Jérusalem
La ville des deux paix - City of the two peaces.
La Paix céleste et la Paix Terrestre

The music of the history of Jerusalem

Raices & Memoria, vol. VIII
Racines & Mémoire, Roots & Memory, vol. VIII

Alia Vox AVSA9863
Édition originale/Original recording
Alia Vox SACD 9863 (A + B) (Hybrid)
Code Barre : 76199886398631

Super Audio CD

Livre de 423 pages & 2 CD
(Français / Castellano / English / Català
/ Deutsch / Italiano

Raices & Memoria vol. VIII




 


Description

Artistes / Performers :
La Capella Reial de Catalunya
Al-Darwish (Galilea)
Hespèrion XXI

Montserrat Figueras
Direction : Jordi Savall


Lieud'enregistrement / Recording sites:
Collégiale de Cardona (Catalogne). L’église de Saint-Pierre-aux-Nonnains. L’Arsenal de Metz
L’Abbaye de Fontfroide

Dates d'enregistrement:  

Recording dates
2007-2008

Durée totale / Total time: 
CD1: 78:52'
CD2: 75:40'


 

 

Hommage à Jérusalem et Invocation à la Paix
"Une Paix résultant d'un dialogue basé sur l'empathie et le respect mutuel est, malgré les énormes difficultés qu'elle présente, un chemin d'avenir nécessaire et désirable pour tous. Un objectif à la fois urgent et incontournable qui peut aider l'humanité à surmonter ses peurs et ses folies ancestrales et évier ainsi tant de victimes innocentes et tant de souffrance inutiles."
"Jérusalem est beaucoup plus qu'une ville sacrée, elle est un symbole pour l'humanité toute entière, elle nous rappelle encore à tous, en ce XXIe siècle, la grande difficulté de vivre ensemble."
"Sans paix il n'y a pas de vie humaine possible."

Montserrat Figueras et Jordi Savall,
"Artistes pour la Paix" de l'UNESCO

Bellaterra, automne 2008

A homage to Jerusalem and an invocation to Peace
"A Peace born out of a dialogue based on empathy and mutual respect is, despite the enormous difficulties involved, a necessary and desirable path forward for all concerned. It is a goal that is both urgent and imperative, one which can help humanity to overcome its ancestral fears and follies, thus preventing countless innocent victims and untold futile suffering."
"Jerusalem is much more than a holy city; it is a symbol for all mankind, continuing to remind us all in this 21st century of the difficulty involved in living together."
"Without peace, no human life is possible."

Montserrat Figueras and Jordi Savall,
UNESCO "Artists for Peace"

Bellaterra, Autumn 2008
 

Appréciation (s) / Review(s)


04/2009

See below


# 565 (12/2008 - 01/2009)
 



Vol. 32:5 (05-06/2009)
See below
 


 # 108 (12/2008 - 01/2009)


By: Steven Ritter


Opus Haute Définition
(14/02/2009)
(Fr) & (En)

ClassiqueInfo Disque
Par: Philippe Houbert


(03/2009)


Par: Matthias Lange


Jérusalem


Jerusalem


Extrait du livret / From the liner notes

JÉRUSALEM, La ville des deux paix. Les musiques de l’histoire de la ville de Jérusalem

L’une des étymologies qui expliquent le nom de la ville de Jérusalem, traduit son nom en hébreu comme « la ville des deux paix », faisant une claire référence métaphorique à la « paix céleste » aussi bien qu’à « la paix terrestre », la première proclamée et promise par les prophètes qui y vécurent ou y passèrent, la seconde toujours désirée par les politiques de toutes les époques qui l’ont gouvernée pendant ses plus de cinq mille ans répertoriés par l’histoire.

Sanctifiée par les trois grandes religions monothéistes de la Méditerranée, Jérusalem s’est transformée en une ville invoquée et désirée, briguée par tous, devenue l’objectif, le but et la cible des pèlerins de toutes sortes. Certains sont venus à elle en odeur de paix et d’autres comme soldats ou avec des armées sur le pied de guerre, coupables d’assiéger, d’incendier, ruiner et dévaster Jérusalem plus de quarante fois durant sa longue histoire.

