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Bailey's Bundles
Chorus Corner: Chanticleer, Cantus and Seraphic Fire
C. Michael Bailey
...wants to know if Gene Harris is playing "Summertime" in Heaven...In the same way that Beethoven is more properly approached from Haydn and Mozart rather than Wagner, Monteverdi is better approached from Lassus and Palestrina rather than Vivaldi. His music should not be considered the beginning of the Baroque but the apex of the Renaissance. Much effort has been expended in stripping the Romantic from the Classical and what Quigley and company propose to do is the same, stripping the Baroque from the Renaissance. The immediate effect is drawing the vocals out front and center with much less emphasis on the orchestration, opting for a greater focus on the singing.
A concert organ replaces the natural horns favored by Baroque Orchestras, giving the performance a practice-band sound and feel. At the same time, it also sends a greater intimacy to the performance without robbing it of its grandeur. Quigley's middle-register specialists, altos Misty Bermudez and Reginald Mobley and tenors Derek Chester, Vincent Davies and Matthew Tresler navigate their parts with thought and care. This attention to detail coupled with a smallers instrumental constituent reveal a wealth of sonic clarity in Monteverdi's storied and holy composition.
Tracks and Personnel
The Siren's Call: Live Concert Highlights
Track Listing: Quand'havrà fine amore—Andrea Gabrieli; Ave maris stella—Palestrina; Luci serene e chiare—Carlo Gesualdo; O dolorosa gioia—Carlo Gesualdo; En douleur et tristesse—Nicolas Gombert; I laid me down to slumber—Edvard Grieg; Yea, Cast Me from Heights of the Mountains—Edward Elgar; I Hear the Siren's Call—Chen Yi; Die Lorelei—Mason Bates; Canticum calamitatis maritimae—Jaakko Mäntyjärvi; Amhrán na Gaoithe—Michael McGlynn; Hinbarra—Michael McGlynn; Sohran Bushi—Trad. Japanese; Temptation—Tom Waits; Somebody to Love—Freddie Mercury.
Personnel: Casey Breves, Gregory Peebles, Kory Reid: sopranos; Cortez Mitchell, Alan Reinhardt, Adam Ward: alto; Michael Bresnahan, Brian Hinman, Ben Jones: tenor; Eric Alatorre, Michael Axtell, Matthew Knickman: baritone and bass; Jace Wittig: music director.
On The Shoulders of Giants
Track Listing: Sederunt; If Ye Love Me; Cantate Domino; Crucifixus; O Vos Omnes; M L K; Lift Thine Eyes; Finlandia-Hymni; Kaksikpühendus: 1. Ühte Laulu Tahaks Laulda; Kaksikpühendus: 2. Tähed; Die Nacht; Die Rose Stand Im Tau; Zikr; Esti Dal; Alleluia; Hard Times Come Again No More; Somewhere.
Personnel: Gary Ruschman, David Walton, Shahzore Shah, Paul J. Rudoi; Aaron Humble: tenor; Adam Reinwald, Matthews Tintes: baritone; Timothy C. Takach, Chris Foss: bass.
Claudio Monteverdi: Vespers for the Blessed Virgin 1610
Track Listing: Vespro della Beata Vergine 1610: Domine ad adjuvandum; Dixit Dominus; Nigra Sum; Laudate pueri; Pulchra es; Laetatus sum; Duo Seraphim; Nisi Dominus; Audi coelum; Lauda Jerusalem; Ave maris stella.; Magificat a 6: Et exsultavit, a 3. Voci; Quia respexit, a una voce sola; Quia fecit, a 6 in Dialogo; Et misericordia, a 3. Voci; Fecit potentiam, a 3. Voci; Deposuit, a 3. voci; a due voici; Sicut locust est, a 5. voci in Dialogo; Gloria patri, a 6. Voci; Sicut erat in principio, a 6. voci.
Personnel: Sara Guttenberg; Abigail Haynes Lennox; Gabrielle Tinto; Kathryn Mueller: soprano; Misty Bermudez; Reginald Mobley: alto; Derek Chester, Vincent Davies; Matthew Tresler: tenor; James Bass, Graham Fandrei, Paul Max Tipton: bass; Joel Spears: lute, therobo; Philip Spray: violine; Scott Allen Jarrett, Karl Schrock: chamber organ. Western Michigan University Chorale. Patrick Dupre Quigley, director.
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