I keep coming to this video at least 4 times a year. It's such masterpiece that it should be constantly played on every radio or every country. Life would be much easier and happy if that would happen😍😍
My father, who passed away last week, would have cried for joy listening to this. Like I am now just thinking about him watching it. Thanks for sharing.
Waking up listeners - Capriccio Stravagante is world-renowned for their memorable interpretations of Renaissance and Baroque music. Founded in 1986 by Skip Sempé, the ensemble of three to seventy performers incorporates Capriccio Stravagante, the Capriccio Stravagante Renaissance Orchestra and Capriccio Stravagante Les 24 Violons. By the mid 1990s, the ensemble had built up an extensive discography for which they received international acclaim and had performed in major concert halls and festivals worldwide. Nonchalance & Power - The ensembles seek a musical aesthetic whose values have been nearly lost to contemporary musical life. Unlike many other early music ensembles, they adhere to traditional principles of articulation, rhetoric, scholarship, imagination and talent to break down conventions that have little to do with historical practice, particularly those originating in twentieth-century ‘Baroque’ performance practices. Capriccio Stravagante has recorded extensively for the Paradizo, Deutsche Harmonia Mundi, Astrée, Alpha and Teldec labels. Man-made beauty - The Capriccio Stravagante Renaissance Orchestra offers virtuoso performers on a highly distinctive musical instrumentarium that includes violins, viols, recorders, cornetti, sackbuts, krummhorns, shawms, lutes, harps, harpsichords, virginals, organs, and percussion. Derived from the instrumental virtuosity that sixteenth-century music demanded, their playing techniques are completely unknown to classically trained instrumentalists and mainstream audiences today. The ensemble is the largest and most luxurious gathering yet assembled for the performance of masterpieces from this Golden Age of musical creativity. Awards & Rewards - Capriccio Stravagante’s exceptional chamber ensemble playing has inspired three generations of musicians, many of whom have gone on to enjoy international careers. The Capriccio Stravagante Prize was created by Skip Sempé in 1997, and served to encourage numerous musicians in their early careers. It is particularly touching that many of those musicians have now become an integral part of Capriccio Stravagante’s activities. Sempé receives lasting inspiration from the key members of these renewed generations.
Knockout early composer, Monteverdi. Love this ancient music. Composers starting to experiment with ambitious chord structures and form. This is pre Bach by 100 years. Yet it's so compelling.. respect for those amazing musicians too..
One of the greatest Monteverdi´s representation ever achieved.CONGRATULATIOS to all performers for this AMAZING revelation of post renasaincean sensations by VOX LUMINIS in UTRECH
The feeling Zsuzsi Tóth puts into her beautiful singing is evident when you see her trying not to cry at the end of the Ohimè, dov’è il mio ben. Fantastic performance by both singers and musicians.
i dont understand all the public sitting politely and clapping after the performance. this music sounds like it is clearly composed to be danced to and shouted ! I couldnt stay on my chair hearing this superb royal music
You're defnitly right in your perception! This music NEEDS physical (com)motion ..not to say dancing in many respect.. ..and not only in unison by the instumental parts - every vocal too- espescially the soprans Toth,Jäggi and Cassano are door opener in this regard..
I have heard this several times back to back. It is an outstanding performance with brilliant clarity of sound. In fact you can tell exactly what each different instrument is playing at the moment, which is so revealing in comparison to large - chaotic classical period orchestras
quando si ascolta una tale esecuzione mi viene spontaneo pensare il lavoro di preparazione che c é dietro.grazie a voi per questo bel momento musicale.