Ville sainte ou ville maudite, Jordi Savall et Montserrat Figueras – avec d’autres musiciens juifs, chrétiens et musulmans d’Israël, Palestine, Grèce, Syrie, Arménie, Turquie, Angleterre, France, Espagne, Italie, Belgique et les formations Hespèrion XXI et La Capella Reial de Catalunya – présentent les avatars historiques de Jérusalem en une frise de textes et de musiques selon ses divers protagonistes : musiques juives, arabes et chrétiennes de jadis et d’aujourd’hui où Jérusalem y est présentée comme une ville qui espère peut-être réunir les deux paix de son nom.

Manuel Forcano, 2008


 
JERUSALEM, City of the two peaces. The music of the history of Jerusalem 

One of the etymologies tracing the name of the city of Jerusalem translates its Hebrew name as “the city of the two peaces”, in what is a clear metaphorical reference both to “heavenly peace” and “earthly peace”, the former proclaimed and promised by the prophets who lived in or visited the city, and the latter sought by the political leaders who have governed the city throughout its five thousand years of documented existence.

Sanctified by the three great monotheistic religions of the Mediterranean, Jerusalem soon became the focus of prayers and longing. Desired by all, she has been the goal, aim and destination of pilgrims of all persuasions who flock to her gates in peace, but also the objective of soldiers and armies in pursuit of war, who have besieged and burned the city, bringing ruin and devastation more than forty times throughout her long history.

Jordi Savall and Montserrat Figueras, in the company of Jewish, Christian and Muslim musicians from Israel, Palestine, Greece, Syria, Armenia, Turkey, England, France, Spain, Italy, Belgium, as well as their own ensembles Hespèrion XXI and La Capella Reial de Catalunya, portray the chequered fortunes of Jerusalem – a holy city or a city bedevilled – in a frieze of texts and music evoking her protagonists. Jewish, Arab and Christian music from ancient times to the present day highlights Jerusalem as a city that looks forward to the possibility of achieving the two peaces proclaimed in its name.

Manuel Forcano, 2008


 


(04/2009)


 

Subscription
Abonnement

Reviewer: Ivan Moody
 
I am very definitely in two minds about the Alia Vox method. On the one hand, one or two discs covering a huge range in time and space accompanied by what can only be described as an illustrated book (complete with bookmark) ought to provide ample food for thought and the sensation of setting out on an instructive and valuable journey. On the other, the risk is that the programme may be unsatisfactory, even arbitrary, as a sequence to be listened to, and the reality of the book is that it comprises the same texts in no fewer than eight languages.
Where there can be no doubt, of course, is in the theme chosen for such musical and textual elaboration: it is obvious that the idea of Jerusalem and its spiritual, historical, geographical and symbolic significance through the ages must be able to provide more than enough material for a whole series of discs, each with ample commentary. The problem therefore becomes, in a sense, one of compression: even two discs cannot do justice to the vast range of musical repertories related to the history of Jerusalem - Savall notes that "...from the thousand and one different stages in the rich history of Jerusalem, we have selected those that we felt to be the most significant, illustrating them through music, song and key texts, the whole forming a multicultural fresco which proposes something more than just a recording or concert programme". And therein lies the problem: what, exactly, does this set give us that is more than a recording or concert programme? My immediate response would be: "nothing" It is, in essence, a long concert, or a long recording, but the texts coud be just as easily present in a concert programme, and the "genuine intercultural dialogue" Savall seeks could be, and has been, achieved more convincingly in a shorter time and, indeed, in real time.
So much for the doubts: in spite of them, these discs contain some magniflent music-making, and it is a fact that Savall has brought together musicians from a number of traditions to achieve this. Not that anyone listening will not recognise the Hespèrion XXI sound, of course: the vielles, viols, drones and percussion accompanying those warm Mediterranean voices have become so very a much a trademark that everything from a Sibylline Oracle sung to "Aramaic music" to Crusader songs and Cantigas de Santa Maria are identifiably the group's sonic territory. Even a Byzantine stavrotheotokion does not escape the treatment. So Jerusalem is very much recreated in the Hespèrion mould: how you respond to this will depend on your appreciation of the unique and very beautiful sound they create.


(03/2009)
   
Excerpt:

“…that Sarajevan chant lies at the wounded heart of this whole brilliant enterprise. Sung with just the faintest hint of vibrato by Montserrat Figueras, it segues into a haunting Palestinian lament by Mufawak Shahin Khalil, which is followed by an Armenian lament by Razmik Amyan, after which we hear the awe-inspiring cadences of Auschwitz survivor Shlomo Katz. Recorded in 1950, this chant for the victims of Nazism has no whiff of vengefulness: like the whole of this majestic interfaith enterprise, it is quite simply an affirmation of humanity.”
 

