Vocals from the past that sound timeless and with an eternal focus.
Madrigals for Five Voices are delivered by Les Arts Florissants under the direction of William Christie. This music of the 17th Century is delivered by soprano, alto, contra-tenor, tenor, bariton and bass in various mixes and matches, at times with period instruments of lyre, harp and theorbe. There are four Books consisting of either 4 or 5 parts. Rich voices on are in abundance on “Ahi Disperata Vita,” sublime and stirring harmonies abound on “Sospirava Il Mio Core” and the vocals create an organlike effect on “Luci Serene E Chiare.” Playful dynamics take place on “Ardita Zanzaretta” with lovey harp and lyre adding mood on “Io tacero.” Wonderful and warm.
George Handel composes three religious works here, and each one gives slight hints of his famous Messiah in certain moments. There is a four movement “The King Shall Rejoice” which is filled with bright voices, rich strings and thoughtful organ for support of the rich canon of vocals on “Alleluia! Alleluia!.” The six part “Te Deum” mixes bold drums and bras on “We Praise Thee” lovely recorder on “When Thou Tookest Upon Thee” and fervent trumpet during “Day By Day…” while the chorus and solo are rich and clear. The highlight is the 13 part “The Ways of Zion Do Mourn” with dramatic choir on “How Are the Mighty Fall’n” a mournful dirge with drums on “Symphony” and graceful strings on “When the Ear Heard Her.” An obscure one that deserves to be heard, and heard often.
The three pieces by Michel-Richard de Lalande (1657-1726) take the same format as Handel, with a “Te Deum,” a “Super Flumina Babilonis” (which reflects the mourning of being in exile) and a confessional “Cofitebor Tibi Domine” with orchestra and voices similar to early period Handel. Rich harps team with male vocals on “Tu Devicto Mortis Aculeo” and the women create wondrous harmonies for “Te Gloriousus Apostolorum.” Mournful female solos take place on “Filia Babilonis Misera” while the chorus declare victory on the closing theme. Bach-like influences are heard on “Simphinie” and the sublime “Intellecus Bonus” and “Gloria” giving hints of his Mass in B minor, with wondrous moments on “Confessio et Magnificentia.” Successful and saintly.