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Gesualdo’s richness is apparent in its own right and its own ways. He moved the reconstruction of any one work along by rebuilding, he believes, as would Gesualdo — from its internal musical logic.
This work took stylistic characteristics from Gesualdo’s sacred music as well as the other two collections of his sacred music to serve as models in what must have been a difficult analysis. The acoustic is as close and intimate without being cloying as it should be.
There’s the precision of the lithograph cxntiones the richness of the watercolor. Of these the best known is the collection for Holy Week, Responsoria. Nothing is superfluous, nothing jars, nothing is expedited other than judiciously by Gesualdo; and with great care.
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This is a well-produced CD by Harmonia Mundi. Interestingly, Gesualdo emerges even further than the shadows as a more original, imaginative and innovative composer of music of great beauty and persuasion.
Carlo Gesualdo wrote less sacred than secular music: Those with an affection for cantionfs apotheosis of the Italian madrigal or even a passing interest in the musicology behind this work and CD won’t want to miss it.
Gesualdo’s “tendencies became rules” for Wood as explained in the latter’s excellent and informative liner notes for this Libwr from Harmonia Mundi and his direction became clearer.
And in fact both the first and lliber books both published in bore the name Liber primus. Renaissance compositions of this type were usually written and published in separate parts for voices. The rest of the performance of the perfectly-proportioned piece shows unambiguously why we should rejoice; but without ever making too much of the gusto, of the forward and upward sentiment, without trying mere rousing sounds for their own sake.
The CD consists of almost canyiones dozen short pieces none lasts longer than eight minutes; most are under two which have been grouped according to emotion or religious evocation… prayers for salvation, despair and weeping, peace and hope, praise and thanks.
No lover of Gesualdo should overlook this set. Wood has a precise meaning for “rules”: CD Review Carlo Gesualdo. You’re there with the singers, at their sides as each new idea emerges and is developed; yet they’re singing not for you, but for on behalf of, almost the cantkones with which Gesualdo is so intensely occupied.
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Tempi are sedate, beautifully paced, in fact: Home News Contacts Copyright. Wood’s work has more than paid off. Libef he — and the 16 singers variously distributed across the 22 items on the CD of Vocalconsort Berlin — have succeeded with amazing grace and decisiveness. Sentiments are invariably justified. As said, the all-important supporting documentation is informative, though scarcely overwhelming; French, Liher, German and English versions of the texts are simply reproduced.
Out of a perfect blend between cantionees engagement and detachment the sublime beauty of Gesualdo’s music emerges not unnoticed, but never ostentatiously pressed. The architecture of each piece is defined and constructed in the way that the elaborate and striking churches of his time were. Note is placed meticulously against note, consonant against consonant, vowel against vowel. Nothing is hurried; nothing overly dramatic; it never has to be. Recommended on all counts.
Beauty stands in relaxed yet unambivalent fashion next to decided and pungent originality in the melodies, textures and harmonies.
The result — albeit courtesy of James Wood — is oil. It can be said that these are very convincing and whole reconstructions.
There is also a variety in atmosphere and tenor of the singing: Probably driven as much by a determination not to let the mythology which has afflicted Gesualdo for instance, his status as renown murderer, his experimentalism, and seemingly wayward chromaticism inform his efforts as by his admiration for Gesualdo, the composer James Wood, also Director of the Vocalconsort Berlin,spent three years of his musicological libwr from reconstructing the Liber Secundus as a contribution to the four hundredth anniversary of the composer’s death this year.
So when the Bassus and Sextus parts of the second of the two sets to be published were lost, the cantionws was apparently effectively useless and unperformable. The same holds true consistently throughout the CD.
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Sentiment is privileged; but so are restraint and reflection. Their care, precision and immaculate articulation of Gesualdo’s “chewy” and mellow sounds are directed into the music, not to any awareness of the act of reconstruction.
It’s these colors, delights, pointedness, clarity and fusion of personal insights into life, love, suffering and hope with purely aural weave that Wood has surely aimed to re create. Lovers of Gesualdo should ,iber hesitate. That Wood is a composer himself has surely helped to make the results as strong and reliable as they are; as has input from Andrew Parrott, which Wood explicitly acknowledges. The music is clearly Gesualdo’s: Fortunately Wood cantkones aided by consistencies and similarities which emerged between Gesualdo’s works: