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1 CD
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€ 13.95
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| Label Signum Classics |
UPC 0635212041420 |
Catalogue number SIGCD 414 |
Release date 10 April 2015 |
The King's Singers vertolken de madrigaal collectie 'Il Trionfo di Dori' op sierlijke wijze
The King's Singers presenteren op dit album de complete collectie an madrigalen 'Il Trionfo di Dori'. Deze collectie werd gecomponeerd in opdracht van de Venetiaanse edelman Leonardo Sanudo in 1592 en bestaat uit 29 werken gecomponeerd door 29 verschillende madrigaal componisten, waaronder veel van de belangrijkste Italiaanse musici van die tijd; Gabrieli, Palestrina, Croce, Anerio, Gastoldi en Striggio. Andere componisten waren minder bekend en waren vermogende kennissen van Sanudo. De madrigalen prijzen de deugden van Sanudo's vrouw door middel van het pseudoniem Dori, een zee-nimf die de dochter van Oceanus was, de goddelijke personificatie van de zee uit de mythologie. De teksten schetsen een idyllisch tafereel van Arcadië, een utopisch land bewoond door nimfen, herders en saters, die allen tezamen komen aan het eind van elk madrigaal voor de lofzang voor Dori, met het refrein Viva la bella Dori (Lang leve de prachtige Dori).
De Gramophone was lovend over het album: “The King's Singers bring a sense of perfect social grace and urbanity to this music…it is hard to imagine a group with greater potential to do justice to this music of love and mythology than they.”
The King's Singers have set the gold standard in a cappella singing on the world’s greatest stages for over 55 years. They are renowned for their unrivalled technique, musicianship and versatility, which stem from the group’s rich heritage and its drive to bring an extraordinary range of new and unique works, collaborations and recordings to life. The King’s Singers’ extensive discography has led to numerous awards, including two Grammy Awards, an Emmy Award, and a place in Gramophone magazine’s inaugural Hall of Fame.
The King’s Singers were officially formed in 1968 when six recent choral scholars from King’s College, Cambridge gave a concert at London’s Queen Elizabeth Hall. By chance, the group was made up of two countertenors, a tenor, two baritones and a bass, and the group has stuck to this formation ever since.
In the last few years, the group has recorded a series of diverse, collaborative albums that showcase the huge breadth of their repertoire. One honours two great English Renaissance composers: Thomas Weelkes and William Byrd; another is centred around Romantic music; a third honours 100 years of Disney, with 28 brand-new arrangements of iconic Disney songs; a fourth is a double-album focussed on the group’s library of signature ‘close harmony’ arrangements; and another celebrates the group’s extraordinary body of commissioned new music.
Growing the global canon of choral music has always been one of the group's key aims, and The King’s Singers have now commissioned more than 300 works by many of the most prominent composers of the 20th and 21st centuries. These composers include John Tavener, Joe Hisaishi, Judith Bingham, Eric Whitacre, György Ligeti, Luciano Berio, Penderecki and Toru Takemitsu. All this new music joins their body of bespoke a cappella arrangements, including many by King’s Singers past and present.
Alongside their demanding performing and recording schedule – with over 100 concerts worldwide every season – the group leads educational workshops and residential courses across the globe, working with ensembles on their approaches to group singing. To mark their 50th anniversary in 2018, they founded The King’s Singers Global Foundation (based in the USA), to provide a platform to support the creation of new music across multiple disciplines, to coach a new generation of performers, and to provide musical opportunities to people of all backgrounds.
Many a man will know the terms 'piano' and 'forte' to describe a soft or loud volume. The Venetian composer Giovanni Gabrieli was the first to ever used these terms in a musical work, around 1600, in his Sonata pian' e forte. Yet, this is not the only accomplishment Gabrieli is known for: he was also one of the first to compose music for multiple choirs, in which a vocal or instrumental ensemble was spread throughout the available space. This especially would have had an impressive effect in the gigantic St Mark's Basilica of Venice. Due to these innovations, many students, among which Heinrich Schütz, wanted to be taught by Gabrieli. Gabrieli's most seminal work includes his Sacrae symphoniae (1597) and his posthumously published Canzoni et sonate (1615).
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