medieval.org
hyperion
helios
Hyperion CDA 66588
diciembre de 1991
Boxgrove Priory, Chichester





01 - Guillaume de MACHAUT. Donnez, signeurs     [4:33]
contralto, 2 tenors C L
02 - Puis qu'autrement ne puis avoir     [1:35]
tenor R, harp, lute
03 - Soit tart, tempre, main ou soir     [1:48]
contralto, 3 tenors R A C
04 - SOLAGE. Tres gentil cuer     [4:04]
contralto, 2 tenors C L
05 - PYCARD. Credo     [6:02]
2 tenors A C, 2 baritones
06 - Guillaume de MACHAUT. Quand je ne voy     [5:23]
tenor R, harp, lute
07 - Le ior     [2:15]
harp
08 - Avrai je ja de ma dame confort ?     [2:31]
contralto, 2 tenors C L
09 - Guillaume de MACHAUT. Riches d'amour     [5:05]
tenor R, harp
10 - Guillaume de MACHAUT. Pas de tor en thies pais     [4:30]
3 tenors R C L
11 - STURGEON. Salve mater domini ~ Salve templum domini     [2:58]
contralto, 2 tenors R L
12 - Sanctus     [2:07]
3 tenors R C L
13 - FONTEYNS. Regali ex progenie     [1:11]
contralto, 2 tenors R L
14 - CESARIS. Mon seul voloir ~ Certes m'amour     [4:46]
2 tenors A C, baritone D
15 - Baude CORDIER. Ce jour de l'an     [3:33]
contralto, 2 tenors C L
16 - CESARIS. Se vous scaviez, ma tres douce maistresse     [3:25]
tenor R, 2 baritones
17 - Je vueil vivre au plaisir d'amours     [3:20]
2 tenors A L , 2 baritones





GOTHIC VOICES
Christopher Page

Margaret Philpot, contralto - #1, 3-4, 8, 11, 13, 15
R Rogers Covey-Crump, tenor - #2, 3, 6, 9-13, 16
A Andrew Tusa, tenor - #3, 5, 14, 17
C Charles Daniels, tenor - #1, 3-5, 8, 10, 12, 14-15
L Leigh Nixon, tenor - #1, 4 , 8, 10-13, 15, 17
Stephen Charlesworth, baritone - #5, 16-17
D Donald Creig, baritone - #5, 14, 16-17

h  Andrew Lawrence-King, medieval harp - #2, 6-7, 9
i  Christopher Page, medieval lute - #2, 6


• • •

.
Reeditado en Helios CDH 555294, pdf online

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Por fin nos enteramos del (supuesto) porqué de tanto vaivén con el personal. Sound in the making.

As this is the tenth recording by Gothic Voices, I end these comments on a personal note. The development of a satisfactory vocalising technique - one that allows the underparts to be keenly etched but which need not threaten the mastery of the texted part - has opened a great deal more of the fourteenth- and earlier fifteenth-century French repertoire to us. It has taken ten years (and eight records) to find such a technique, fust presented thoroughly on The Medieval Romantics (Hyperion CDA66463, from 1991) after some initial experimenta on A Song for Francesca (Hyperion CDA66286, from 1988). At the same time, our search for two bass-baritone voices able to perform later medieval polyphony with the appropriate transparency of sound and rhythmic surety has at last been successful. This is the second recording in a row to feature French music of the later fourteenth and earlier fifteenth centuries, and another will soon follow. The rhythmic inventiveness, the harmonic colour and the sheer melodiousness of this music has always been the principal inspiration for Gothic Voices and has formed the core of the ensemble's repertoire from its first concerts, given in France in 1981, to the present.
CHRISTOPHER PACE ©1992

Este comentario no lo he visto en la reedición de Helios, no sé si lo han suprimido por no actualizar las referencias temporales o porque Page tiene second thoughts sobre lo que escribió.

Retrospectivamente, podríamos llamar a este disco The Spirits of England and France, vol. 0. Independientemente de los títulos insisto en que, salvo excepciones, los discos de Gothic Voices, como bien dice Ch. P. (this music has always been the principal inspiration) son distintas miradas al mismo repertorio.