ALFONS V EL MAGNANIM -
El Cancionero De
Montecassino
Sacred and Secular Music
Sacred Music
Adoramus te (4 v.)
Ave Maris Stella (3&4 v.)
Ave Maris Stella (harp)
Dufay: Veni sancte spiritus (3 v.)
Anon. / Dufay: Miserere nostri / Vexilla Regis (4 v.)
Fantasia CM 91 (winds)
Dufay: Magnificat (4 v.)
Cornago: Patres nostri peccaverunt (4 v.) (viols)
Cum autem venissem (4 v.)
Secular Music
Chiave, chiave (toccata)
Merce te chiamo (ballatta)
La fille guillemin (ballo)
O tempo bono (strambotto)
Zappay (instrumental strambotto)
Piangendo chiamo (disperata)
Puisque vos me lasses seulete / Je ne vous amare Marioneta (double chanson)
Alle stamenge (canto carnascialesco)
Collinetto (ballo)
Amor tu non me gabasti (barzelletta)
Dufay: Je vos pri mon tres (triple chanson)
Correno multi cani (strambotto-caccia)
Ockeghem: Mort tu as navrè / Miserere pie Jhesu
Miserere pie Jesu
Mort tu as navrÈ de ton dart
Retoricque, se Dieu me gard
En sa jonesse fut soudart
La Spagna (basse dance)
Cornago / Ockeghem: Qu'es mi vida preguntais (canciûn)
Viva viva Rey Ferrando (cancion)
Hayne: De tous biens plaine (chanson)
Dindirindin (canzon alla villota)
Performers:
Montserrat Figueras (soprano), Maria Cristina Kiehr (mezzo-soprano), Carlos
Mena (countertenor), Kai Wessel (countertenor), Josep M. Gregori (countertenor),
Jean-Yves Guerry (countertenor), Lambert Climent (tenor), Francesc Garrigosa
(tenor), LluÌs VilamajÛ (tenor), Daniele Carnovich (bass), Jordi
Ricart (bass, baritone), Xavier Sans (bass), Jordi Savall (viol), Sergi
Casademunt (viol), Eunice Brandao (viol), Lorenz Duftschmid (viol), Sophie
Watillon (viol), Philippe Pierlot (viol), Jean-Pierre Canihac (cornet),
BÈtrice Delpierre (shawm), Alfredo Bernardini (shawm), Daniel Lassalle
(sackbut), Stefan LegÈe (sackbut), Richard Cheetham (sackbut), Josep
Borr‡s (bombarde), Andrew Lawrence-King (harp), Arianna Savall (harp),
Rolf Lislevand (lute), Xavier DÌaz (lute), Michael Behringer (organ),
Guido Morini (organ), Pedro Estevan (percussion)
La Capella Reial de Catalunya - Jordi Savall
Rec: November 1996, November 1997, February 1998, April 1998.
ALIA VOX
9816 A+B (2 CDs)
[145.45]
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recommendations
This set contains the works from a songbook discovered in the Montecassino
Abbey near Naples. The Spanish king Alfonso V had conquered Naples in 1442,
and this book contains music for his and his court's entertainment. This
was a critical period for music in Europe, as forms and styles were gradually
being transformed. The pieces in this songbook give us a unique perspective
on this variety through the juxtaposition of works of many different styles.
The first CD of this two-disc set contains sacred music. With an overall
atmosphere of piety, this grave music is slow, drawn-out, and its beauty
becomes apparent as one listens to the subtle melodies. While one might criticize
the homogeneity of the sound of the works on this CD, taken as a whole they
present a vision of the world in the 15th century. Perhaps some of the music
could be played in a more lively manner; but then the sound would lose its
coherence.
In spite of the length of time separating us from this music, some of it
has an oddly familiar sound. The first movement of the processional hymn
Cum autem venissem recalls, through its fanfare-like horns, the
rarely-played national anthem of some small country, heard once every four
years at the Olympics. Yet the textures and repetitive structure of this
amazing piece recall the contemporary works of Arvo Pärt.
Another notable piece is Guillaume Dufay's Veni sancte spiritus, a
mass for 5 voices, which is sung with admirable flexibility and grace. This
a cappella work is the epitome of 15th century vocal music, in its combination
of melodic waves and counterpoint, with the voices flowing together to form
a whole.
The second CD features secular music, various types of songs and instrumental
works. Since Naples was a crossroads for European music in this time, there
are a wide variety of influences present. These works, much simpler than
the sacred works, include songs in French, Spanish, Italian and others. Most
are anonymous, but some are by such well-known composers as Dufay and Ockeghem.
These works are more rhythmic than the sacred works, many featuring percussion,
horns, and a wide variety of instruments. The crystalline voice of Montserrat
Figueras rings out in songs such as Merc te chiamo and Je vos pri
mon tres. As always, her pure voice is a joy to listen to. Nevertheless,
even with these secular works, the prevalent atmosphere is melancholy and
solemn.
Some works stand out from this atmosphere, however. The foot-tapping song
Alle stamenge is so catchy I found myself playing it over and over,
in spite of its banal subject matter:
This way for sieves, ladies,
This way for sieves.
Who wants a good sifting?
I am a miller
And I make good flour.
If all millers had jingles like that you can be sure they did good business!
When considering this type of work, it is useful to consider questions of
authenticity. Did the viol consort exist in the late 15th century? It is
not so sure. Nevertheless, the short work Patres nostri peccaverunt
works fine for four viols, although it sounds much more 17th century
than 15th century - but this does not detract from the lush, sumptuous sound
of this work. Or, did Dufay use instruments with the voices in his masses?
Musicologists don't think so. Savall's choices, which make up part of his
signature "sound", may be open to discussion, but the fact remains that,
no matter what he plays, it sounds good. He has a way of arranging early
music and adding his own touch to it that makes it unique. Having heard many
of his recordings, and having heard him perform live several times, I have
never been disappointed. It is useful to recall what Tess Knighton said,
in the Companion to Medieval and Renaissance Music (OUP, 1997):
"Perhaps the crux of the issue . . . remains how to
find the balance between an attractive mode of presentation . . . and the
realization in sound of the concept of authenticity. [. . .] all that matters
is that the recording should make the music live again, should make it move
and cheer us as it did our predecessors all those centuries ago."
One must admit, Jordi Savall manages this with almost every one of his
recordings, and the present disc is no exception.
It should be noted that the quality of this recording is remarkable. This
is definitely a disc that is best heard on headphones - each voice, each
instrument stands out clearly in the mix, and the slightest subtleties can
be heard. It is rare to hear a recording of this quality.
Savall, yet again, pulls another forgotten manuscript out of the past,
revitalizing the music, adding his imprimatur to it to give it a distinctive
sound. Some like this sound, others do not, but none can deny that it stands
out as a unique expression of music from another era. This is another refreshing
glimpse of the musical past, recorded beautifully.
Kirk McElhearn
