Jiri Stivin & Collegium Quodlibet: Journeys Deep Into The Musical Past CD Track Listing

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Jiri Stivin & Collegium Quodlibet Journeys Deep Into The Musical Past (2003)
JIRI STIVIN - flutes, recorders, saxophones, clarinets, chalumeaux; ALAN VITOUS - percussion; PETRA NOSKAIOVA - soprano; JAN MIKUSEK - alto; RICHARD SPORKA - tenor; MICHAEL POSPISIL - bass; MAREK SPELINA - recorder; JULIE SUKUPOVA - recorder; HANA FLEKOVA - viola da gamba; ROBERT HUGO - harpsichord \nJust as the title of this recording and article is ambiguous, so, too, is the music. It has at least two meanings, which is an advantage here. Old and new music and their usual confrontation, the Dialogo della musica antica e della moderna, as Vincenzo Galilei wrote in 1581, instigating a return to the exemplar music of the ancient Greeks, and his contemporaries in Florence brought Baroque opera into being instead. Here, too, are monuments hundreds of years old beside stunning contemporary music. They may, surprisingly, be listened to each separately or together. There are examples related to the history of Medieval and Renaissance music as well as the jazz and Minimalism of the twentieth and twenty-first centuries. Ars Antiqua, Minnesang or Ars Nova next to free-jazz canons, including percussive sounds on the flute. There is serious music (from the times when it was not yet serious) and jazz (from a time when there was no such thing). The performers on this recording are specialists in authentic early music who play alongside jazzmen. There is suddenly metre in compositions that previously did not know how to work with it, new contrapuntal voices added to authentically preserved polyphony, drums in a cappella polyphony, raw sax with blue notes in the archaic organ of Notre Dame. Should anybody really dare to try such a thing today? But what else, for example, is the Cathedral of Cremona with its Lombard, Romanesque, Gothic, Renaissance and Baroque architecture all on one facade? Subsequent masters added other storeys to make new beauty and new experience emerge from the tension of the old and new. What else are actors doing when they perform Shakespeare? What else are composers doing when they borrow chants several centuries old (but, after all, the Gregorian chant borrowed melodies from the synagogue and even from Asia), and began to wrap them up in other voices from, perhaps, the seventh century? Take note, by the way, of the powerful attraction of the single drone of the bourdon. First, it was a matter of harmonies but later the nonmetrical chant suddenly began to squeeze itself from its essence into the Procrustean Bed of bar lines and accents. Talk about bold! The whole history of European music is this sort of commentary on the chant and its reworki
This classical cd contains 19 tracks and runs 60min 2sec.
Freedb: f90e1013

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