[无损音乐格式] AliaVox 沙瓦尔 加泰罗尼亚的女巫之歌 古典音乐打包下载

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4无损音乐格式古典音乐冷门 -  AliaVox沙瓦尔 - 加泰罗尼亚的女巫之歌

EL CANT DE LA SIBIL·LA  Catalunya 加泰罗尼亚的女先知之歌/女巫之歌
(The Song Of The Sibyl)

Composer:  Anonymous
Performer: Montserrat Figueras soprano (1942-2011) 蒙赛拉·菲格拉斯 / 菲格拉丝
Orchestra: La Capella Reial de Catalunya 加泰罗尼亚皇家小教堂合唱团
                 Hesperion XX 晚星二十古乐团
Conductor: Jordi Savall 约第·沙瓦尔/萨瓦尔
Label: Alia Vox (https://www.alia-vox.com/cataleg_llistat.php?data=0)
Catalogue No.: AVSA9879 (https://www.alia-vox.com/cataleg.php?id=92)
Number of Discs: 1
Series: Heritage

. Recording Date and Place : Enregistrement effectué dans la Collégiale romane du Chateau de Cardona, Catalogne,  Mars 1988
. Available format : sacd Hybrid Multichannel Stereo
. Booklet languages : Fran?ais, English, Castellano, Català, Deutsch, Italiano
. Date of publication : 14/01/2011


The Erythrean Sibyl was one of the pagan prophets that were cited by Christian writers (in this case, St. Augustine) as witnesses to the coming of the Messiah. A homily attributed to St. Augustine was read at Christmas Matins, and in the 10th century the Song of the Sibyl was sung during that Office. Later it was used on Good Friday because of its relevance to the day of judgment. Vernacular versions have been sung in polyphony since the later Middle Ages.

This disc first appeared as Astrée E 8705 ( Fanfare 12:6), later reissued on Fontalis and now again in Super Audio. It offers Latin, Proven?al, and Catalan examples of the song. It was followed by a second disc on Fontalis ES 9900 (20:6) containing examples from Galicia and Castile. A third disc (incorrectly characterized as the second in 23:1) on Alia Vox AV 9806 had versions from Mallorca and Valencia, in all a total of seven versions of the Song of the Sibyl. Montserrat Figueras is a superb artist who every so often gives us an extraordinary program of surpassing beauty such as this one, a point I made when I reviewed Ninna Nanna (26:6). The seven versions of the song are fascinating, but this disc is the indispensable one of the three, for the first track is the original Latin chant. Other recordings of this chant have all been truncated, if I recall correctly, except Brigitte Lesne’s lovely version (18:5), which is complete but takes half as long to sing as Figueras’s expansive rendition. The two use different sources, Lesne using BnF lat. 1018, while Savall mentions five sources without indicating which one he has used.

The whole disc is mesmerizing. If you don’t have it already, you will find the surround sound captures the ambiance of Savall’s favorite recording venue at Cardona very aptly. Figueras is backed by the choral and instrumental capella most effectively. The 98-page booklet is much more elaborate than the original issue. This disc is a classic.


Product Description:
The Song of the Sibyl (El Cant de la Sibil la in Catalan) is a traditional liturgical drama that used to be performed on Christmas Eve, the lyrics of which describe a prophecy of the Apocalypse. The work was named one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO. With this recording, Montserrat Figueras established her reputation of the unsurpassed priestess of the repertoire. This reissue is a must-have for any lover of ancient music.

Sibyl: https://en.wikipedia.org/wiki/Sibyl

早在十五世纪，西班牙便开始传唱浪漫神秘的《女巫之歌》，但是所谓的女巫，更严谨的定义是一种女语言家，当时多半由男童装扮成女性担任领唱，搭配合唱对在各大教堂吟咏预言的经文，曲风类似格里格圣歌，但旋律与和声却更加丰富多变。《女巫之歌》多在圣诞夜演唱，唱词为末世预言。《女巫之歌》也是联合国教科文组织“非物质文化遗产”(《人类口头与非物质文化遗产杰作》)之一。着名的古大提琴家约第·沙瓦尔指挥加泰罗尼亚皇家小教堂合唱团，并由其夫人蒙赛拉·菲格拉丝担任领唱，她的歌声有别于一般女高音，具有难以形容的独特风韵，更增添《女巫之歌》的神秘意味。需要注意的是，本专辑内的三首《女巫之歌》实质是《女巫之歌》在不同历史时期、不同地区、用不同语言（10/11世纪的拉丁语、13世纪的法语、文艺复兴时期的加泰罗尼亚语）演唱的三个版本。