Timings: 0:04 - Johannes Ciconia - Venecie mundi splendor: 19. XII. 1400 2:22 - Giorgio Mainerio - Passamezzo moderno 6:53 - Pietro Lappi - Canzona La Negrona 9:40 - Claudio Monteverdi - O come sei gentile 13:46 - Giorgio Mainerio - Tedesca 17:22 - Claudio Monteverdi - Sinfonia 19:03 - Claudio Monteverdi - Non e di gentil core 23:08 - Orazio Vecchi - Gitene ninfe 28:05 - Andrea Gabrieli - O passi sparsi a 12 31:57 - Claudio Monteverdi - Confitebor terzo alla francese (Selva morale, 1640) 40:00 - Claudio Monteverdi - Dixit Dominus secondo (Selva morale, 1640) 49:40 - Giorgio Mainerio - Ballo anglese 52:54 - Claudio Monteverdi - Ohimè, dov’è il mio ben 1:00:22 - Giovanni Gabrieli - Canzona II 1:03:39 - Gasparo Zanetti - Intrada del Marchese di Caravazzo 1:06:07 - Orazio Vecchi - So ben mi ch’ha bon tempo 1:07:55 - Giorgio Mainerio - Passamezzo antico 1:13:45 - Claudio Monteverdi - Beatus vir primo (Selva morale, 1640) 1:22:49 - Heinrich Schütz - Alleluia - Lobet den Herren (Psalm 150) Encores: 1:35:04 - Claudio Monteverdi - Domine ad adiuvandum (Vespers, 1610) 1:42:08 - Claudio Monteverdi - Ohimè, dov'è il mio ben
Vox Luminis est un ensemble vocal puis musical belge fondé en 2004 par le chanteur lyrique basse Lionel Meunier qui en assure la direction depuis. Il est spécialiste du répertoire baroque des XVIIe et XVIIIe siècle. Historique Le groupe musical voit le jour en 2004 lorsque Lionel Meunier, son fondateur, décroche sa licence en musique[1], lors d'un concert donné à Namur la même année[2]. Beaucoup des solistes y sont alors issus du Conservatoire Royal de musique de La Haye[1]. L'ensemble se fixe dans la ville de Namur en 2009[2] et enregistre son troisième disque, consacré à Heinrich Schutz, en 2014, ce qui fera décoller le groupe et obtient le prix Choc de Classica. À partir de 2014, l'ensemble se dote de son propre orchestre afin d'ouvrir le champ de son répertoire pour ne plus se contenter de l'accompagnement musical disponible. L'orchestre est dirigé par le violoniste finlandais Tuomo Suni en tant que premier violon. L'ensemble participe plusieurs années de suite à l’Académie Bach d’Arques-la-Bataille. Il y chante la Messe en si de Jean-Sébastien Bach en 2017[3]. Au cours de sa carrière, l'ensemble collabore régulièrement avec d'autres ensembles baroques tels que le belge A Nocte Temporis de Reinoud van Mechelen. On le retrouve également avec l'ensemble Achéron, notamment dans un concert en 2018 à l'Arsenal de Metz portant sur les compositeurs baroques Heinrich Schütz, Johann Caspar Kerll, Dietrich Buxtehude et Agostino Steffani[a]. L'ensemble fait partie des artistes suivis par Outhere Music, et enregistre ainsi régulièrement des disques pour les labels Ricercar ou Alpha Classics. Depuis la saison 2017/2018, l'ensemble est en résidence pour cinq années au Concertgebouw de Bruges qui y propose trois projets chaque année.
Even though I have a good bit of this music on various other disks, this is such a marvelous performance, all in one place, that if it were available as a CD or download, I'd buy it in a heartbeat.
Am I the only one who thinks of Pingu when he sees (and hears) those shawms at the beginning? NOOT NOOT! I also notice the great Thomas Dunford on theorbo.
Absolument magnifique ! Beau mariage entre Vox Luminis et le Capriccio Stravagante. On croirait de la musique de Monteverdi qu'elle est celle d'un extraterrestre tellement elle est bizarre parfois. Baudelaire disait que la beauté avait toujours quelque chose de bizarre.
Es mutet nahezu als Wunder an, dass bei Konzertmitschnitten dieser Art, das verantwortliche UA-cam-Management in der Lage zu sein scheint, über 'ihren Schatten zu springen' und die Einsicht entwickeln, keine WERBEUNTERBRECHUNGEN einzustreuen -was zweifellos einen Fortschritt , und Gewinn ganz anderer Art darstellt!! Vielleicht zeichnet sich hier bereits eine Lernkurve ab, vormalige Zustände wieder herzustellen. [Hope never dies]
This concert is a flawless gem. I wonder, sometimes, if performances like this are not the best ever in history. Were the ensembles/performances as polished as this when the music was new?
