Описание CD

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  Исполнитель(и) :
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  Наименование CD :
   The Art Of Countertenor

Год издания : 1999

Компания звукозаписи : Archiv

Время звучания : 2:13:44

К-во CD : 2

Код CD : 463 042-2 (0 28946 30422 8)

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Classics Vocal (Man Voice)      

English Chamber Orchestra - John Nelson

English Concert - Trevor Pinnock

His Majesties Sagbutts and Cornetts, English Baroque Soloists, Monteverdi Choir - John Eliot Gardiner

========= from the cover ==========

Countertenors - Novelty and Revival

The art of the countertenor is, to all intents and purposes, a 20th-century phenomenon. Though there are a few early recordings of men singing falsetto to set beside those made by the "last castrato", Alessandro Moreschi, who directed the Sistine Chapel Choir in Rome until after World War I, it was not until the career of Alfred Deller took off in the mid-1940s that the countertenor could really be considered a serious solo voice. Deller, who had been a singing man, or lay clerk, in the choir first of Canterbury Cathedral, then of St. Paul's, London, made his name primarily performing Elizabethan and Jacobean lute and concert songs and Purcell.

The tradition of adult male falsettists singing the alto line in choirs survived the Reformation in England and was reaffirmed after the Restoration of the monarchy in 1660. But it was the 1500-year adherence to St. Paul's dictum "Mulier taceat in ecclesia" (Let women keep silent in church) by the Roman Catholic authorities that created a demand in church music for both the practice of castration and the refinement of falsetto singing techniques. In fact, it is unclear whether the "Spanish falsettists" in the Sistine choir at the time of Palestrina and Lassus were actually castrati.

The Western Church was never as comfortable with routine emasculation as the Eastern Empire, which had depended on eunuchs to staff most of its civil service - a tradition buried in the mists of time which the Islamic revolution absorbed without concern. But the growing popularity of opera in 17th-century Italy, especially among various Roman cardinals as the century wore on, led to many castrations in poor families with singing sons - opera and theatre were profitable commercial activities where women initially were not very welcome. Falsetto singing is thus, in a way, a monument to the exclusion of women from cultural and political visibility.

During the 1960s gradually both the market for countertenors and the early music repertoire opened up. And now, on the edge of the millennium, there is a vast range of countertenors of different types making their careers with music by no means limited to what was originally written for the falsettist or castrato. In the last 50 years the expressive ambiguity of countertenor singing has taken its place in world culture alongside such phenomena as Japanese Kabuki theatre and the whole tradition of gender-bending "drag" impersonation, which in the field of opera has tended to be the preserve of mezzo-sopranos en travesti standing in for youth at the dawn of masculine sexuality, in roles like Mozart's Cherubino and Idamante, Richard Strauss's Octavian or Johann Strauss's Prince Orlofsky.

Michael Chance has emerged over the last 15 years as one of the most subtle and musical of countertenors from within the English tradition of collegiate and cathedral singing that gave rise to Deller. He has made his mark as an opera performer - in some of the new roles with which the countertenor voice has been honoured since the emergence of Deller, but also in works by Handel. The issue for countertenors is no longer "authenticity", whatever that means.

In fact, countertenors have been edged out of what they regarded as "their" repertoire (especially in the music of Purcell) by the current musicological reckoning that Purcell used the term countertenor to describe a high natural tenor voice, one really much more like the high-lying "hautecontre" phenomenon for which Lully, Charpentier and Rameau created many of their biggest starring roles. But countertenors no longer need appeal to history for their justification. They are now a phenomenon in their own right, and Michael Chance's singing of Bach and Vivaldi - as well as his approach to Purcell and other more traditional areas of the preclassical countertenor repertoire - helps to explain why.

- Torn Sutcliffe

  Соисполнители :

Antonio Vivaldi (Composer)
George Frideric Handel (Composer)
Henry Purcell (Composer)
Johann Sebastian Bach (Composer)
John Eliot Gardiner (Conductor)
John Nelson (Conductor)
Trevor Pinnock (Conductor)

