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Nova Metamorphosi - Le Poeme Harmonique
1610 Nova Metamorphosi
Musique sacree а Milan au debut du XVIIe siecle :
A) Messe Quarti Toni de Vincenzo Ruffo
B) Metamorphose des madrigaux de Monterverdi pour un usage spirituel par Aquilino Coppini entre 1606 et 1609
Direction par Vincent Dumestre de l'ensemble Le Poeme Harmonique
Alpha 039
20/07/2003
http://www.alpha-prod.com
Time: 61:02
Anonyme
01. Confitemini Domino, psaume en faux-bourdon
02. Confitemini Domino, psaume en faux-bourdon
03. Confitemini Domino, psaume en faux-bourdon
Claudio Monteverdi (1567-1643) / Aquilino Coppini
04. O gloriose martyr
(Transcription du madrigal de Monteverdi)
Vincenzo Ruffo (v. 1510-1587)
05. Kyrie eleison
Claudio Monteverdi / Aquilino Coppini
06. O infelix recessus
(Transcription du madrigal de Monteverdi)
Vincenzo Ruffo
07. Gloria
08. Credo
Claudio Monteverdi / Aquilino Coppini
09. O stellae coruscantes
10. Anima miseranda
(Transcription des madrigaux de Monteverdi)
Vincenzo Ruffo
11. Sanctus
12. Agnus Dei
Claudio Monteverdi / Aquilino Coppini
13. O Iesu mea vita
(Transcription du madrigal de Monteverdi)
Anonyme
14. Dixit Dominus, psaume en faux-bourdon
Nova Metamorfosi
Le Poème Harmonique
Vincent Dumestre, théorbe & direction
Claire Lefilliâtre, soprano
Catherine Padaut, soprano
Damien Guillon, alto
Jean-François Lombard, ténor
Bruno Bonhoure, ténor
Jean-François Novelli, ténor
Bernard Arrieta, baryton
Philippe Roche, basse
Kaori Uemura, dessus de viole
Sylvia Abramowicz, basse de viole
Isabelle Saint Yves, basse de viole
Martin Bauer, violone
William Dongois, cornet à bouquin
Mélanie Flahaut, dulciane
Jean-Luc Tamby, cistre basse luthé
Elisabeth Geiger, orgue positif
Recording : Hugues Deschaux
"« Ces nouvelles metamorphoses » sont celles qu'avait subies la musique sacree а Milan au debut du XVIIe siecle afin de respecter les principes de la Contre-Reforme. En effet, le Concile de Trente avait exige des compositeurs que la musique soit plus accessible aux fideles, notamment par l'intelligibilite du texte et l'abandon des exces polyphoniques а la mode. Il fallait accorder la priorite а la simplicite harmonique. А ces mots d'ordre, les musiciens repondront de bon gre, tel Vincenzo Ruffo qui abandonne la composition profane pour se consacrer а la musique religieuse, avec un talent etonnant. Mais l'art n'a que faire des diktats : les musiciens trouvent le moyen de combiner la liberte d'inspiration et la simplicite exigee par le biais de la technique de l'ornementation. Celle-ci avait atteint alors un stade de grand raffinement, comme en temoignent les madrigaux de Monteverdi. Au texte profane de certains de ces madrigaux, Aquilino Coppini substituera, а la demande des autorites ecclesiastiques, un texte religieux, selon le procede courant du « contrafacta », de sorte que ces compositions, si sensuelles soient-elles, puissent кtre chantees dans les eglises et les couvents... Le Poeme Harmonique ressuscite toute cette musique avec un art consomme, autant pour les voix que pour les instruments. Une decouverte et un ensemble а suivre." - Alexandre Lazarides
"If the following group of discs is any guide, it is quite obvious that standards of early music performance have reached a level of technical accomplishment at which even the most breathtakingly virtuoso solo writing holds no terrors for today's singers and players. The first two of them also suggest that the perpetual quest for ever greater degrees of historical authenticity in the performance of early music is becoming increasingly adventurous, often providing new perspectives on familiar repertory which challenge listeners' expectations in a thoroughly stimulating way. Certainly nobody who has heard the collection of Counter-Reformation Milanese church music recorded under the title Nova metamorfosi (Alpha 069, rec 2003) will ever feel quite the same about the 16th-century falsobordone method of setting plainchant in a simple chordal style. Thanks to Cardinal Carlo Borromeo, Archbishop of Milan from 1565, and a zealous enforcer of the Council of Trent's musico-liturgical reforms, local composers such as Vincenzo Ruffo, whose Missa quarti toni acts as the framework for this fascinating programme, were obliged to adopt a straightforward polyphonic style which left the words clearly intelligible, and falsobordone was increasingly in vogue for psalm-settings. The temptation to enliven this stark simplicity with ever more elaborate improvised ornamentation proved irresistible however, and, as Vincent Dumestre and Le Poeme Harmonique demonstrate in a performance of the psalm Confitemini Domino, the results could be quite stupendous. Layer upon layer of ornament, instrumental as well as vocal—the cornett works overtime, to splendid effect—is added..."
