Ostinato
Falconiero, Marini, Merula, Ortiz, Pachelbel, Purcell
Rossi, Valente & Anonimi

 

 

Alia Vox AV9820
Code-barres/Barcode:
7619986098203

Audio CD Standard

 

Illustration de la pochette / Art shown on disk jacket
Piero di Cosimo (1462-1521)
La libération d'Andromède (détail)
Galerie des Offices (Galleria degli Uffiz), Florence
Perseus rescuing Andromeda (detail)

Uffizi Gallery, Florence


 


Description

Artistes / Performers:

Hespèrion XXI, Jordi Savall

Lieu d'enregistrement / Recording site: Collégiale du Château de Cardona, (Catalogne / Catalunya)

Dates d'enregistrement: 1-4- déc./2000 et 25 juin 2001 
Recording dates: 1-4 Dec./2000 and June 25, 2001

Durée totale / Total time: 69'30


 


 

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Ostinato

"...
est une anthologie qui réunit les œuvres les plus représentatives de l’art de l’improvisation et de celui de la forme musicale aboutie à partir du concept de basse unique se répétant de manière séquentielle tout au long des compositions".

"La variété des procédés qui se sont développées sur le système commun à toutes ces œuvres en font un disque contrasté, varié, endiablé et surprenant".

Source: Alia-Vox.com

Ostinato

"... is an anthology which brings together the most representative works of the art of improvisation and of a musical form based on a unique concept of the basso, which is repeated sequentially throughout the compositions".

"The multiplicity of solutions developed on the basis of the system which is common to all the works included in the anthology results in a disc full of contrasts, variety, verve and surprise".

Source: Alia-Vox.com

Évaluations recensées / Reviews located



2002/03
 


#488  01/2002


 # 39 -02/2002


March/April 2002
Vol. 25, no.4

Le Monde de la Musique
# 261 (01/2003)

 


Review by Kirk McElhearn
 
  American Record Guide
05/2002
 


Ostinato


Ostinato


Extrait du livret / From the liner notes


 



 

 

 


 

Gramophone
2002/03



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- Texte intégral anglais
- Full text

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Reviewer:  Tess Knighton

An enjoyably varied compendium performed with characteristic Savallian vim and vitality

- Full text
Diapason- 488
(01-2002)




Appréciation
 


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Chroniqueur: Roger Tellart
Résumé ou abrégé: 

Voici quelques extraits des plus significatifs de l'article de Roger Tellart.

"Une fois encore, Jordi Savall et ses proches oeuvrent en jardiniers fortunés dans le riche enclos de la variation musicale, au plus près de leurs racines."
"En dépit de quelques problèmes de justesse çà et là, c'est un collectif inspiré qui marque de sa griffe cette vision tonifiante et décapante."

Pour Tellart, "... c'est d'abord l'acte de mémoire qui rayonne dans la réinterprétation d'Hespèrion  XXI."
 

Reviewer:  Roger Tellart
Abridged version :

Once again Savall and his friends are at work as fortunate gardeners within the rich repertoire of instrumental variations, very close to their roots.”

In spite of a few problems of adjustment here and there, it is a very inspired ensemble which brands this very incisive and invigoratinf vision.”

For Tellart, “… it is above all an act of remembrance which prevails in this reinterpretation by Hespèrion XXI.”
 

Le Monde de la Musique
# 261 (01/2003)

Chroniqueur: Pablo Gallonce
Résumé ou abrégé: 

"Si la virtuosité de Jordi Savall fait l'unanimité, la pertinence de ses programmes est moins perceptible."
"... la cohéence de ce disque est moins évidente dans son parcours chronologique que dans son interprétation. Savall tire tous les morceaux vers la danse, se faisant aller à des exploits rythmiques que bien des musiciens de jazz pourraient lui envier. Avec ses acolytes (dont les extraordinaires Manfredo Kraemer et Pablo Valetti aux violons dans le ground de Purcell), il démontre encore une fois qu'il reste le prince des violistes par la mobilité de son archet et sa palette de couleurs. Et s'il s'octroie quelques moments de méditation ... c'est pour mieux repartir."