One has to take into account that the performers at the time did this and only this music. They were intimately acquainted with the musical idioms and were fast in 'guessing' the musical gist. Another witness of the high professionalism are the migratory movements of musicians and composers at the time. The best were sought all over Europe and they must have been masters of their subject. A lot was certainly down to money and the local talent pool as we know from complaints or special praise from 'conductors' about certain instruments (the infamous brass section, for example). Rich centres like Venice certainly attracted excellent musicians which increased the competition for less talented natives. Since most of these pieces have gone through the sieve of time, we are looking at the "best of" which were also performed by the "best of" in their times. And yes, there were also horrible "Provinzorchester", that performed music from mediocre composers, who time has forgotten - and rightly so.
..and I like to remind that if we have so many works of art from that period in architecture, painting, literature etc, I can imagine there were genius musicians and excellent performances alike. Many musicians of that time were famous instrumentists. This is what Thomas Coryat (an english traveller) wrote about the music while visiting Venice in 1608: "so good, so admirable, so rare, so delectable, so superexcellent, that it did even ravish and stupefy all those strangers that never heard the like...for mine owne part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven". and "I heard the best musicke that ever I did in all my life both in the morning and the afternoone, so good that I would willingly goe an hundred miles afoote at any time to heare the like"
@1manuscriptman No, no -- this music wasn't "throwaway" music. For one thing, just about all of it was published (which is why we have it today), and publishing music back then was much more difficult than it is today. It's true that it wasn't being written for people like us four centuries later, but it was certainly published so that it could be used on multiple occasions in multiple places over a period of years.
Stunning performances. I wish utube provided reliable sound. This recording is overmodulating on the loudest parts of the vocals, which is a real shame. The sound needs to be perfect because the voices are...perfect.
I love this interpretation. The musicians are so alive and it is noticeable that they are enjoying themselves. I especially like the Tedesca by Giorgio Mainerio, I would love to know in which context was the original music presented it seems a royal procession or some sort of public performance.
Don't miss wonderful encores! Please confirm identities. I don't really understand much Dutch, except for parts of names and titles. I did a bit of research and found the following: Encore at 1:35:00 - Monteverdi: Deus in Adjutorium (opening of 1610 Vespers) Encore at 1:41:45 - Monteverdi: Ohim'è dov''è il mio ben: romanesca a 2 (1619; text by Bernardo Tasso). [names of sopranos? I only heard "Eva"]. Special moment: director (Skip Sempé?) tells audience that "it's one of the most beautiful pieces I've ever heard" and seems to choke up ever so slightly.
Acho que, no Sec.XXI os habitantes humanos deste planeta deveriam ouvir com muito mais frequência a mensagem que a música da pré-renascença, da própria renascença e do barroco tem a dizer!... A introspecção que sugere, certamente implantaria em cérebros corrompidos por tantos equívocos, trilhas alternativas que os encaminhassem em novos e saudáveis objetivos num período tão carente de valores espirituais.
I keep coming to this video at least 4 times a year. It's such masterpiece that it should be constantly played on every radio or every country. Life would be much easier and happy if that would happen😍😍
Die Musik, die Spiel-und Sangesweise sind eine einzige Wohltat für Ohr und Seele. Danke an alle und Herrn Sempe.
Some of these faces are a joy to behold - enjoying themselves, and listening to others with a look of delight and even wonderment.
My father, who passed away last week, would have cried for joy listening to this. Like I am now just thinking about him watching it. Thanks for sharing.
Two years on - I expect this music has soared to Heaven by now and hope your beloved father is listening with a smile. :-)
Bless you for sharing this, Apathia. Thank you for sharing your soul... and your father's.
InstaBlaster
Waking up listeners - Capriccio Stravagante is world-renowned for their memorable interpretations of Renaissance and Baroque music. Founded in 1986 by Skip Sempé, the ensemble of three to seventy performers incorporates Capriccio Stravagante, the Capriccio Stravagante Renaissance Orchestra and Capriccio Stravagante Les 24 Violons. By the mid 1990s, the ensemble had built up an extensive discography for which they received international acclaim and had performed in major concert halls and festivals worldwide.
