Search MusicWeb Here


selling Internationaly

aSymphonies 1 and 5 £9.00 post free

See also Symphonies 2 and 3

Vision of Judgement £9 post free

Newest Releases


Symphonies 1,2,4 £11.75 post free

  Founder: Len Mullenger
Editor-in-Chief: Rob Barnett

Some items
to consider

 

  • Menuhin lost tapes
  • Overtures SACD
  • Krommer Flute Quartets
  • Schubert Piano Trios 2CD
  • Menuhin lost tapes


Let me tell you


David Pia


Beethoven Rattle


Highly Impressive


Matthews Shostakovich
Sheer delight!


To live with


outstanding retrospective


A superb celebration


flair, insight, controversy


outstanding singing

 


Sheer bliss


best thing I’ve heard this year

this really exciting release

 

REVIEW
Plain text for smartphones & printers


Gerard Hoffnung CDs

Advertising on
Musicweb



Donate and get a free CD

New Releases

Naxos Classical

Musicweb sells the following labels
Acte Préalable
Altus
Arcodiva
Atoll
CDAccord
Cameo Classics
Hallé
Hortus
Lyrita
Nimbus
Prima voce
Red Priest
Redcliffe
Retrospective
Saydisc
Sheva
Toccata Classics
Wyastone


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Editor in Chief
   
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Stan Metzger
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this disc from

Il Cor Tristo
Bernardo PISANO (1490 - 1548)
Or vedi, Amor [2:21]
Nova angeletta [2:09]
Chiare, fresche, e dolci acque [2:48]
Roger MARSH (*1949)
Il Cor Tristo - I° [5:56]
Jacques ARCADELT (c. 1507 - 1568)
Solo e pensoso [3:20]
L’aer gravato [1:42]
Tutt’il dì piango [3:46]
Roger MARSH
Il Cor Tristo - II° [5:54]
Bernardo PISANO
Si è debile il filo [3:23]
Ne la stagion [4:50]
Che debb’io far? [4:10]
Roger MARSH
Il Cor Tristo - III° [12:44]
The Hilliard Ensemble (David James (counter-tenor); Rogers Covey-Crump (tenor); Steven Harrold (tenor); Gordon Jones (baritone)
rec. November 2012, Probstei St. Gerold
ECM NEW SERIES 2346 [2012]

The Hilliard Ensemble needs little or no introduction and, housed here in the familiar acoustic of the Benedictine Monastery of St. Gerold in Austria, ECM collectors of their work will know what kind of sound to expect. The ECM website announces that Il Cor Tristo is a release which marks the Hilliards’ celebration of their 40th anniversary and the start of their final year together. They are to disband at the end of 2014. Counter-tenor David Jones says that this last year will be a kind of creative round-up of their musical journey: “As well as all the music that we have discovered and enjoyed performing over the years, we want to embrace the important relationships and people that have contributed to some of the remarkable landmarks and turning points in our career”.
 
This release brings together two significant Renaissance names with one of our living composers, Roger Marsh, who sets part of Dante’s Inferno from the Divine Comedy. Bernardo Pisano kicks off proceedings, his Or vedi, Amor sounding as modern as anything elsewhere on the album. Pisano is considered “a pioneer in taking Italian polyphonic song from gaiety to a greater gravity, more musically sustained and substantial.” I quote Paul Griffiths’ notes as he sums up Pisano so well.
 
Jacques Arcadelt took on the example of Pisano and developed it further, sublime examples such as Tutt’il dì piango standing as testimony to a music which responds ever more emotionally to the texts, in this case those of Francesco Petrarca. For those of you concerned that the modern music which punctuates these jewels of the ancient past will spoil your experience you need not worry too much. Roger Marsh’s style is distinctly tonal, at times using bluesy close harmony which distinguishes his music from the earlier examples. He also employs declamatory techniques as there is so much text to get through. The gentler harmonic elements of this, with words sung over a pedal tone or single harmony, put me in mind of a butch Arvo Pärt. The intensity of this use of text also results in an inherently dramatic feel, and there is a certain amount of shouting in Il Cor Tristo - II. Marsh says that his “primary concern has been to keep Dante’s words clear at all times, and thus you will find in this contemporary music many devices more usually encountered in music of much earlier times.”

The booklet prints the section of La Divina Commedia used both in Italian and English, so you can have fun following the narrative and seeing how Marsh characterises each portion, the Hilliards responding with élan in their variety of colour and articulation.
 
This is a highly successful programme with all-round appeal and an inventive concept. Of course we regret the Hilliard Ensemble’s decision to make 2014 their final year together, but with further new ECM releases promised this looks like being one of their most fruitful and fascinating periods.
 
Dominy Clements