Reviewer:  Pablo Gallonce
Abridged version : (free translation by Classic@la Carte

"If Jordi Savall's virtuopsity is unanimously recognized, his choice of programs is less perceptible."

"All the pieces are performed in a dance-like manner and Savall accomplishes rythmic feasts which many jazz musicians could consider with envy. With his musician friends ( among whom the extraordinary Manfredo Kraemet and Pablo Valetti playing the violin in the ground of Purcell), he proves again that he still is the prince among viola de gamba players... And il he allows himself a few moments of meditation... it is only to start off again."

Classica- # 39


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Chroniqueur: Stéphan Perreau

Texte intégral


Savall continue à se faire plaisir et à nous faire plaisir. Au sein de ce qui aurait pu être un énième récital d'inspiration italo-espagnole, l'artiste réunit quelques têtes pensantes du répertoire instrumental baroque pour illustrer le thème de l'Ostinato: sur une basse rythmique simple qui se répète, les dessus instrumentaux élaborent des variations subtiles et virtuoses; sorte de longues lignes mélodiques qui frôlent l'improvisation. On mesurera, dès la Gallarda Napolitana de Valente introductive, la frontière bien mince qui sépare ce répertoire de la musique traditionnelle actuelle. Cette réunion de comparses ou d'amis musiciens prend tout son sens tant dans les pièces spirituelles d'Ortiz et de Falconiero que dans celles, plus libres, d'anonymes ou de ... Savall (Improvisations sur des Canarios déjà entendues chez le musicien). Une joie communicative s'en dégage, affublée d'une incroyable facilité d'écoute. C'est qu'aucune faille technique n'est visible. Tantôt badins, tantôt sérieux et spirituels, Savall et ses collègues transfigurent les deux pièces de Purcell et parviennent au sublime dans le Three Parts upon a Ground avant de nous rappeler toute la beauté du célèbre Kanon de Pachelbel, tant défiguré au cours des siècles. Le disque s'achève sur les variations du non moins célèbre Greensleeves to a Ground, sorte d'échos lointain (sic ) des traditions ancestrales de la variation libre sur une basse obstinée. La "Arpa doppia" d'Arianne Savall, digne fille de son chef de père, nous entraîne sur les landes sauvages de l'Europe du Nord. Un disque rafraîchissant et et essentiel.
 


Reviewer: Stéphan Perreau

Abridged version : (free translation)

"Savall continues to please himself and by the same token, to please us. He has gathered, for what might have been considred just another mere recital of Italian and Spanish  music, a few major composers of the intrumental Baroque period to illustrate the theme of the "Ostinato"...

"In the Gallarda Napolitana by Valente, we can perceive the very thin borderline that separates this repertory from present day traditional music. This gathering of companions or of musician friends is fully revealed in the spirited pieces of Ortiz and Falconiero, as well as in those freer in style by anonymous composer, or even ... in the improvisations on canarios by Savall... A joyful spirit emanates from these pieces, so pleasant to listen to. There seems to be no technical flaws. At times joyful, at times serious and spirited, Savall and his collegues transform the two pieces of Purcell and provide us with a sublime interpretation of  his Three parts upon a Ground before reminding us of the beauty of the famous Pachelbel Canon. The disc ends on the no less famous Greensleeves to a Ground, which serves as a reminder of ancient traditions based on a free variation on the ostinato bass. Arianna Savall and her "Arpa dopia" takes us into the wild countryside of Northern Europe. A refreshing and essential recording."
 



