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John Potter - Secret History - Josquin / Victoria (2017) {ECM New Series 2119}

Posted By: ruskaval

Date: 23 Feb 2018 02:22:02

John Potter - Secret History - Josquin / Victoria (2017) {ECM New Series 2119}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 242 Mb | MP3 @320 -> 159 Mb
Full Artwork @ 600 dpi (jpg) -> 37 Mb | 5% repair rar
© 2017 ECM Records | ECM New Series 2119 | 4811463
Classical / Medieval / Vocal Music / Chamber Music

Tomas Luis de Victoria and Josquin Desprez were not contemporaries, they lived and worked in different countries, and perhaps shared little in terms of abstract compositional style. Yet throughout Europe, generations of musicians recognized them as kindred spirits, and tablature versions of their masses and motets circulated amongst lutenists. For John Potter, this is “the secret life of the music – in historical terms its real life.” In this characteristically creative project Potter - joined by Trio Mediaeval singer Anna Maria Friman and three outstanding vihuela players - explores “what happens to music after it is composed.”

The album, produced by Manfred Eicher, was recorded at the St Gerold monastery in the Austrian mountains, where Potter previously contributed to Officium and other recordings with the Hilliard Ensemble and with The Dowland Project.

This is a performance of a mass by Tomás Luis de Victoria and motets by Josquin Des Prez (and one by Jean Mouton), interspersed with original vihuela pieces, primarily improvised, by vihuelist Jacob Heringman. The "secret history" referred to in the title is not really history (or perhaps it's just too secret): the polyphonic music of Victoria and Josquin is deconstructed and sung in an unorthodox way, with paired singers, one or more viheulas, and, on a few pieces, viola da gamba. Singer and director John Potter seems to suggest that the music, as with chansons and motets of the Renaissance, circulated in this way. The evidence for this is thin (none is actually adduced here), but the concept doesn't seem foreign to the Renaissance mind, and it enables the performers to extract unique features, such as vocal canons, from the texture. The results should be classed as purely speculative, but for the listener it works, partly because of the familiarity of the idea, which works better with the motets, where it might actually have been applied (sample Absalon fili mi). And the performers, who include vocalist Anna Maria Friman and the American-Dutch pair of vihuelist Lee Santana and gambist Hille Perl, seem to take to the textures: whatever you think of the historical validity of what they're doing, the group makes music that hangs together. As to ECM's sound from the Propstei St. Gerold in Austria there can be little debate; producer Manfred Eicher provides a model of clarity and intimacy in this music. An intriguing experiment from ECM, recorded in 2011, but for unspecified reasons released only in 2017.

Personnel

John Potter: Voice
Anna Maria Friman: Voice
Ariel Abramovich: Alto Vihuela, Tenor Vihuela, Bass Vihuela
Jacob Heringman: Tenor Vihuela, Bass Vihuela
Lee Santana: Alto Vihuela, Tenor Vihuela
Hille Perl: Viola Da Gamba

Tracklist

01. Nesciens mater
02. Prelude I
03. Kyrie
04. Prelude II
05. Gloria
06. Prelude III
07. Credo
08. Prelude IV
09. Sanctus
10. Benedictus
11. Prelude V
12. Agnus Dei
13. Inviolata (Chant)
14. Inviolata
15. Absalon, fili mi
16. Obsecro te (Chant)
17. Obsecro te
18. Salve regina
19. Benedicta es (Chant)
20. Benedicta es
21. Nymphes de Bois
22. O Magnum mysterium

EAC log

Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 23. January 2018, 14:45

John Potter / Secret History

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