MTH-V: Jordi Savall

It’s about time I share some of the enchanting realizations of Jordi Savall and his colleagues. Despite my not including it much in this series (except for this one by Trio Mediæval), I do love early music. For those unfamiliar, “early music” generally connotes Western “classical” or “literate” music through at least parts of the Baroque period (ca. 1600-1750). It’s a dense, niche area that includes much unnecessary controversy over performance practice and theory. The 10¢, Reader’s Digest summary is thus:
1. Most practitioners believe that the music should be performed on period-specific instruments. Some don’t care either way.
2. Within the former from “1.”, there’s a divide between strict adherence to the notated score – or recreations of scores – and those who include a healthy does of improvisation – a common practice at the time(s) – within the theoretical, era-specific guidelines. Or, rather, a divide between historical recreations for scholars or bringing the music to life within a similar but new context.

(To dive into this topic, I suggest starting here.)

Of course, as with most things, everyone claims that their preferred way is the most authentic. And while I don’t get too militant about it, especially as a saxophonist, I tend to side with the “period instruments + improvisation” crowd. I suggested as much in my glowing reviews for both Rolf Lislevand’s Diminuito and Trio Mediæval’s A Worcester Ladymass.

Enter Jordi Savall, one of the world’s foremost early music performers. I wasn’t aware of it then, but when I first saw a video of his recording of Monteverdi’s L’Orfeo many years ago (which I now own) he became the first “name” in early music that would stick with me for the long term. A renowned conductor and performer of early music, he and his late wife Montserrat Figueras and helped lead a renaissance (no pun intended) of early music, breathing new life into old styles. Their children Arianna and Ferran are also accomplished performers. (Montserrat and Arianna are also in the aforementioned L’Orfeo production.) Just last week I purchased Arianna Savall’s Hirundo Maris, a wonderful album that I’ve been spinning quite a bit.

Below is a live performance of Antonio Martin y Coll‘s Diferencias sobre las Folias featuring:
Jordi Savall – viola da gamba
Rolf Lislevand – Baroque guitar
Arianna Savall – harp
Pedro Estevan – percussion
Adela Gonzalez-Campa – castanets

For the full concert, which is quite good, go here.

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