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World music CD DVD shop and Classic distribution
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ID: SIGCD048 (EAN: 635212004821) | 1 CD | DDD Released in: 2004
- LABEL:
- Signum Records
- Collection:
- Vocal Collection
- Subcollection:
- Choir
- Composers:
- GESUALDO, Carlo (Prince of Venosa, Count of Conza)
-
Interprets:
- CONNOLLY, Stephen (bass) | CROUCH, Gabriel (baritone) | HURLEY, David | LAWSON, Philip (baritone) | PHOENIX, Paul (tenor) | TYSON, Robin
- Ensembles:
- The King's Singers
- Other info:
Early Music Vol. XXXIII No. 2
Signum Records is proud to announce the release of the latest recording by The King's Singers: Gesualdo's Tenebrae Responsories for Maundy Thursday.
The Italian Prince, Carlos Gesualdo, is probably most famous for the obsessive double murder of his first wife along with her lover, but his music is not always accredited with the same sense of celebrity.
Gesualdo is known in traditional history books as an amateur composer. His music is characterised by wild gesticulation and abrupt starts and stops, particular to a composer who just didn’t know what he was doing. However, the 20th century has now uncovered our composer’s place in history as part of a larger movement of Neapolitan artists, and as perhaps the most forward-thinking, expressive and sensual composer of his time.
The King’s Singers were fascinated by the naked honesty that is heard within this 400 year old music. It is so startling that it keeps its freshness of surprise even on many repeated hearings. The music portrays a desperate and wretched, but also passionate and loving person who is set on composing "further out" than anyone else.
Gesualdo moved in the highest circles of Italy and was extremely wealthy. His decadent lifestyle allowed him to do and write exactly as he pleased, and at the tender age of 19 it brought him into close contact with one of the most attractive and admired women in Naples. Maria d’Avalos was twice widowed by the age of 25. Her marriage to Gesualdo was initially promising. However, Maria’s rich social life soon dominated the relationship and a profound and constant jealousy took possession of the young and highly sensitive composer. After four years of turmoil he hired professional murderers to assist him in killing wife and lover while they were in bed together. The violence and rage of the act is well-documented.
After the murder of Maria, Gesualdo suffered from severe and increasing feelings of guilt. Penitence never left him and he was moved to compose church music of a most black and self-reproachful nature. The programme on this CD represents part of the liturgy for the Matins Offices on the final three days of Holy Week, the Triduum Sacrum. Each of the Matins services is divided into three nocturns, each containing psalmody, three lessons and three responsaries.
| GESUALDO, Carlo (Prince of Venosa, Count of Conza) (1566-1613) | | | Tenebrae Responsories for Maundy Thursday | | | 1. | Lectio 1 | 4:40 | | | 2. | In Monte Oliveti | 4:39 | | | 3. | Tristis est anima mea | 4:43 | | | 4. | Ecce vidimus eum | 7:26 | | | 5. | Lectio 2 | 4:16 | | | 6. | amicus meus osculi | 3:53 | | | 7. | Judas mercator pessimus | 2:36 | | | 8. | Unus ex discipulis meis | 6:08 | | | 9. | Lectio 3 | 3:56 | | | 10. | Eram quasi agnus innocens | 5:11 | | | 11. | Una hora non potuistis | 3:28 | | | 12. | Seniores populi consilium | 6:23 | | | 13. | Benedictus | 7:46 | | | 14. | Christus factus est | 0:55 | | Early Music Vol. XXXIII No. 2
Here is a challenge. You have to devise a 70-minute recording of motets written by a single Renaissance composer, and to make it as engaging as possible for the listener.
…the most successful … is Carlo Gesualdo: Tenebrae responsories for Maundy Thursday, in which the King’s Singers take on nine of this composer’s most weird and wonderful motets. Too much Gesualdo can easily overwhelm, and there are other recordings of the responsories that soon saturate the brain. This one divides the motets into three groups of three, preceding each batch with a lectio from the Maundy Thursday rite, sung in plainchant by a solo voice. Following the responsories comes the longest track on the disc: Gesualdo’s rarely heard alternatim setting of the Benedictus. Harmonically it is the least startling item, and its calming effect after so much volatile polyphony is welcome. A snippet of chant brings the recital to an end. This quasi-liturgical structure is inspired, for it gives the impression that a ritual act has taken place, yet it throws the spotlight firmly on the Gesualdo motets - which are, after all, the reason for wanting to see the show. It was wise not to overcrowd the disc; nine of these motets is plenty.
As for the interpretation, they are excellent throughout. The King’s Singers have made real performances out of Gesualdo’s fragmented polyphony, without ever sounding precious or over-directed; there is just enough spontaneity here to make the pieces seem natural - or rather, as natural as this wildly imagined narration of the Maundy Thursday story ever can be. The teamwork of the ensemble is stunningly good, the tuning impeccable, and the dynamic range enormous; it ranges from quasi-whispers at one extreme to a deliberate coarseness of tone at the other. The performances may be chamber-sized, but they take place in the large resonant space of Douai Abbey, and it must have been a recording engineer’s nightmare to capture them; in fact, the final outcome works very well. Like everything else about this disc, it makes light of the fact that it cannot have been easy to achieve.
John Milsom
"... searingly intense, with the singers' clear, steady sound, beautifully judged changes of pace and dynamics ..."
Daily Telegraph
"The King's Singers are always a treat to hear, ... as with everything this inimitable, impeccably-tuned and balanced, stylish male sextet does, the chant is expertly accomplished, and the following multi-part responsories are sincerely felt and warmly resonant"
David Vernier, Classictoday.com
"... their reputation for after-dinner smoothness, the King's Singers .... all-male line-up .... makes those grinding climaxes all the more tense and penetrating, and the attention given to word-painting is exemplary"
Ivan Hewitt, The Times
"... a no holds barred, immaculately sung performance from the King's Singers. Unmissable"
Classic FM Magazine
18.00 eur Temporarily out of stock
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