV1052

Pierre Hantaï (harpsichord)

Magnificat in D major, BWV243

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya

Magnificat in D major, BWV243

bonus DVD

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya

Keyboard Concerto No. 1 in D minor, BWV1052

bonus DVD

Pierre Hantaï (harpsichord)

Vivaldi:

Concerto, Op. 3 No. 2 'Con due Violini e Violoncello obligato', RV 578

Manfredo Kraemer, Pablo Valetti (violins)

Magnificat in G minor, RV610

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya

Magnificat in G minor, RV610

bonus DVD

Hanna Bayodi-Hirt, Johannette Zomer (sopranos), Damien Guillon (countertenor), David Munderloh (tenor) & Stephan MacLeod (baritone)

La Capella Reial de Catalunya


JS Bach and Vivaldi’s' Magnificat's: desert island repertoire to illustrate the splendour of the orchestra Le Concert des Nations and choir of La Capella Reial de Catalunya. Jordi Savall offers a vivid and striking performance of these two masterpieces, recorded live at the Royal Chapel in Versailles in 2013. Each of them is introduced by a concerto by the same composer in the same tonality.

The superlative performance of Pierre Hantaï in the Concerto BWV1052 is another jewel to the crown of this album.

“with performers of this calibre…the performances were always going to be impressive. All fans of Savall will want the set.” Early Music Review, February 2015

“it’s a win-win situation with this disc in terms of programming. The young singers are quite fine, and Savall leads a quality performance.” Audiophile Audition, 6th February 2015

“To watch as well as hear two outstanding Baroque Magnificats is a thrilling experience. Jordi Savall's forces are in fine form, his soloists matched yet distinctively characterised...Savall paces the Magnificats to sustain the continuity of the text, despite the musical independence of each verse...the overall exuberance, technicaly control and commitment of the whole ensemble are infectious from the start.” BBC Music Magazine, March 2015 ****

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