This is a re-release of a Sony Classics title which appeared in
2000, and was described as having a “modern sensuality you may not
automatically associate with the works of this era” by Rob Barnett
(see
review). This is certainly a recording which has stood the test of
time, and which can stand amongst the best in this remarkable repertoire.
It will be a matter of taste as to whether this is an advantage or
disadvantage, but Andrew Parrott’s performances stand apart in their
inclusion of the antipons and lectios which surround the
responsoria
which are the source of Gesualdo’s strikingly, indeed radically
expressive music. This means that there is a certain amount of religious
hanging about before you get to the good bits, but does mean you hear
Gesualdo’s compositions in a relatively realistic context. Other than
this, these are performances which have a much greater intensity than the
rather relaxed sounding Tallis Scholars on Gimell. If you are looking for
the cleanest of choral sounds then Nigel Short directing Tenebrae on the
Archiv label is jaw-droppingly gorgeous, but here again you have the
impression of voices well within their comfort zone. What I like about
Parrott and the Taverner Consort is the drama inherent in all-male,
all-adult voices which you sense are being pushed and manipulated by the
extremes of the music. Without the distinctive David James topping which
characterises the Hilliard Ensemble, this in some ways is more comparable
with their ECM set, which to my mind remains one of the best available.
Expressive vibrato is used judiciously in these performances, and with
an organic sense of phrasing, sensitive dynamics and pretty good clarity of
delivery when it comes to text, this is a fine recording with which I can
live quite happily. Gesualdo’s remarkably anguished harmonies are
served very well indeed. All texts are given in Latin and English in the
booklet.
Dominy Clements