№ п/п

Наименование трека



   1 01 Aria: 'Hymen, Hast, They Torch Prepare'         0:04:42 George Frideric Handel - Semele, Oratorio, HWV 58
   1 02 Aria: 'Your Tuneful Voice My Tale Would Tell'         0:04:59 -"-
   1 03 Aria: 'Despair No More Shall Wound Me'         0:05:05 -"-
   1 04 Aria: 'But Who May Abide The Day Of His Coming'         0:04:50 George Frideric Handel - Messiah, Oratorio, HWV 56
   1 05 Aria: 'Thou Art Gone Up On High'         0:03:14 -"-
   1 06 Auf Dem Gebirge Hat Man Ein Geschrei Gehoret         0:05:36 Heinrich Schutz - Motet For 2 Altos, 5 Instruments & Continuo, SWV 396 (Op. 11/28)
   1 07 Aria: 'Qui Sedes Ad Dextram Patris'         0:04:25 Johann Sebastian Bach - Mass In B Minor, For Soloists, Chorus & Orchestra, BWV 232 (BC E1)
   1 08 Aria: 'Agnus Dei'         0:05:47 -"-
   1 09 Aria: 'Erbarme Dich, Mein Gott'         0:06:43 Johann Sebastian Bach - St Matthew Passion (Matthauspassion), For Soloists, Double Chorus & Double Orchestra, BWV 244 (BC D3b)
   1 10 Aria: 'Sehet, Jesus Hat Die Hand' - Chorus: 'Wohin?'         0:03:18 -"-
   1 11 Aria: 'Von Den Stricken Meiner Sunden'         0:04:46 Johann Sebastian Bach - St John Passion (Johannespassion), BWV 245 (BC D2)
   1 12 Aria: 'Es Ist Vollbracht'         0:05:19 -"-
   1 13 Aria 'Schame Dich, o Seele, Nicht'         0:03:15 Johann Sebastian Bach - Herz Und Mund Und Tat Und Leben BWV147
   1 14 Aria: 'Wie Starb Die Heldin So Vergnugt'         0:07:13 Johann Sebastian Bach - Lass Furstin, Lass Noch Einen Strahl BWV198
   1 15 Arioso: 'In Deine Hande Befehl Ich Meinen Geist'         0:02:02 Johann Sebastian Bach - Cantata No. 106, "Gottes Zeit Ist Die Allerbeste Zeit," ("Actus Tragicus"), BWV 106 (BC B18)
   1 16 'Sound The Trumpet, Sound'         0:02:28 Henry Purcell - Sound The Trumpet, Beat The Drum (Welcome Ode For James II), For 2 Altos, Tenors, Basses, Chorus, Strings & Continuo, Z. 335
   1 17 'The Pale And Purple Rose'         0:02:35 Henry Purcell - Of Old When Heroes Thought It Base (Yorkshire Feast Song), Ode For Soloists, Chorus & Instruments, Z. 333
   1 18 'Sound, Trumpets, Sound!'         0:02:19 -"-
   2 01 Nisi Dominus (Allegro)         0:02:55 Antonio Vivaldi - Nisi Dominus (Psalm 126), For Voice, Viola D'amore, Strings & Continuo In G Minor, RV 608
   2 02 Vanum Est Vobis (Largo)         0:01:42 -"-
   2 03 Surgite (Presto Adagio)         0:01:56 -"-
   2 04 Cum Dederit (Largo Andante)         0:04:02 -"-
   2 05 Sicut Sagittae (Presto Allegro)         0:01:46 -"-
   2 06 Beatus Vir (Andante)         0:01:32 -"-
   2 07 Gloria Patri (Larghetto)         0:03:53 -"-
   2 08 Sicut Erat In Principio         0:01:12 -"-
   2 09 Amen (Allegro)         0:01:47 -"-
   2 10 Stabat Mater (Largo)         0:03:21 Antonio Vivaldi - Stabat Mater, Hymn For Voice, Strings & Continuo In F Minor, RV 621
   2 11 Cuius Animam (Adagissimo)         0:01:57 -"-
   2 12 O Quam Tristis (Andante)         0:01:41 -"-
   2 13 Quis Est Homo (Largo)         0:03:11 -"-
   2 14 Quis Non Posset (Adagissimo)         0:01:59 -"-
   2 15 Pro Peccatis (Andante)         0:01:40 -"-
   2 16 Eja Mater (Largo)         0:02:31 -"-
   2 17 Fac Ut Ardeat (Lento)         0:01:34 -"-
   2 18 Amen (Allegro)         0:00:58 -"-
   2 19 Salve Regina (Andante)         0:03:06 Antonio Vivaldi - Salve Regina, Antiphon For Voice, Double Chorus, 2 Recorders, Flute, Double Strings & Continuo In C Minor, RV 616
   2 20 Ad Te Clamamus (Allegro)         0:01:39 -"-
   2 21 Ad Te Suspiramus (Larghetto)         0:04:22 -"-
   2 22 Eja Ergo (Allegro)         0:01:35 -"-
   2 23 Et Jesum (Andante Molto)         0:01:59 -"-
   2 24 O Clemens (Andante)         0:02:48 -"-


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