Nonchalance & Power - The ensembles seek a musical aesthetic whose values have been nearly lost to contemporary musical life. Unlike many other early music ensembles, they adhere to traditional principles of articulation, rhetoric, scholarship, imagination and talent to break down conventions that have little to do with historical practice, particularly those originating in twentieth-century ‘Baroque’ performance practices. Capriccio Stravagante has recorded extensively for the Paradizo, Deutsche Harmonia Mundi, Astrée, Alpha and Teldec labels.
Man-made beauty - The Capriccio Stravagante Renaissance Orchestra offers virtuoso performers on a highly distinctive musical instrumentarium that includes violins, viols, recorders, cornetti, sackbuts, krummhorns, shawms, lutes, harps, harpsichords, virginals, organs, and percussion. Derived from the instrumental virtuosity that sixteenth-century music demanded, their playing techniques are completely unknown to classically trained instrumentalists and mainstream audiences today. The ensemble is the largest and most luxurious gathering yet assembled for the performance of masterpieces from this Golden Age of musical creativity.
Awards & Rewards - Capriccio Stravagante’s exceptional chamber ensemble playing has inspired three generations of musicians, many of whom have gone on to enjoy international careers. The Capriccio Stravagante Prize was created by Skip Sempé in 1997, and served to encourage numerous musicians in their early careers. It is particularly touching that many of those musicians have now become an integral part of Capriccio Stravagante’s activities. Sempé receives lasting inspiration from the key members of these renewed generations.
What a fantastic concert! Thank you! Wonderful singing. And I always love watching Thomas Dunford!
Oh, my God, goosebumps...what a joy , what a performance... Thank you from Hungary
Knockout early composer, Monteverdi. Love this ancient music. Composers starting to experiment with ambitious chord structures and form. This is pre Bach by 100 years. Yet it's so compelling.. respect for those amazing musicians too..
Monteverdi is one of the best composers of music. Be careful.... the best ....¡¡¡BACH!!!
One of the greatest Monteverdi´s representation ever achieved.CONGRATULATIOS to all performers for this AMAZING revelation of post renasaincean sensations by VOX LUMINIS in UTRECH
The feeling Zsuzsi Tóth puts into her beautiful singing is evident when you see her trying not to cry at the end of the Ohimè, dov’è il mio ben. Fantastic performance by both singers and musicians.
Mama mia !!!quale interpretazione.
Monteverdi's "Beatus Vir" is one the best versions I have ever heard!
grazie per aver caricato questa splendida rappresentazione musicale ricca di belle armonie e colori.bravi tuttiquanti.
So beautiful, what a privilege to hear the whole concert
Beautiful concert. It was nice to see Thomas Dunford playing the lute.
I'm a fellow fan of his. So expressive!
i dont understand all the public sitting politely and clapping after the performance. this music sounds like it is clearly composed to be danced to and shouted ! I couldnt stay on my chair hearing this superb royal music
You're defnitly right in your perception! This music NEEDS physical (com)motion ..not to say dancing in many respect.. ..and not only in unison by the instumental parts - every vocal too- espescially the soprans Toth,Jäggi and Cassano are door opener in this regard..
I have heard this several times back to back. It is an outstanding performance with brilliant clarity of sound. In fact you can tell exactly what each different instrument is playing at the moment, which is so revealing in comparison to large - chaotic classical period orchestras
Pracht concert rondom Monteverdi, olv.Skip Sempé.
Vox Luminis excelente
Capriccio evenzo.
Het was genieten 😍,
dank dank
Our Chilean fellow musician Catalina Vicens playing the positive organ. Bravo!
Marvelous compilation of beautiful Renaissance works performed with heavenly voices and rare historical instruments.
