Author Topic: ensemble Peregrina - Mel et lac  (Read 352 times)

Offline O

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ensemble Peregrina - Mel et lac
« on: May 16, 2015, 08:54:36 AM »

Tendría que haber empezado por este disco, que es el primero, pero como la Filia praeclara no tenía página ni la habíamos escuchado en el antiguo foro, pues...

Decía la Peregrina Mayor en su día:
First recording of ensemble Peregrina, Marian songs from well-known sources, but for example it is interesting to listen another interpretation of some of the pieces from the Cambridge Ms, known from the Gothic Voices' The Earliest Songbook in Englandrecording. Thronus regis instauratur in a polyphonic setting is an absolute delight.
Not the solely one.

The poetry may be less than heavenly but it’s a revealing early music survey.

These young female voices present a varied selection of 12th-century Marian songs, illustrating many ways in which the composition of vocal music was evolving and diversifying during this period. Among pieces directly associated with the liturgy, there is a troped reading from Ecclesiasticus (Chap 24, vv23-31), sung to a simple reading tone over an accompanying voice a fifth below. The text is interspersed with troped verses, a solo commentary, spoken, as it were, in the person of the Blessed Virgin. Two Matins responsories have a fully developed trope at the end of their verse: in Gaude Maria Virgo, the lower voice sings a new text in slow notes to the melody of a well known trope, Inviolata permansisti, still in the current repertory. The higher voice adds a new, excessively florid poetic commentary. The little group of Benedicamus tropes, which conclude a major Hour such as Christmas Vespers, contains some of the most varied and delightful examples, performed here with self-assurance and skill.

Only one item bears a signature: Peter Abelard’s Easter Sequence Epithalamica. Composed for the contemplative Nuns of the Paraclete, it represents a dramatic interpretation of verses from the Song of Songs. A joyful meditation upon the mystery of the Resurrection, it describes the mystical union of the risen Christ with the Church, his “Bride”, and by extension, with the soul of a consecrated nun, herself a “Bride of Christ”. Rather unfortunately, Kelly Landerkin’s English translation of this outstanding piece is unpoetical to a degree, and brings us down to earth with a bump. By contrast, Jeremy Llewellyn’s substantial booklet-notes are exceptionally interesting and informative.

Y una interesante reflexión del contexto:
Interesante pero muy discutible.
Nuestros propios tiempos son muy negros para muchos y de color de rosa púrpura para un nanonúmero de idiotas. Tras tragarme el Byzantium de Norwich estoy con las Cruzadas de Runciman y mis sospechas de que los bárbaros de Occidente han cambiado poco en usos y costumbres se confirman. Deberían re-enseñarnos la historia ya de adultos. O las historias, que en cada país, región o pueblo las cuentan como les viene en gana. Para no imaginar lo absurdo cuando oigamos cosas con títulos como "Música en tiempos de las cruzadas", empezando por Munrow y terminando por el rosario de la aurora... Habría que ver las fantasías que historiadores y musicólogos del futuro tejerían con nuestras vidas al son del hip-hop (o de la copla, que para el caso es lo mismo).