Chansons Musicales, Joyssance vous donneray (豆瓣)

表演者: Thomas Kügler / l Desiderio / Arianna Savall / Marcello Gatti / Ursula Thelen
流派: 古典
专辑类型: CD
介质: CD
发行时间: 2003-10-10
出版者: Aeolus
唱片数: 1
条形码: 4026798100667
其他版本: Chansons Musicales: Joyssance vous donneray （全部）

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简介 · · · · · ·

　　" The good spirits of these performers—their delight in the music— makes this enjoyable ing. " (American Record Guide)
　　The booklet notes for this album are quite complex, and their English translation has various problems. One is that the "flutes" referred to throughout are commonly called recorders in English. The music, however, is capable of standing on its own. The ... (展开全部) 　　" The good spirits of these performers—their delight in the music— makes this enjoyable ing. " (American Record Guide)
　　The booklet notes for this album are quite complex, and their English translation has various problems. One is that the "flutes" referred to throughout are commonly called recorders in English. The music, however, is capable of standing on its own. The program brings together two related repertoires that are often performed separately (when they are performed at all): the French chanson of the sixteenth century, and the instrumental versions of them, somewhere in a fascinating space between arrangement and new music, that issued from the presses of French music publishers. Most of the instrumental pieces are played by groups of recorders, perhaps with a harp (played by vocalist Arianna Savall herself) or other stringed instruments. The songs involved are very famous; they're the ones that anyone who has taken a Renaissance music survey course will have encountered (such as Claudin de Sermisy's "Tant que vivray"). Most of them are heard in several different versions, one sung by Savall with instrumental accompaniment, then followed by the instrumental versions. As each tune is split apart and put back together anew, the program gives the er a gentle way into the understanding of just why it was that these particular tunes spread all over Europe. (There is, it must be said, plenty to learn from the booklet as well, for the persistent.) Savall is developing a voice as gorgeous as that of her mother, Montserrat Figueras, and the instrumental work of the ensemble Il Desiderio is impressive in its cleanness and clarity. This is a disc with numerous applications for education or simply for quiet Renaissance ing. James Manheim, All Music Guide
　　"The good spirits of these performers—their delight in the music— makes this enjoyable listening."
　　Made in 2002, this release seems to be, so far as I know, the first venture by Arianna Savall beyond participation in the projects of her parents, Jordi Savall and Montserrat Figueras, and their AliaVox label. On this evidence, she would seem to have a lot to offer on her own.
　　This program follows many earlier examples of exploration into 16th Century French song and dance. Of the 27 selections (the last is simply a free improvisation by the players), ten are part-songs or polyphonic chansons, usually for four voices, by the likes of Sermisy, Anonymous, Lassus, Sandrin, Cadec, and Le Jeune, with the top part sung (usually by Savall) and the remaining parts played instrumentally. While I usually prefer such music done ail-vocally, there is ample contemporaneous justification for the approach here, which has the effect of reminding us how good the melodies are in so much of this material. Some of the songs are settings of the same texts by different composers (two of one, three of another). On the other hand, six of the songs are heard in characteristic instrumental elaborations of the day, with the vocal originals also included for perspective. And there is a nice group of three Gervaise dances to enliven the party.
　　All this material is both pleasant and fascinating, as well as intelligently assembled and explained. My reservations result from the resources brought to bear. There are seven players variously involved: no less than five on early flutes (led by Kiigler), plus one on "muted cornet", one on lute, and one on bass viol. Savall herself pitches in on harp, while one of the recorder players is also a mezzo-soprano vocalist (who really sounds like a countertenor!).
　　Savall's voice has something of the same steely hardness of her mother's, but she is expert and plainly committed. If there is rather a lot of her voice for some tastes, there is also an excess of flute and a thinness of instrumental textures that makes one long for more varied sounds. But in the end, the good spirits of these performers—their delight in the music— makes this enjoyable listening.
　　Texts and translations included. --American Record Guide, Barker

曲目 · · · · · ·

1. Jouyssance Vous Donneray, chanson, for 4 voices
2. Jouissance Vous Donneray
3. Une jeune fillette
4. Fantasie No. 29 à 3 on 'Une jeune fillette': Part 1
5. Fantasie No. 29 à 3 on 'Une jeune fillette': Part 2
6. Fantasy No. 32 à 5 on 'Une jeune fillette': Part 1
7. Fantasy No. 32 à 5 on 'Une jeune fillette': Part 2
8. Fantasy No. 32 à 5 on 'Une jeune fillette': Part 3
9. Susanne un jour (G. Guerault), chanson for 5 voices, B. 52 (S. xiv/29)
10. Susanne un jour, diminution after Lassus for chamber ensemble
11. Susanne un jour (7 voix, 05 violes)
12. Fantasy No. 25 à 4 on 'Le Seigneur dès qu'on nous offense'
13. Doulce mémoire, chanson
14. Recercada No. 3 on 'Doulce mémoire', for chamber ensemble
15. Recercada No. 2 on 'Doulce mémoire', for chamber ensemble
16. Jouissance vous donneray, chanson for 5 voices
17. La nuict froide et somber (Du Bellay), chanson for 4 voices, B. xii/119 (S. xii/34)
18. Pavanne passemaize & Gaillarde
19. Tant que vivrait en eage florissant, chanson for 4 voices
20. Fantasy No. 42 à 6 on 'Je suis déshéritée'
21. Je suis déshéritée, chanson
22. Je suis déshéritée, for 2 voices
23. Que je porte d'envie
24. Que je porte d'envie
25. Martin menoit son porceau, chanson for 4 voices, M. 2/60
26. Je suis desheritee à 6
27. Le Seigneur dès qu'on nous offense, chanson