Wow! What a festival - Venice + Utrecht! The music, the musicians, the singers - it really doesn't get much better than this.
quando si ascolta una tale esecuzione mi viene spontaneo pensare il lavoro di preparazione che c é dietro.grazie a voi per questo bel momento musicale.
hauntingly beautiful music, great basso continuo playing not to hear often in such a rich scoring like here, just great!!
Bravo, bravo, bravo!!!!!! Grande Monteverdi!!!!
Timings:
0:04 - Johannes Ciconia - Venecie mundi splendor: 19. XII. 1400
2:22 - Giorgio Mainerio - Passamezzo moderno
6:53 - Pietro Lappi - Canzona La Negrona
9:40 - Claudio Monteverdi - O come sei gentile
13:46 - Giorgio Mainerio - Tedesca
17:22 - Claudio Monteverdi - Sinfonia
19:03 - Claudio Monteverdi - Non e di gentil core
23:08 - Orazio Vecchi - Gitene ninfe
28:05 - Andrea Gabrieli - O passi sparsi a 12
31:57 - Claudio Monteverdi - Confitebor terzo alla francese (Selva morale, 1640)
40:00 - Claudio Monteverdi - Dixit Dominus secondo (Selva morale, 1640)
49:40 - Giorgio Mainerio - Ballo anglese
52:54 - Claudio Monteverdi - Ohimè, dov’è il mio ben
1:00:22 - Giovanni Gabrieli - Canzona II
1:03:39 - Gasparo Zanetti - Intrada del Marchese di Caravazzo
1:06:07 - Orazio Vecchi - So ben mi ch’ha bon tempo
1:07:55 - Giorgio Mainerio - Passamezzo antico
1:13:45 - Claudio Monteverdi - Beatus vir primo (Selva morale, 1640)
1:22:49 - Heinrich Schütz - Alleluia - Lobet den Herren (Psalm 150)
Encores:
1:35:04 - Claudio Monteverdi - Domine ad adiuvandum (Vespers, 1610)
1:42:08 - Claudio Monteverdi - Ohimè, dov'è il mio ben
Thank you so much, we added the timings to the description.
Congratulations! A wonderful program and performance!
AVROTROS Klassiek gracias
Zsuszi Toth. Voice of an angel.
Please Pin this post
Wonderful. Beautiful. So well performed!
Vox Luminis est un ensemble vocal puis musical belge fondé en 2004 par le chanteur lyrique basse Lionel Meunier qui en assure la direction depuis. Il est spécialiste du répertoire baroque des XVIIe et XVIIIe siècle.
Historique
Le groupe musical voit le jour en 2004 lorsque Lionel Meunier, son fondateur, décroche sa licence en musique[1], lors d'un concert donné à Namur la même année[2]. Beaucoup des solistes y sont alors issus du Conservatoire Royal de musique de La Haye[1]. L'ensemble se fixe dans la ville de Namur en 2009[2] et enregistre son troisième disque, consacré à Heinrich Schutz, en 2014, ce qui fera décoller le groupe et obtient le prix Choc de Classica.
À partir de 2014, l'ensemble se dote de son propre orchestre afin d'ouvrir le champ de son répertoire pour ne plus se contenter de l'accompagnement musical disponible. L'orchestre est dirigé par le violoniste finlandais Tuomo Suni en tant que premier violon.
L'ensemble participe plusieurs années de suite à l’Académie Bach d’Arques-la-Bataille. Il y chante la Messe en si de Jean-Sébastien Bach en 2017[3].
Au cours de sa carrière, l'ensemble collabore régulièrement avec d'autres ensembles baroques tels que le belge A Nocte Temporis de Reinoud van Mechelen. On le retrouve également avec l'ensemble Achéron, notamment dans un concert en 2018 à l'Arsenal de Metz portant sur les compositeurs baroques Heinrich Schütz, Johann Caspar Kerll, Dietrich Buxtehude et Agostino Steffani[a].
L'ensemble fait partie des artistes suivis par Outhere Music, et enregistre ainsi régulièrement des disques pour les labels Ricercar ou Alpha Classics.
Depuis la saison 2017/2018, l'ensemble est en résidence pour cinq années au Concertgebouw de Bruges qui y propose trois projets chaque année.
