War & Peace 1614-1714

The music is quite good--but the book is a real disappointment. You would think, given the dates on the cover and the beautiful illustrations as well as the musical content, that the book would be about the Thirty Years' War. It isn't. It is actually an anti-war screed that brings you the best of the most whacked out theories coursing through the classrooms of the modern university cabal. The pictures are nice but I'd rather have back the twenty extra bucks I spent on the textural drivel. The "pre-historic", woman-centered society was pacifistic? Oh pleeez!

‘War and Peace’, a set of two CDs within a substantial and intriguing booklet, is one of a number of projects from Jordi Savall placing music in a broader social, cultural and historical context. In the present case, he extends these implications still further by using his chosen music, and the accompanying essays and reflections, to support an impassioned plea for world peace and against violence, the ravages of war and the slaughter of innocent people. It will be obvious to any reader and any listener, as Savall himself makes clear in his moving opening essay in the booklet, that this message is every bit as valid today as it was in the bellicose century of the baroque from which he selects his music.The booklet’s lavish documentation places each of the works performed here in the context of a historical event, beginning in 1614 and ending in 1714. While on the subject of the ‘booklet’, prospective buyers will immediately notice, as soon as you see it in the shops or pick it up from your doormat, that this is actually a substantial hardback book of nearly 400 pages, with very full documentation, historical chronology, extremely interesting essays from various writers and dignitaries, quotations from philosophers including Erasmus of Rotterdam, Thomas More, Machiavelli, Montesquieu and Voltaire, and magnificent reproductions of relevant art such as Velazquez’ ‘Las Lanzas’, battle and civic guard scenes, and portraits of historical figures. Since the written material is shown in six languages, clearly only a portion of those 400 pages are in English. All sung texts and translations are given, and there are many excellent photos of Savall’s musicians. These performers include the director’s stalwarts La Capella Reial de Catalunya, Le Concert des Nations, Hespèrion XXI, and a kaleidoscope of excellent vocal soloists among whom I found the contributions of Stephan MacLeod, Johannette Zomer, Pascal Bertin and Carlos Mena especially distinguished. But in fact all the vocal and instrumental work is superb throughout the two-disc programme.The music itself consists of around forty works both instrumental and vocal, spread over the two CDs and variously expressing the majesty and ferocity as well as the misery of war, the suffering of the innocent or the defeated, and the celebration of victory or peace. There are warlike instrumental pieces such as Samuel Scheidt’s rousing ‘Galliard Battaglia’ (CD1, track 5) expressing, if such a thing is possible, the ‘nicer’ side of war; Cabanilles’ ostentatiously warlike ‘Batalla Imperial’ (2/16); or John Jenkins’ ‘Newark Siege’ (1/15) beautifully conveying both the bravado and the chaos of battle. There are substantial and impressive choral set pieces, such as Lully’s ‘Jubilate Deo’ (1/17), Rosenmüller’s ‘Siehe an die Werke Gottes’ (1/14); and ‘Praise the Lord, O my soul’ (1/21), attributed here to John Blow, but in fact just as likely to be by William Croft or Pelham Humfrey. This reminds me to mention that, despite the size of the accompanying book, it doesn’t include all that much musical information on the individual pieces performed here.Other choral works include extracts from Charpentier’s ‘Te Deum’ (CD2/1-4), brought off in great style with the well-known instrumental Prelude sounding both rousing and graceful; a lavishly scored Marcia Funebre and Mass movement by Biber (2/11-12); a lament, cunningly inserted by Savall, for Catalunya’s lost independence (2/19); and a beautifully sad movement from Cererols’ Missa pro Defunctis (2/18). Handel’s ‘Jubilate Deo’ of 1713 (2/20-26), celebrating the Treaty of Utrecht that ended the War of the Spanish Succession and here receiving a fabulous, full-bodied performance from Savall’s forces, forms a rousing and triumphant conclusion.Also worth mentioning along the way are a few instrumental pieces of a more middle-eastern flavour, reminding us that war in these times often involved eastern nations as well, and was not just between European countries; vocal laments and hymns; and an enjoyable interlude consisting of extracts from Antonio Caldara’s opera ‘Il più bel nome’ (2/8-10) which has little to do with war or peace (although I think the word ‘pace’ is mentioned once), but which will at least serve as an introduction for those unfamiliar with the music of this fine late-baroque composer. In fact, from a musical point of view - irrespective of any philosophical purpose or agenda - this set amounts to a varied and well-organised collection of baroque music, full of variety in mood, pace and texture, which may well bring a number of fine but lesser-known baroque composers to the attention of some buyers.Seen as an introduction to the delights of baroque music, which it may turn out to be for some listeners, Savall’s choices both in music and in manner of performance tend here towards the lavish and the majestic, as opposed to the more delicate and intimate aspects of the baroque; but this is hardly surprising in view of the title and purpose of the collection. Of course, as a disparate sequence of works in various formats and for different purposes, the effect of the music in this set cannot match the concentrated philosophical power and profundity of, for example, Beethoven’s Choral Symphony, Brahms’ Requiem, Górecki’s 3rd Symphony or Josquin’s Marian motets. But, as an aural and visual feast, this volume from Jordi Savall and his musicians will be virtually irresistible to many music-lovers. Above all, its combination of thoughts, sounds and visual beauties make it an outstanding success.

