Patrik Enander would like:
>...to recommend William Christie and Les Arts Florissant's fairly
>new record of Monteverdi's "Vespro della beate vergine". A piece that
>interests me a lot ... It is a sprited, lively, beautiful interpretation
>with lots of good singing especially the tenor Paul Agnew. I have heard
>other CD:s of this music (Savall, Jacobs, Herreweghe) but this is my
>favourite.
I posted a note in another thread ('Need more Elgar') on yet another
version of the "Vespers of the Blessed Virgin" very recently. Several
people have written to me privately about it, so I'll address their queries
about the version I'd recommended in this note.
The version I have is by The Scholars Baroque Ensemble, on a Naxos disc
(8.550662-3). I gather there's quite a bit of leeway in the scope of
interpretations with this music, so I'll add that this version uses a score
prepared for them by Clifford Bartlett. The liner notes go on to say that
the Ensemble "...has opted to perform the work with one singer and one
player to a part with a continuo section consisting of violoncello,
chitarrone and organ. No sixteen foot instrument is used. Antiphons,
suitable only for church servicees at specific times of the church year,
have not been added and the final Magnificat has been maintained at the
higher pitch to give a more dramatic ending to the whole work."
The Ensemble consists of Kym Amps and Janet Coxwell, sopranos; Angus
Davidson, Frances Jellard, altos; Robin Doveton, Julian Podger (with
John Bowen, no. 7), tenors; David van Asch, Adrian Peacock, basses.
The instruments listed include violins, cornetts, sackbuts, violoncello
chitarrone, organ. The organ is said to be by Terence Charlston, and David
van Asch is the Artistic Coordinator. The booklet includes the original
Latin text as well as an English translation; there are also liner notes
in German and French.
I was most impressed by the harmonic complexities of this music -- which,
as I mentioned in the previous posting, is quite new to me, even as to its
period. The recorded sound is crisp and clear, with one misgiving about
some remote-sounding singing, which might be deliberate echoing -- though
I doubt it. All the same, I found the music striking, the performance full
of gusto, and the sound generally top-rate.
Since you seem to know this music so well, I suggest you might want to
give this double CD a spin. Would you let us know how it compares with
the versions you've been hearing (in private if you'd prefer), with special
reference to the particulars as to instrumentation and other variances in
basic presentation. I, for one, would appreciate it.
Bert Bailey, in Ottawa
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