Magdalena Consort - "In Chains of Gold", The English Pre-Restoration Verse Anthem, Vol. 1: Orlando Gibbons, Complete Consort Anthems (2017) [Hi-Res]

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Title: "In Chains of Gold", The English Pre-Restoration Verse Anthem, Vol. 1: Orlando Gibbons, Complete Consort Anthems
Year Of Release: 2017
Label: Signum Records
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +booklet
Total Time: 01:06:37
Total Size: 329 mb / 1.24 gb
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Tracklist
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01. Behold, thou hast made my days
02. We praise thee, O Father
03. In Nomine a5 No.1
04. This is the record of John
05. Great King of Gods
06. Do not repine, fair sun part 1
07. Do not repine, fair sun part 2
08. In Nomine a5 No.2
09. Glorious and powerful God
10. Blessed are all they that fear the Lord
11. O all true faithful hearts
12. Sing unto the Lord
13. In Nomine a5 No.3
14. See, see, the Word is incarnate
15. Lord, grant grace


Leading performers of 17th-century music Fretwork, His Majesty’s Sagbutts and Cornetts and the Magdalena Consort (directed by Peter Harvey) combine forces under the artistic direction of William Hunt for this first complete recording of the consort anthems of Orlando Gibbons. Gibbons’ music is one of the artistic glories of the first Stuart reign. Amongst his sacred compositions, verse anthems such as This is the record of John and Behold, thou hast made my days are long acknowledged masterpieces, amongst the greatest in all English sacred music, but best known to most in their setting for choir and organ. Here they are presented together with an array of other great anthems, some of them scarcely known, in their more intricate and colourful versions for consort accompaniment.Following the instruction of such contemporary writers as Morley and Caccini, these radical new performances place communication of text at the forefront, seeking to rediscover the dramatic essence of the verse anthem that made it arguably the most effective musical creation of the English Reformation. With the incisive declamatory skill of several of the UK’s leading period performers, they reveal the extraordinary rhetorical and poetic power of this music, as it might have been heard in the Chapel Royal and the private domestic chapels of early 17th century England




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