Review 1：
The voice of Montserrat Figueras remains one of the most extraordinary instruments in early-music circles. --Stereophile

Review 2：
5.0 out of 5 stars  It's not the musicology that counts - it's the mesmerizing voice of Montserrat Figueras
By Discophage  on August 4, 2015

There is musicology behind this disc, originally published in 1988 on Astrée, El Cant De La Sibil-la I - reconstructing three different historical stages of the music setting of one of the Oracles of the Sibyl, the prophetess of ancient Greece and Rome. That oracle was much in vogue in Medieval and Renaissance Europe, as it was considered to have announced the coming of Christ: "From Heaven a God will come for centuries to come, present in the flesh to judge the world". Its original Greek version is also an acrostic, the first letter of each of the five first verses forming the Greek code word ICHTUS, "fish" but also Iesous CHristos Theou hUios Soter, Jesus Christ Son of God Saviour. Sibyls were actually very trendy in Antiquity throughout the Mediterranean area, and this one is attributed to the Sibyl Erythrea of Anatolia / Asia Minor. The Chant has been made part of the Christmas liturgy and, although it was banned from Christian liturgy by the Council of Trent in the late 16th Century, it is still in vogue in some parts of Mediterranean Europe, like Malta, Catalonia, the Balearic Islands, Sardinia, Sicily and other parts of Italy. Augustine mentions it in The City of God XVIII-23 and gives a Latin translation (that he doesn't claim to be his), which served as a basis to the versions current in the Medieval times. The French Wikipedia entry on Ichtus gives an earlier Latin translation by Emperor Constantine of Byzantium, from Oratio Sanctorum Coetus, side by side with what seems to be the, or "a" Greek original, but strangely, the English corresponding Wikipédia entry doesn't display the same document (see my upload). The text is incomplete but I've found another website which gives the complete Constantine poem in Latin, and Constantine's translation is interesting for extending the acrostic to form the words Jesus Christus Dei Filius Servator Crux (Augustine did the same only on the 15 first verse, which read JESUCS CHREISTOS), but when you look closely at the hard-to-decipher Greek text, it's puzzling to see that the third verse seems to fall out of sequence, with a Sigma ' that shouldn't be there. You can also find online (on "Mystagogy", the weblog of John Sanidopoulos, of all places!) an English translation of what seems to be the Constantine poem which restitutes the full acrostic of 31 verses, Jesus Christ Son Of God Saviour Cross: well done, Mystagogue John!

Almost 30 years after this disc was recorded, the Wikipedia entry on the "Sibylline Oracles" is far clearer than Savall's liner notes in the original edition about the history and medieval posterity of these oracles: those in vogue in Medieval Europe had actually nothing to do with those of Ancient Greece and Rome. Let me quote: "The Sibylline Oracles (Latin: Oracula Sibyllina; sometimes called the "pseudo-Sibylline Oracles") are a collection of oracular utterances written in Greek hexameters ascribed to the Sibyls, prophetesses who uttered divine revelations in a frenzied state. Fourteen books and eight fragments of Sibylline Oracles survive. These are a collection of utterances that were composed or edited under various circumstances, probably between the 2nd and 6th centuries AD, and are not to be confused with the original Sibylline Books of ancient Roman religion which are now lost. Some apocalyptic passages scattered throughout seem to adumbrate themes of John's Book of Revelation and other Apocalyptic literature. The oracles have undergone extensive editing, re-writing, and redaction as they came to be exploited in wider circles." I've also found online an erudite article about the musical setting of this particular Oracle in the Middle Ages, more up to date than Savall's 1988 musicology, but in French only.

So, Savall and his band present three different versions of, basically, the same Chant/Prophecy, the first in Latin (Augustinus' translation) from the 10th/11th century, the second in Proven?al from the 13th Century, and the third from the Renaissance in Catalan (a language VERY similar to turn-of-the-millenium Proven?al). It's not entirely clear from the liner notes which sources they used, apparently a combination. See what YOU make out of this:

"Realizing today an historical version of the Sibyl's Chant supposes that we are in a dynamic perspective in time, as if we were trying to grasp its coming into being at one moment without interrupting the source of its essence and of its mystery. Our method consists of first cataloging in chronological order all the known versions of each chant in a way that allows us to proceed without a break for example from the first little ornamented chants of the tenth century to the more melismatic versions of the twelfth centuries without interrupting the continuity of the chant. It was clearly necessary to determine the selection of the different versions according to the character of the text for each verse."

