Canticum Canticorum Les Voix Baroques

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CD

  • Release Date: 03/25/2008
  • Sales Rank: 37,638
  • Label: ATMA CLASSIQUE
  • UPC: 722056250320

Listener Rating: (2 ratings)

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Track List
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Canticum Canticorum

1LISTENVeni in hortum meum, mote
2LISTENOsculetur me, motet for 5
3LISTENAnima mea liquefacta est,
4LISTENAnima mea liquefacta est,
5LISTENDialogo della Cantica, fo
6LISTENRise Up, My Love, My Fair
7LISTENI Beheld Her, Beautiful a
8LISTENSet me as a seal upon thi
9LISTENMy Beloved Spake Unto Me,
10LISTENEgo dormio, motet for sop
11LISTENEgo dormio, motet for sop
12LISTENDilecte mi, motet for 3 v
13LISTENWork(s): Passacaille (Piè
14LISTENPulchra est et decora, mo
15LISTENQuam pulcra es, antiphon
16LISTENMy beloved spake, anthem

Editorial Reviews

Hearing the 20th-century pieces with only one voice per part gives them a compelling edge compared to the usual round, big-choir sound. John Terauds, Toronto Star

Customer Reviews

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  • Ratings: 2Reviews: 2

Canticum Canticorumby Anonymous

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March 31, 2008: I’ve listened to this disc half a dozen times already, yet I still don’t know if I can adequately do justice to its sublime vocal magic. It’s comprised of a number of songs inspired by the Song of Songs, a book in the Bible that celebrates both divine and physical love. The composers, to name but a few, range from the late-Medieval period (John Dunstable), through the Renaissance (Giovanni Pierluigi da Palestrina), Baroque (Marc-Antoine Charpentier) and early 20th century (William Walton). Those accustomed to contemporary sounds may have a difficult time accessing the sensual nature of this period music, so subtle and discreet is it (the disc’s sexy cover photo notwithstanding). But it takes no effort at all to be swept away to another time by the gorgeous melodies of all the composers represented here, as well as by the inspired singing of the chamber ensemble known as Les Voix Baroques. Abetted by an able group of performers on period instruments, they evoke a rich vein of emotional transcendence in the music and romantic imagery in the lyrics. My favorite lines come from Charpentier’s “Dilecti Mi”: “My soul sighs, fainting towards you. My heart, mouth, tongue, senses express the languor of love.” If only today’s popular music lyrics were so eloquent. Many of the songs are written in a minor key, and cast a mournful, contemplative mood, but one that is never oppressive or despairing. This is music to which attention must be paid to gain access to its secluded core—where a calming oasis for mind and spirit awaits those eager to escape for an hour or so a culture of increasing psychic dissonance.

Canticum Canticorumby Anonymous

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March 31, 2008: For centuries, biblical scholars have struggled with the Song of Songs. It can't be just a set of love poems, the thinking goes, because then why would it be in the Bible? And if it's not just a set of love poems, what is it? An allegory, is the general answer, of Yahweh's relationship with his people, or Christ's with the church, or even something involving the Virgin Mary. To my mind, the poems are a little too erotic for an allegorical interpretation, but a CD review isn't really the place for a theological discussion. If we're to judge things by their covers, then "Canticum canticorum" leans heavily on the sensual side of the argument, but in fact the various approaches to the Song of Songs all feature here. Les Voix Baroques here comprise 6 singers "2 sopranos, countertenor, tenor, baritone, and bass-baritone" and 9 instrumentalists, including "guest musical director" Stephen Stubbs. With one voice per part, this allows the recording to come closer to the singers than one would get with a full choir. And that's the first thing you notice here - the immediacy of the voices. It's a gorgeous-sounding disc. The lovely rich sound of the Lassus piece is followed by a much sparer work from his contemporary Palestrina - this latter has a raptness to it, the composer making the most of all the sibilants in the opening line. Following this are two pieces by Schutz, which came as a shock to me because the last Schutz I'd listened to was Philippe Herreweghe's recording of the Opus ultimum - these pieces are much earlier, and are a vivd reminder that he was also a composer of Italian madrigals. Both are for 2 tenors and 2 cornets, and at times they're practically operatic - listen to the cries of "amore" in "Adjuro vos". Here and in 2 subsequent pieces, it seems that Schutz is the one who most adheres to a sensual interpretation of the Song of Songs. The longish dialogue for soprano and chorus by Mazzocchi is the first on the disc that is strictly religious, although it's not necessarily a Christianity many of us would recognise today: "A bundle of myrrh is my well-beloved Christ unto me, He shall lie betwixt my breasts". Somehow this successfully segues into 2 pieces by Healey Willan written nearly 300 years later - the one-voice-per-part makes the difference seem smaller, I suppose. These are lovely - although "in honour of Our Lady" they are romantic pieces. Walton's "Set me as a seal" sounds remarkable here without a big choir - the intimacy of the small setting gives it great power in the line "love is strong as death". I didn't immediately warm to the Tomkins piece that follows, but I think it simply suffered by comparison. Tracks 12 to 14 form a little French section - 2 pieces by Charpentier "with what I presume is authentic French-sounding Latin" with an instrumental by Marais between, a delightful passacaglia for 2 violins that fits perfectly with everything else. Another highlight is the Dunstable piece - the 3 men bring both warmth and gentleness to it. And finally Purcell's "My beloved spake" - the only piece here that I already have in my collection "Decca's Winchester Cathedral one from 1992", which allows a direct comparison and confirms that I find the up-close recording of the voices to be far more successful than the big acoustic of a cathedral. To sum up: a marvellous disc, bringing together...