Definitely one of the best and most interesting CD-Book published by Savall and his musical friends from Le Concert des Nations, Hèsperion XXI and la Capella Reial de Catalunya. This his volume XXI in a series entitled “Raices & Memoria” (Roots & Memory). The book is abundantly illustrated and contains six short essays, available in six languages, devoted to the topic of war. The music (two and a half hour long) recorded on two CDs, is a survey of works composed on the occasion of historical events related to the main theme of war.At Classicalacarte.net we have located eleven reviews devoted to this CD-Book. Most of them are definitely favourable to Savall’s proposition. They may be consulted – search for: classicalacarte + ID506________________________________________________Voici un beau florilège d’œuvres musicales que Savall propose de relier à des événements qui ont marqué le 17e siècle : guerre, conflits à l’échelle européenne et arrêts des hostilités lors de la signature de traités de paix. Le tout s’échelonne sur un siècle – de 1614 à 1714 -. La liste des compositeurs sollicités est fort longue. Toutes les critiques repérées soulignent le travail méritoire entrepris par Savall et ses collaborateurs du Concert des Nations, d’Hespèrion XXI et de la Cappella Reial de Catalunya. Le produit final, soit un livre (en 6 langues), abondamment illustré, est comme toujours impeccable tout comme la qualité sonore des deux disques. Savall nous invite à revivre l’histoire d’un siècle particulièrement marqué par de multiples conflits entre les peuples et les nations de l’époque, entre l’Est et l’Ouest. Au plan de l’art et de la culture nous assistons au passage de la Renaissance à la période baroque, à l’évolution des styles, à l’utilisation de nouveaux instruments, à la naissance graduelle de ce qui deviendra l’opéra moderne.Tous les arts de l’époque témoignent de changements majeurs mais les hommes puissants s’adonnent toujours à la guerre. Le projet de Savall en musique est indissociable de ce qu’il nous invite à voir et à consulter dans le livre qui accompagne les enregistrements.Curieusement, ce livre-disque, le XXIème de la collection « Raices & Memoria » (Racines et Mémoire) n’a pas été analysé par la revue britannique Gramophone. Chez BBC Music Magazine (08/2015) (Note : 3/5) Michael Church rédige une critique plutôt acerbe qui vise surtout à décrier l’objectif réel de Savall et son équipe.Chez Fanfare, J.F.Weber se contente d’un survol de la période historique couverte (1614-1714) sans véritablement établir de liens entre les pièces musicales interprétées et les événements qu’elles sont censées rappeler. Il ne se prononce pas sur la qualité des interprétations même si on nous offre plus de deux heures trente de musique ( CD 1 : 77’55 et CD 2 : 77’51). Sa suggestion : offrez donc ce livre-disque en cadeau à un(e) jeune gradué(e) prêt(e) à s’ouvrir à de nouveaux horizons et pourquoi ne pas vous en offrir également un exemplaire !Du côté francophone Sophie Roughol se montre plus réceptive à l’entreprise de Savall. Son commentaire paru chez Diapason (#634 – 04/2015) (Note de 5) nous propose une belle synthèse du programme musical et des événements historiques qu’il met en relief. Pour madame Roughol, Savall se présente à nous comme le « chantre d’une utopie sans fin (qui) nous fait entendre l’histoire de la musique dans celle des hommes, conjuguant dramaturgie acérée et intelligence du cœur ».Chez Classica (#171 – 04/2015) Pierre Doridot aborde d’une façon plus précise le contenu musical des deux CD et souligne que seules « deux œuvres-clés sont données dans leur intégralité : Jubilate Deo de Haendel écrit pour la célébration du traité d’Utrecht et Jubilate Deo de Lully (Le motet de la Paix) écrit pour le traité des Pyrennées en 1659 ». Et il ajoute : « Partiellement, figure le Te Deum de Marc-Antoine Charpentier, « lumineux et guerrier ». Son appréciation d’ensemble vaut un CHOC au livre-disque.Comme c’est souvent le cas, c’est sur la Toile que l’on peut consulter les analyses les plus poussées. Chez Audiophile Audition, John Sunier se montre très enthousiaste, applaudissant surtout la qualité sonore du produit. « C’est l’une des meilleures productions de la série qui a déjà été louée de la plus belle façon ». Music Web International nous propose deux superbes commentaires. Le premier, signé Simon Thompson, place cette production dans la catégorie « Recording of the month » (03/2015). L’ambition du projet est manifeste et ce livre-disque en témoigne. Le message de Savall est clair : « … il faut valoriser la paix au dépens de la culture de la guerre ». Les pièces musicales sont toutes choisies en fonction de cet objectif. Selon Thompson, nous avons ici « … une réalisation incroyablement impressionnante, à la fois comme expression culturelle – alliant musique, art, littérature et philosophie - et comme exploration humaniste ». Le deuxième commentaire paru chez Music Web International est signé Dave Billinge qui lui nous souligne surtout la pertinence des textes du livre de même que la qualité sonore de l’enregistrement. Il rend un bel hommage à Manuel Mohino, principal artisan au plan technique d’à peu près tous les enregistrements récents de Savall.Le commentaire de Bernadette Beyne paru chez Crescendo (04/2015) effectue un survol descriptif de la production et est en tous points très appréciatif. (Note 10/10).Robert Hugill fait paraître sur son blog (Planet Hugill – 02/2015 Note : 4/5) un texte dans lequel il exprime sa surprise et son émerveillement face à la pertinence des musiques sélectionnées et leur mise en situation dans le contexte de l’évolution de la culture – art, musique, philosophie – au cours de cette époque si souvent traversée par la guerre.En dernier lieu mentionnons ce commentaire intéressant de Stepen Mingley disponible sur les diverses plateformes d’Amazon. Il est le seul à avoir souligné l’insertion subtile de cette plainte – « Catalunya en altre temps » - sur une musique de Jordi Savall d’après une mélodie traditionnelle catalane (piste 19, CD 2). Bel hommage du chef à sa Catalogne natale.