- Elizabeth Roche, "Baroque voices and violins", Early Music, Volume 33, Number 3, August 2005, pp. 533-535, OUP
http://www.amazon.com/Nova-Met<wbr>amorfosi-Po%E8me-Harmonique/dp<wbr>/B0000SX1US
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JAROUSSKY - Carestini
Philippe JAROUSSKY - Carestini, The story of a castrato
http://www.jarousskycarestini.<wbr>com/
THE MOST PERFECT STYLE OF SINGING
In the first half of the 18th century, when castrato singers were treated like today's rock superstars, Giovanni Carestini's name rivalled that of Farinelli.
If Farinelli wowed audiences with his spectacular technique, Carestini impressed with purity of sound and expressive musicality. As the German composer Hasse wrote: "Whoever has not heard Carestini is unacquainted with the most perfect style of singing." Hasse was just one of the major composers to create works for the singer: the other included Porpora, Leo, GIuck and, perhaps most notably, Handel. All of them are represented on this CD.
The young French countertenor Philippe jaroussky has been fascinated by Carestini for some time. As he said in an interview as long ago as 2002: "I think it is a shame to reduce the history of castrati to Farinelli ... There were other
magnificent singers. I am especially interested in Caffarelli and Carestini."
The celebrated flautist Quantz described the singer thus: "His voice was at first a beautiful and clear soprano, which afterwards changed into the fullest, finest and deepest counter-tenor that has perhaps ever been heard." Today, the unforced beauty of Jaroussky's tone and the refinement of his singing have captured the imagination of audiences around the world, with his recent recording of Vivaldi opera arias selling more than 70,000 copies in France alone.
Jaroussky originally trained as a violinist - David Oistrakh, along with Maria Callas, remains one of his musical idols - but he discovered his natural talent as a countertenor as soon as he started singing lessons at the age of eighteen. His technique is astounding, but what matters to him is what the music expresses. From the world of popular music he admires figures like Jacques Brel, Edith Piaf and Ella Fitzgerald for "the way they use their vocalism and how they evoke emotion through the voice alone: these are artists who could recite the phone book and make it a touching experience!"
With this tribute to Carestini "The idea is to experience |the castrato's| way of working with different repertoire, his rhythm of work, his ability to respond to the endless stream of new music from the composers of his time. Put another way, to see to what extent an interpreter can influence a composer like Handel ... and how the composer could be inspired by the timbre of a voice, a vocal colour, a presence and a personality."
Nicola Porpora 1686-1768
Siface - Ermnio
1. Aria: Tu che d'ardir m'accendi
Giovanni Maria Capelli 1648-1726
I fratelli riconosciuti - Attalo
2. Aria: Ciel nemico, avverse stelle
George Frideric Handel 1685-1759
Arianna in Creta-Teseo
3. Aria: Qui ti sfido, o mostro infame
Ariodante - Ariodante
4. Recitativo: E vivo ancora? - Aria: Scherza, infida Alcina - Ruggiero
5. Aria: Sta nell'ircana
6. Recitativo: Chi scopre al mio pensiero - Aria: Mi lusinga il dolce affetto
Leonardo Leo 1694-1744
Farnace- Parnate
7. Aria: Se mi dai morte
Johann Adolf Hasse 1699-1783
La clemenza di Tito - Sesto
8. Aria: Se mai senti
9. Aria: Vo disperato
Christoph Willibald von Gluck 1714-1787
Demofoonte - Timante
10. Aria: Sperai vicino il lido
Carl Heinrich Graun 1703-1759
Orfeo - Orfeo
11. Recitativo: Ecco all'aure supreme - Aria: Mio bel nume
12. Aria: In mirar la mia sventura
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12 videos
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