La Tempête & Simon-Pierre Bestion - Azahar (2017) [Hi-Res]

Tracklist
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01. Cantigas de Santa Maria: Santa Maria, strela do dia (Cantiga No. 100) (Vocal)
02. Messe de Notre Dame: I. Kyrie
03. Messe: I. Kyrie
04. Messe: II. Gloria
05. Messe de Notre Dame: II. Gloria
06. Messe: III. Credo
07. Messe de Notre Dame: III. Sanctus
08. Messe: IV. Sanctus
09. Messe: V. Agnus
10. Messe de Notre Dame: IV. Ite missa est
11. Cantigas de Santa Maria: Quenas sas figuras da virgen partir (Cantiga No. 76)
12. Cantigas: Cantiga de los Reyes Magos
13. Cantigas de Santa Maria: Quen na virgen groriosa (Cantiga No. 256)
14. Cantigas: Cantiga del destierro
15. Cantigas de Santa Maria: Tod aquel que pola virgen (Cantiga No. 212)
16. Cantigas: Cantiga de vela
17. Cantigas: Cantiga del azahar
18. Cantigas de Santa Maria: Rosa das rosas (Cantiga No. 10)
19. Cantigas: Cantiga de la noche santa
20. Cantigas de Santa Maria: Santa Maria, strela do dia (Cantiga No. 100) (Instrumental)
21. Cantigas: Cantiga del nacimiento

After The Tempest (ALPHA208), its first recording on a Shakespearian theme, which was much admired (Diapason d’Or etc.), La Tempête presents ‘Azahar’ (orange blossom in Spanish), which contrasts and interweaves the polyphony of Machaut with the poetry of the Spanish cantigas and the century of Stravinsky and Ohana. Simon-Pierre Bestion, founder of the company La Tempête, tells us: ‘I like the idea of disorientating the listener between different historical periods. Stravinsky wrote his Mass after discovering Machaut’s setting, while Ohana’s Cantigas de Santa Maria allude to those of Alfonso the Wise and to folksong . . . One can take extraordinary liberties with Machaut’s famous Mass: its music calls for a fairly sonorous, straight style of singing – like Corsican or Basque polyphony. I chose singers familiar with early music, powerful, direct voices, using little vibrato, voices that could also sing Stravinsky and Ohana. The orchestra was arranged in consorts for the early repertory, and in mixed desks for Ohana and Stravinsky. The chorus was placed all around in a circle, in a single row. I like to share that experience of feeling the sound physically.’

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