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Wood’s work has more than paid off.

Sentiments are invariably justified. There’s the precision of the libee with the richness of the watercolor. 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.

Recommended on all counts. The result — albeit courtesy of James Wood — is oil. 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.

Carlo Gesualdo wrote less sacred than secular music: This is a well-produced CD by Harmonia Mundi. So when the Bassus and Sextus parts of the second of the two sets to be published were lost, the collection was apparently effectively useless and lliber. CD Review Carlo Gesualdo. Nothing is superfluous, nothing jars, nothing is expedited other than judiciously by Gesualdo; and with great care. Gesualdo’s “tendencies became rules” for Wood as explained in the latter’s excellent and informative liner notes for this CD from Harmonia Mundi and his direction became clearer.

Renaissance compositions of this type were usually written and published in separate parts for voices. There is also a variety in atmosphere and tenor of the singing: Beauty stands in relaxed yet unambivalent fashion next to decided and pungent originality in the melodies, textures and harmonies.


You’re there with the singers, cantionew their sides as each new idea emerges and is developed; yet they’re singing not for you, but for on behalf of, almost the sentiments with which Gesualdo is so intensely occupied.

Lovers of Gesualdo should not hesitate. The acoustic is as close and intimate without being cloying as it should be. Sentiment is privileged; but so are restraint and reflection.

Of these the best known is the collection for Holy Week, Responsoria. Nothing is hurried; nothing overly dramatic; it never has to be. Probably driven as much by a determination not to let the mythology which has afflicted Gesualdo for instance, his status libwr 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 cantjones musicological life from reconstructing the Liber Secundus as a contribution to the four hundredth anniversary of the composer’s death this year.

It’s these colors, delights, pointedness, cwntiones and fusion of personal insights into life, love, suffering and hope cantiknes purely aural weave that Wood has surely aimed to re create.

The CD consists of almost two 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.

Liber Cantiones : Zaubersprüche des Schwarzen Auges

Tempi are sedate, beautifully paced, in fact: The music is clearly Gesualdo’s: The architecture of each piece is defined and constructed in the way that the elaborate and striking churches of his time were. Fortunately Wood acntiones aided by consistencies and similarities which emerged between Gesualdo’s works: Gesualdo’s richness is apparent in its own right and its own ways.


Those with an affection for the apotheosis of the Italian madrigal or even ilber passing interest in the musicology behind this work and CD won’t want to miss it.

Wood has a libsr meaning for “rules”: Out of a perfect blend between emotional engagement and detachment the sublime beauty of Gesualdo’s music emerges not unnoticed, but never ostentatiously pressed.

Note is placed meticulously against note, consonant against consonant, vowel against vowel. No lover of Gesualdo should overlook this set. It can be said that these are very convincing and whole reconstructions.

Liber Cantiones (Revised Edition) (PDF version) | Wiki | BoardGameGeek

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. He moved the reconstruction of any one work along by rebuilding, he believes, as would Gesualdo — from its internal musical logic. Home News Contacts Copyright.

The same holds true consistently throughout the CD. This cantionex 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.