 

Diapason- 565 (01/2009)


Appréciation 



Evaluation

Abonnement
Subscription

Analyste: Roger Tellart
Extrait

"Une forme de grâce oecuménique unifie un parcours composite, où les bonheurs d'écoute abondent. Ainsi des visions stimulantes de la Jérusalem chrétienne et pérégrinante - versions d'anthologie de la Chanson de la première croisade de Marcabru et de la Cantigua O ffondo do mar tan châo, ou un  ney  palestinien et un oud irakien, mêlés au concert fervent d'Hespèrion XXI, semblent nous répéter que la réconciliation entre juifs, arables et Occident reste bel et bien possible. Sans oublier le dolorisme des chants d'exil séfarades (vrillante Palestina hermoza y santa déplorée par Montserrat Figueras), ni l'oppressant thrène aux morts d'Auschwitz - enregistré par Shlomo Katz en 1950. Au terme du voyage, des voeux de paix (en arabe, hébreu, arménien et latin) et une fanfare collective conduite par les schofars (cornes de béliers) bibliques, où plusieurs Sacqueboutiers de Toulouse sont vaillamment impliqués."

Classica- # 108
(12/2008 - 01/2009)



Appréciation:



Evaluation:

Abonnement
Subscription

Analyste: Pierre Doridot
Résumé ou abrégé
"Jordi Savall a convoqué ses ensembles habituels - La Capella Reial de Catalunya et Hespèrion XXI - et des interprètes de musique traditionnelle pour un projet passionnant mêlant les trois visages religieux de cette ville "sainte", Jérusalem, à la fois juive, chrétienne et musulmane: Il s'agit d'être ensemble dans la diversité sans abandonner son individualité... Des oeuvres sacrées côtoient ainsi des pièces de musique populaire arabe."
Un "... livre-disque, qui a fait l'objet d'un travail éditorial et musicologique exemplaire."

Reviewer: Pierre Doridot
Abridged version :

"Savall has brought together his usual collaborators – La Capella Reil de Catalunya and Hespèrion XXI – with performers of traditional music. The project is fascinating, offering a mixture of the three religious aspects of this “Holy” city, Jerusalem which is Jewish, Christian and Muslim.  The objective is to be together in diversity without forgetting one’s individuality… We have here a selection of sacred music and popular Muslim music."
This is a “… a CD-book which is the result of superb editorial and musicological research.”


Vol. 32:5 (05-06/2009)

Appréciation 
~~~~~
Evaluation

Abonnement
Subscription

Reviewer: J.F. Weber
Abridged version :


"The subtitle is “City of heavenly and earthly peace” (recall Christopher Page’s disc, “Jerusalem, Vision of Peace,” 22:4), and the program follows the history of the city for over 3,000 years. The eras are three (but really four): first Jewish, then Christian, then Arab and Ottoman. In order to furnish music for these periods, Savall used not only his familiar multinational ensembles but also Jewish singers from Israel, Palestinian singers, and musicians from all over the Middle East. The original idea came from an invitation to present a series of programs in Paris on the three monotheistic religions. Savall realized that Jerusalem was obviously the unifying element for such a theme. "

"The program is extremely unusual, for the only composers one might regard as familiar are Alfonso el Sabio and Marcabru. Alfonso’s cantiga
O ffondo do mar has its first complete recording to my knowledge, a story of pilgrimage to the Holy Land that fits the program. Marcabru’s Pax in nomine Domini and the anonymous Chevalier mult estes guaritz are more nearly complete than David Munrow’s versions on his Crusade program, where the brief anonymous O totius Asie gloria is also duplicated. Audi Pontus from Codex Las Huelgas has been recorded by Sequentia, Discantus, and Mille Fleurs equally well. But the remainder of the 52 tracks are largely unfamiliar, consisting of ethnically diverse music representing the long history of the city and readings in several languages. One brief but haunting piece is Apo xeno meros , sung by Capella Reial in Greek. One track has been added as a historical witness, a lament for the dead of Auschwitz recorded in 1950 by Shlomo Katz. Nice touches that bring the program around full circle are a “fanfare of Jericho” at the beginning, marking the Hebrew destruction of that city’s walls (dated 1200 B.C. here), and a discordant “fanfare against the barriers of the Spirit” dated 2008, both composed by Savall. "

This article is available on the web to subscribers of Fanfare.


 

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:

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:
2020-12-26


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This page was updated on:

12/26/20

  

 

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