Definitely one of the best and most interesting CD-Book published by Savall and his musical friends from Le Concert des Nations, Hesperion XXI and la Capella Reial de Catalunya. This his volume XXI in a series entitled “Raices & Memoria” (Roots & Memory). The book is abundantly illustrated and contains six short essays, available in six languages, devoted to the topic of war. The music (two and a half hour long) recorded on two CDs, is a survey of works composed on the occasion of historical events related to the main theme of war.At Classicalacarte.net we have located eleven reviews devoted to this CD-Book. Most of them are definitely favourable to Savall’s proposition. They may be consulted – search for: classicalacarte + ID506

Innanzitutto spedizione rapidissima e ottimo imballo, un doppio OK ad amazon.it. Tornando all' ultima opera del maestro Savall, c'è da dire che non delude mai. Dietro ad ogni sua opera c'è uno studio da storico non solo musicale e le sue scelte dei brani richiedono una conoscenza a 360° del periodo storico : arte, politica e sopratutto musica , un lavoro certosino che solo i grandi esegutori come il maestro Savall possono portare a compimento. Che altro dire un doppio cd da non perdere non solo per gli appassionati del genere ma per chi ama la musica in tutti i suoi aspetti. La registrazione e ai massimi livelli come tutte le incisioni AliaVox e il volume dedicato e da colezzione. Imperdibile !!

Non ha nemmeno bisogno di presentazioni. Il nome è una garanzia. La sorpresa sta nella confezione, un bellissimo libro-documento ricco di contenuti che aiutano a comprendere l'epoca a cui questo cd è dedicato. La musica è bellissima, conduce la mente in un viaggio a ritroso nel tempo.

Very interesting "history" telling through amazing music.

Everything as described.

2 disques absolument sublimes : je ferme les yeux et j'écoute cette musique en boucle ! Merci Jordi Savall +++