MASTERFUL PERFORMANCE! So much spiritual and mythical feelings are revived while listening to Monteverdi's Renaissance orchestra and choral concert.
Wow...absolutely beautiful performances! Bravo to all!
Thank you for this musical feast. It was a privilege to be a part of the audience and experience such lovely music-making.
I could listen to the Monteverdi's Confitebor III endlessly...
Vanni Sacchetti I agree completely - this is a stunningly moving work that is now embedded in my soul
The version of the madrigal of Monteverdi "Ohimè, dov'è il mio ben" is absolutely sublime. I'm spellbound.
Absolutely perfect and gripping. Great voices.
OMG! I am such an early music queen. Love!
Truly transports you to Parnassus!
Even though I have a good bit of this music on various other disks, this is such a marvelous performance, all in one place, that if it were available as a CD or download, I'd buy it in a heartbeat.
Grazie!!!Ho scoperto degli ottimi artisti!!!Bravissimi!!!
Am I the only one who thinks of Pingu when he sees (and hears) those shawms at the beginning?
NOOT NOOT!
I also notice the great Thomas Dunford on theorbo.
Gloriously extravagant music - a stunning performance.
Absolument magnifique ! Beau mariage entre Vox Luminis et le Capriccio Stravagante. On croirait de la musique de Monteverdi qu'elle est celle d'un extraterrestre tellement elle est bizarre parfois. Baudelaire disait que la beauté avait toujours quelque chose de bizarre.
Fabulous performance, thank you so much.
Glorious music, exquisitely performed.
Es mutet nahezu als Wunder an, dass bei Konzertmitschnitten dieser Art, das verantwortliche UA-cam-Management in der Lage zu sein scheint, über 'ihren Schatten zu springen' und die Einsicht entwickeln, keine WERBEUNTERBRECHUNGEN einzustreuen -was zweifellos einen Fortschritt , und Gewinn ganz anderer Art darstellt!! Vielleicht zeichnet sich hier bereits eine Lernkurve ab, vormalige Zustände wieder herzustellen. [Hope never dies]
This concert is a flawless gem. I wonder, sometimes, if performances like this are not the best ever in history. Were the ensembles/performances as polished as this when the music was new?
One has to take into account that the performers at the time did this and only this music. They were intimately acquainted with the musical idioms and were fast in 'guessing' the musical gist. Another witness of the high professionalism are the migratory movements of musicians and composers at the time. The best were sought all over Europe and they must have been masters of their subject. A lot was certainly down to money and the local talent pool as we know from complaints or special praise from 'conductors' about certain instruments (the infamous brass section, for example). Rich centres like Venice certainly attracted excellent musicians which increased the competition for less talented natives. Since most of these pieces have gone through the sieve of time, we are looking at the "best of" which were also performed by the "best of" in their times. And yes, there were also horrible "Provinzorchester", that performed music from mediocre composers, who time has forgotten - and rightly so.
..and I like to remind that if we have so many works of art from that period in architecture, painting, literature etc, I can imagine there were genius musicians and excellent performances alike. Many musicians of that time were famous instrumentists.
This is what Thomas Coryat (an english traveller) wrote about the music while visiting Venice in 1608: "so good, so admirable, so rare, so delectable, so superexcellent, that it did even ravish and stupefy all those strangers that never heard the like...for mine owne part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven". and "I heard the best musicke that ever I did in all my life both in the morning and the afternoone, so good that I would willingly goe an hundred miles afoote at any time to heare the like"
I wonder the same thing
@1manuscriptman No, no -- this music wasn't "throwaway" music. For one thing, just about all of it was published (which is why we have it today), and publishing music back then was much more difficult than it is today. It's true that it wasn't being written for people like us four centuries later, but it was certainly published so that it could be used on multiple occasions in multiple places over a period of years.
異文化を鑑賞出来るUA-camの有難さ、又新発見！
What a fantastic concert! :)
magique, simplement magique !
¡Realmente exquisito!
Exquisite beauty!
All needed to the soul to express the highest point of a faithful life....
Felicitats un programa explendit!!!
HABLA CASTELLANO !!!
