Music Millennium

Music Millennium

Around 1600 the early Baroque solo song with instrumental accompaniment began sharing the musical stage with polyphonic Renaissance vocal works of contrapuntal stamp. Although this period was distinguished by musical forms of great diversity and variability, there was one clear premise: the immediacy of musical expression. Consequently, the person of Orpheus became one of the most important figures. He was the singer who accompanied himself on the lyre and expressed his deepest feelings textually and musically. The successful tenor Julian Prégardien teams up with the ensemble Teatro del Mondo led by Andreas Kuppers, who has assisted René Jacobs and others for many years, to trace the representation and reception of this mythical singer in the seventeenth century. Accompanied by a great many instruments, the musicians cover the first operas in Italy, spend time with part songs and lute songs from England, and discover song collections from Germany. Dances and diminutions function as interludes. This is an album like a painting: Orpheus sings and plays in the midst of shepherds, nymphs, animals, trees, and stones. In 2016 Die Rheinpfalz wrote after an "Orpheus Concert": "With Julian Prégardien and the early music ensemble Teatro del Mondo we found ourselves in the uppermost reaches of Baroque vocal and instrumental music. The sound of this formation is gentle and rough, highly expressive and emotional, and yet governed by artistic discernment."
Around 1600 the early Baroque solo song with instrumental accompaniment began sharing the musical stage with polyphonic Renaissance vocal works of contrapuntal stamp. Although this period was distinguished by musical forms of great diversity and variability, there was one clear premise: the immediacy of musical expression. Consequently, the person of Orpheus became one of the most important figures. He was the singer who accompanied himself on the lyre and expressed his deepest feelings textually and musically. The successful tenor Julian Prégardien teams up with the ensemble Teatro del Mondo led by Andreas Kuppers, who has assisted René Jacobs and others for many years, to trace the representation and reception of this mythical singer in the seventeenth century. Accompanied by a great many instruments, the musicians cover the first operas in Italy, spend time with part songs and lute songs from England, and discover song collections from Germany. Dances and diminutions function as interludes. This is an album like a painting: Orpheus sings and plays in the midst of shepherds, nymphs, animals, trees, and stones. In 2016 Die Rheinpfalz wrote after an "Orpheus Concert": "With Julian Prégardien and the early music ensemble Teatro del Mondo we found ourselves in the uppermost reaches of Baroque vocal and instrumental music. The sound of this formation is gentle and rough, highly expressive and emotional, and yet governed by artistic discernment."
761203516827
Julian Prégardien - Orpheus

Details

Format: CD
Label: CPO
Rel. Date: 05/04/2018
UPC: 761203516827

Orpheus
Artist: Julian Prégardien
Format: CD
New: In Stock $18.99
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Formats and Editions

DISC: 1

1. Orpheus I Am (The Mad Lover)
2. La Lira D'orfeo: Ma, Divertim'io Voglio
3. Orpheus With His Lute
4. Come, Woeful Orpheus (Arr. For Chamber Ensemble)
5. Allerhand Oden Und Lieder: No. 5, Als Orpheus Schlug Sein Instrument
6. Euridice: Antri, Ch'a' Miei Lamenti
7. Opitianischer Orpheus, Pt. 1: No. 7, Nachklang
8. Le Varie Musiche: Al Fonte, Al Prato
9. Madrigali Di Diversi Autori: Filli Mia, Filli Dolce
10. L'orfeo, Sv 318: VI Ricorda, Ò Boschi Amorosi
11. Orfeo: Fantasie. Les Pleurs D'orphée (Arr. For 3 Recorders & Organ)
12. Bookes Of Ayres, Book 3: Breake Now My Heart And Dye, Oh No, She May Relent
13. Bookes Of Ayres, Book 3: Oft Have I Sigh'd For Him That Heares Me Not
14. Euridice: Non Piango E Non Sospiro
15. Opitianischer Orpheus, Pt. 1: No. 4, Jetzund Kommt Die Nacht Herbei
16. Passagagli
17. The Prophetess, Z. 627 "The History Of Dioclesian": Charon The Peaceful Shade Invites
18. L'orfeo Dolente: Sinfonia - Numi D'abisso
19. Ricercate E Altri Varij Capricci, Book 2: Toccata Seconda (Arr. For Baroque Harp)
20. L'orfeo, Sv 318: Qual Onor Di Te Fia Degno
21. Le Trésor D'orphée: No. 4, Prélude
22. Opitianischer Orpheus, Pt. 2: No. 4, Ach Liebste, Lass Uns Eilen
23. Euridice: Gioite Al Canto Mio, Selve Frondose
24. Newe Teutsche Weltliche Madrigalia Und Balletten: Orpheus Die Harfen Schlug So Fein (Arr. For Chamber Ensemble)
25. La Lira D'orfeo: Al Suon Di Questa Lira
26. Opitianischer Orpheus, Pt. 1: No. 3, Wann Sich Der Werte Gast
27. The Bird Fancyer's Delight: The Indian Nightingale (Arr. For Chamber Ensemble)

More Info:

Around 1600 the early Baroque solo song with instrumental accompaniment began sharing the musical stage with polyphonic Renaissance vocal works of contrapuntal stamp. Although this period was distinguished by musical forms of great diversity and variability, there was one clear premise: the immediacy of musical expression. Consequently, the person of Orpheus became one of the most important figures. He was the singer who accompanied himself on the lyre and expressed his deepest feelings textually and musically. The successful tenor Julian Prégardien teams up with the ensemble Teatro del Mondo led by Andreas Kuppers, who has assisted René Jacobs and others for many years, to trace the representation and reception of this mythical singer in the seventeenth century. Accompanied by a great many instruments, the musicians cover the first operas in Italy, spend time with part songs and lute songs from England, and discover song collections from Germany. Dances and diminutions function as interludes. This is an album like a painting: Orpheus sings and plays in the midst of shepherds, nymphs, animals, trees, and stones. In 2016 Die Rheinpfalz wrote after an "Orpheus Concert": "With Julian Prégardien and the early music ensemble Teatro del Mondo we found ourselves in the uppermost reaches of Baroque vocal and instrumental music. The sound of this formation is gentle and rough, highly expressive and emotional, and yet governed by artistic discernment."
        
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