Anyway, ultimately, it's not the musicology that counts. Much of it is very speculative anyway; is this how the music really sounded in the 10th/11th century, 13th Century Provence and Renaissance Catalonia? In truth, I don't think we know for sure, but it certainly matches our fantasy of how it might have sounded. What counts are the moods elicited, the first Chant austere, bare, with only, past its introduction with bells and a call of chalumeau (medieval oboe), a cappella chorus with drone for the refrain and an accompaniment of vielle for the soloist, still meditative and dreamy with its accompaniment of oud / Arabic lute in the Proven?al second, and the third still meditative and wistful but also more grandiose, with its full accompaniment of viol quartet, cornet, sackbut, and drums and polyphonic chorus.

And what counts is the angelic voice of Montserrat Figueras. This is a voice to send you high (even if - or maybe even because it is on a very uniformly meditative mood throughout).

Another attraction, at least for the French-speaking listener, is the Proven?al and Catalan languages, so alien and yet so resemblant to modern French.

TT 54 minutes. Two sequels were later recorded, first in 1996, El Canto De La Sibila II: Galicia Castilla, on the label Audivis-Fontalis, which also reissued what had then become volume 1, El Cant De La Sibil-La I (Catalunya), then volume 3 in 1999, on Savall's own label Alia Vox, El Cant De La Sibil-La. Both volumes 1 and 3 were also issued or reissued on Alia Vox in SACD version, El Cant de la and Cant De La Sibil.La 3 - but not (yet?) volume 2, which exists only in Red Book form. At the time of writing the SACD edition of volume 1 sells not much more expensive on the marketplace than the original, non-SACD Astrée edition. But right now, this here is the cheapest-selling edition, together with a later reissue by Na?ve, El Cant De La Sibil-La (The Song Of The Sibyl).


Review 3：

The Erythrean Sibyl was one of the pagan prophets that were cited by Christian writers (in this case, St. Augustine) as witnesses to the coming of the Messiah. A homily attributed to St. Augustine was read at Christmas Matins, and in the 10th century the Song of the Sibyl was sung during that Office. Later it was used on Good Friday because of its relevance to the day of judgment. Vernacular versions have been sung in polyphony since the later Middle Ages.

This disc first appeared as Astrée E 8705 ( Fanfare 12:6), later reissued on Fontalis and now again in Super Audio. It offers Latin, Proven?al, and Catalan examples of the song. It was followed by a second disc on Fontalis ES 9900 (20:6) containing examples from Galicia and Castile. A third disc (incorrectly characterized as the second in 23:1) on Alia Vox AV 9806 had versions from Mallorca and Valencia, in all a total of seven versions of the Song of the Sibyl. Montserrat Figueras is a superb artist who every so often gives us an extraordinary program of surpassing beauty such as this one, a point I made when I reviewed Ninna Nanna (26:6). The seven versions of the song are fascinating, but this disc is the indispensable one of the three, for the first track is the original Latin chant. Other recordings of this chant have all been truncated, if I recall correctly, except Brigitte Lesne’s lovely version (18:5), which is complete but takes half as long to sing as Figueras’s expansive rendition. The two use different sources, Lesne using BnF lat. 1018, while Savall mentions five sources without indicating which one he has used.

The whole disc is mesmerizing. If you don’t have it already, you will find the surround sound captures the ambiance of Savall’s favorite recording venue at Cardona very aptly. Figueras is backed by the choral and instrumental capella most effectively. The 98-page booklet is much more elaborate than the original issue. This disc is a classic.

FANFARE: J. F. Weber


Tracks:

1. Sibil·la Llatina    18'33 拉蒂纳(意大利地名)的女巫之歌 (《女巫之歌》在10/11世纪的拉丁语版本)
2. Sibil·la Proven?al     13'05 普罗旺斯的女巫之歌 (《女巫之歌》在13世纪的法语版本)
3. Sibil·la Catalana     22'11 加泰罗尼亚的女巫之歌 (《女巫之歌》在文艺复兴时期的加泰罗尼亚语版本)

TT: 55'05

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蛮好的古典音乐， 以前我有个音质很差的版本。

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没听过无损的，应该很好听！感谢提供！

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