March/April 2002
Vol. 25, no. 4

 

 

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Reviewer: Brian Robbins
Abridged version :


"The use of ostinato bass patterns as a foundation for building compositions has a long and varied history. Many have their origin in Renaissance dances, from which they took such names as passamezzo antico, romanesca, folia, passamezzo moderno,  and  ruggiero. Later, since ostinatos were obviously suited to a style rooted in fundamentall bass harmonie, the principle became endemic among 17th century Baroque composers, who expanded the variety of bass to include such as the ciacona and passacaglia in addition to inventing their own grounds...."

(This disc) ,,, "takes  a roughly chronoligcal course. Starting with Valente's flamboyant Gallarda Napolitana, played with as much colorful verve today as Hespèrion XX brought to the piece nearly 20 years ago on Music of the Renaissance in Naples (EMI), it works its way through later Renaissance pieces and the early Baroque virtuosity of such as Marini to that Canon and Gigue by Pachelbel. Incidentally, the old warhorse is given a brisk nonsense performance that would make it unrecognizable to the millions who have swooned to Karajan's silver strings. The rather harsh tone of the three violinists is also at the opposite end of the spectrum, a distinct draw back in the two works by Purcell, perhaps the greatest master of ground bass technique. The most satisfying tracks are in fact those in which Savall can allow his ever-fertile imagination free rein to devise divisions or extemporize, the highlight being an eight-minute improvisation on the canarios, a Spanish dance also used as a bass pattern. This is delightful stuff, with Savall and harpist daughter Arianna combining to tease out a series of catchy variations cleverly worked to create a continuous ebb and flow of gentle tension."

"... Savall's many fans in particular will be pleased to hear the great gambist in such formidable form."
 

American Record Guide
05/2002

 

Reviewer: Charles E. Brewer
Abridged version :


"This anthology is based on many of the set harmonic patterns (ostinatos) that so fascinated composers during the renaissance and baroque. These patterns were most often used for elaborate sets of variations, often meant to display the virtuosity of both the composer's inventiveness in creating variety from the unchanging patterns and the performers who were expected to perform or improvise the ever more complex variations. The present collection was assembled by the director of Hepèrion XXI, Jordi Savall, both to exhibit the variety of patterns and composers and to show his own virtuosity on the soprano and bass viola da gamba."

"The program also includes three os Savall's own arrangements."

"Overall, this is an interesting selection of pieces, many of them rarely performed with the finesse shown by Savall and the musicians of Hespèrion XXI. Anyone who wants to hear the closest equivalent I can think of to baroque jazz should listen to this recording and learn."


This site is no longer on the web

Review by
Kirk McElhearn (Click here) 
       
 

La musique / The music

Antonio Valente : Gaillarda Napolitana Biagio Marini : Passacalio
Diego Ortiz :
- Zarabanda (Passamezzo antico V)
- Romanesca (VII)
- Passamezzo Moderno (II)
- Ruggiero (Quinta pars IX)
Francisco Correa de Arrauxo :
- 3 Glosas sobre Todo el mundo en general
 
Salomone Rossi : Sopra l'Aria di Ruggerio Tarquinio Merula : Ciaccona
Andrea Falconiero : Passacalle Henry Purcell : Sonata a 2-3 parts upon a Ground
Tarquinio Merula : Ruggiero Johann Pachelbel : Kanon und Gigue
  Anonyme : 
- Greensleeves to a Ground
- Canarios (improvisation)
 
Autres références disponibles via la base de données de Todd McComb/ Other available references  via Todd McComb's database:
(Site: http://www.medieval.org)
Re: AV9820

Autres sections d'intérêt sur ce site:

Other topics of interest on this site:

Harmonia Mundi / Gold - Appréciations

Goldberg Magazine - 1998-2008 - Les 50 meilleurs cd de la décennie

Harmonia Mundi / Gold - The critics' point of view

Goldberg Magazine - 1998-2008 - The 50 best cds of    the decade


Date de création de cette fiche:
Dernière mise à jour de cette fiche:
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This page was first published on:
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Alia Vox AV9820
Code-barres/Barcode:
7619986098203
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