Huelgas Ensemble / Paul van Nevel THE EAR OF THE HUGUENOTS

The Huelgas Ensemble under Paul Van Nevel are numbered among the world’s best vocal ensembles for over 40 years. Their recordings of, in many cases, completely unknown works has earned the ensemble the highest international acclaim. The press wrote of their last recording: “The Huelgas Ensemble once again demonstrates its artistic skill and expressive power” (SWR 2). For their new album, Paul Van Nevel has selected outstanding works by Huguenot composers of the 16th century, a period when Protestants were ruthlessly persecuted in pre-revolutionary France. The tragic height of this persecution was the Saint Bartholomew’s Day massacre on the night of 23–24 August 1572, when the lives of thousands of Huguenots were taken. Despite the religious repression and persecution, a Protestant culture filled with musical riches was able to develop in France. This included psalm settings by various composers that are well worth being discovered and cover an impressive range of styles from homophonic to polyphonic motets encompassing many voice parts. For this album the Huelgas Ensemble has recorded the most interesting works of composers such as Claude Goudimel (1510–1572), Jaques Maudit (1557–1627), Giovanni da Palestrina (1525–1594), Pascal de l’Estocart (1539–1584) as well as Jean Servin (1530–1596) and Claude Le Jeune (1528–1600). The recording is an impressive demonstration of the outstanding tonal artistry of these composers and provides a glimpse of a compelling epoch in music history.

Ensemble Mare Nostrum / Andrea De Carlo LE CONCERT DES VIOLES

Whilst Italian composers had taken up the ‘modern' form of the sonata and adapted it to the violin at the beginning of the 17th century, French composers remained faithful to the principles of polyphonic music with their fantaisies that were still intended for ensembles of viols; the role of the violin in France at that time was still limited to providing music for dancing. Such knowledge of polyphony was demanded not only from composers of vocal music but also from organists, one of whom was Louis Couperin and who was also dessus de viole de la chambre du Roi. Our recording comes to a fitting conclusion with the last French work to be written for ensemble of viols: Marc-Antoine Charpentier's Concert à quatre parties de violes.

ORA REFUGE FROM THE FLAMES

Following the stunning success of their best-selling debut, Suzi Digby’s crack vocal ensemble ORA presents their new album: ‘Refuge from the Flames’. Dedicated to the legacy of Girolamo Savonarola, 15th century Dominican and religious reformer, this new CD further showcases ORA's commitment to bringing together Renaissance choral masterpieces and commissioned reflections from contemporary composers. ORA bring a wealth of experience that gilds these pieces, both new and old, into the lustrous works of art they truly are.

“We begin and end this second ORA album with two contrasting settings of the Miserere mei (Psalm 50, Vulgate). Over the centuries this text has inspired reflections by many Christian writers, none more influential than those by Girolamo Savonarola, and we have devoted much of this album to his extraordinary legacy. Central to the recording is Savonarola’s meditation on the psalm, 'Infelix Ego', written shortly before his execution. We present it here in William Byrd’s justly famous setting, and in a newly commissioned masterpiece by the Latvian composer Eriks Ešenvalds.” (Suzi Digby OBE, artistic director & conductor)

Magnificat / Philip Cave SCATTERED ASHES Josquin's Miserere and the Savonarolan Legacy

To celebrate their 25^th anniversary, vocal ensemble Magnificat directed by Philip Cave have created a programme of Renaissance polyphonic works inspired by Girolamo Savonarola's (1452-98) famous meditations written while awaiting execution. One contemplates Psalm 50, Miserere mei, Deus, and another Psalm 30, In te, Domine, speravi. Savonarola was a Dominican friar burnt at the stake for his reformist preaching, his ashes scattered in a river to prevent supporters preserving them as relics.
This disc opens with Josquin's extraordinarily vast setting of the Miserere. Weighing in at just over 17 minutes, it is a motet of grandiose proportions characterised by repetition of the words ‘Miserere mei, Deus' (Have mercy on me, God). This functions like a refrain with five voices framing what is mostly a two- or three-voiced texture. Added to this, Cave employs his full complement of singers for each refrain and uses just solo voices in between, further emphasising the variations of texture. The overall tempo is quite slow if compared, say, to La Chapelle Royale under Philippe Herreweghe, but solo voices allow for a suppleness of phrasing that enhances forward momentum, often with arrestingly beautiful segues between textures such as at ‘et impii ad te convertentur' (‘and the unholy will turn back to you'), where a solo soprano soars over the dying echo of Savonarola's repeated plea.
In Lhéritier's more dense polyphonic setting of In te, Domine, speravi, Magnificat's velvety sound is at its most luxurious. This sonorous ensemble, combined with Cave's unhurried tempi, create a wonderfully melancholic sound world. Their interpretations of the post-Josquin generation of continental composers, Gombert and Clemens specifically, are among the finest on disc.
The programme ends with Byrd's Infelix ego. It's a tender performance; phrases roll pleasingly forwards under Cave's direction and his interpretation nudges Byrd closer to his continental counterparts. My own preference lies with a more demonstrative madrigalian approach such as The Cardinall's Musick under Andrew Carwood, leading to a dramatic final plea ‘Miserere mei, Deus' scorching the texture with emphatic chords. Here, instead, Cave strikes a prayerful note to end his programme. (Edward Breen / Gramophone)