Ron Walker disgraceful dog go fuck yourself
Quelle merveille ces deux amies chanteuses....
Ik kon helaas niet naar de uitvoering op 1 september dus ik vind het geweldig om het alsnog te kunnen horen, dank AvroTros Klassiek!
Stunning performances. I wish utube provided reliable sound. This recording is overmodulating on the loudest parts of the vocals, which is a real shame. The sound needs to be perfect because the voices are...perfect.
Yes, utub audio is pretty unreliable. It helps to play at the higher resolutions, but I'm not sure the audio improves above 480p.
superbe....................
I love this interpretation. The musicians are so alive and it is noticeable that they are enjoying themselves. I especially like the Tedesca by Giorgio Mainerio, I would love to know in which context was the original music presented it seems a royal procession or some sort of public performance.
Beautiful! Thanks for sharing.
Excellent! Greetings / Saludos desde Mexico City!
greetings from Europe
Monteverdi rocks
Merveilleux !
Indeed, you right.
God bless u!
my man snowden been playin violin all this time
Maravilhoso!
Pure beauty
Po prostu cudne.
The woman playing the drum and tambourine has such a beautiful enigmatic expression, like the Sphinx or Mona Lisa...
Catalina Vicens -- an amazing keyboardist!
Sehr gut!
Ou você abraça a música ou não se aparta da dor!
Don't miss wonderful encores! Please confirm identities. I don't really understand much Dutch, except for parts of names and titles. I did a bit of research and found the following:
Encore at 1:35:00 - Monteverdi: Deus in Adjutorium (opening of 1610 Vespers)
Encore at 1:41:45 - Monteverdi: Ohim'è dov''è il mio ben: romanesca a 2 (1619; text by Bernardo Tasso). [names of sopranos? I only heard "Eva"]. Special moment: director (Skip Sempé?) tells audience that "it's one of the most beautiful pieces I've ever heard" and seems to choke up ever so slightly.
Thank you Vic!
to confirm the Names of the two Sopranos:
Zsuzsi Tóth and Sara Jäggi
Crumhorns in the Deus in Adjutorium! Groovy!!
..et tout le monde!!!
favoloso
'Ohime, dov'e il mio ben' reminds me somehow of Kaspar Kittel's 'Gleich wie zur Sommerszeit'.
This is very nice, but who are the singers? It would be nice to know.
We just added the singers to the description!
A welcome escape from locked down Britain.
great
From what I hear Monteverdi wrote basic chords and notes, the rest is created by the performers.
Acho que, no Sec.XXI os habitantes humanos deste planeta deveriam ouvir com muito mais frequência a mensagem que a música da pré-renascença, da própria renascença e do barroco tem a dizer!... A introspecção que sugere, certamente implantaria em cérebros corrompidos por tantos equívocos, trilhas alternativas que os encaminhassem em novos e saudáveis objetivos num período tão carente de valores espirituais.
I'd like a list of all instrumentalists
Capriccio Stravagante Renaissance Orchestra / Skip Sempé
Tuomo Suni, Jacek Kurzydlo - violin
Josh Cheatham, Nick Milne, Benoit vanden Bemden - viola da gamba / violone
Julien Martin, Marine Sablonnière, Evolène Kiener, Benoit Toigo - recorder / krummhorn / dulcian
Doron Sherwin - cornetto
Simen van Mechelen, Joost Swinkels, Claire Mac Intyre - trombone
Jasu Moisio, Lidewij de Sterck, Bennh Aghassi - shawm / krummhorn / dulcian
Thomas Dunford, André Henrich - lute
Skip Sempé, harpsichord
Emmanuel Frankenberg - harpsichord / organ
Catalina Vicens - organ / percussion
🔥THUMBS DOWN ! 🔥NO SUBTITLES ! no English subtitles no English subtitles no English subtitles
there are no chinese ones neiither! the video was recorded by a dutch radio station, which means that if there were subtitles, they would be in dutch!
i dig the proto-oboes
Yay fans
houaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
14:56
15:52
+hi
47:23 Ouch Theorba
Who cares
1:07:12
52:55
o lo vergo