Maria Cristina Kiehr, Magdalene Harer – soprano
David Munderloh, Daniel Auchincloss – contratenor
Charles Daniels, Jan Van Eslacker – tenor
Wolf Matthias Friedrich, Harry van der Kamp – bass
Veronika Skuplik, Cahterine Aglibut, Dagmar Valentova – violin
Franciska Anna Hajdu, Florian Schulte – tenor violin
Doron David Sherwin – cornett
Simen van Mechelen, Charles Toet, Claire McIntyre, Joost Swinkels, Adam Woolf – trombone
Matthias Müller – viola da gamba
Marcin Szelest – organ
Also known as Lluís Milà, Luys Milán, Luis Milán o Luys de Milán, Louis Milan (c. 1500 – 1561 or possibly later) Luis de Milán was a Spanish Renaissance composer, vihuelist (instrument similar to the guitar), and writer on music, he was also one of the first musicians to specify verbal tempo indications in his music. His last publication, El cortesano (1561), gives a vivid and entertaining picture of life in the ducal court at Valencia and is a valuable account by a professional musician at the time.
His most important publication was the book ‘Libro de música de vihuela de mano intitulado El maestro (1536).’ It is undoubtedly one of the most important prints of instrumental music in sixteenth-century Europe, as well as essential testimony to musical life in the aristocratic circles of the Iberian Renaissance.
Lluís del Milа composer’s concern with thoroughly exploring all refinements of musical expression can be found on very explicit indications of expressive nuances, particularly as regards tempo and agogics. He was the first composer known to write such indications on the score.
The sheer intrinsic quality of Lluís del Milа’s music, the fact that it represents the most advanced aspects of the musical atmosphere of the Spanish and Portuguese courts and the highly innovative expressive features mentioned above fully justify the choice of repertory that is to be heard on the present recording. Luís del Milа’s extraordinary fantasias, tientos and dances therefore become the perfect vehicle for yet another decisive step in Jordi Savall’s search, over more than two decades, for a uniquely illuminating rediscovery of the magical world of early instrumental music in the Iberian peninsula.
Joel Ross: vibraphone
Immanuel Wilkins: alto saxophone
Jeremy Corren: piano
Benjamin Tiberio: bass
Jeremy Dutton: drums
Gretchen Parlato: vocals
1. Touched By An Angel
2. Prince Lynn’s Twin
3. The Grand Struggle Against Fear
4. Ill Relations
5. Is It Love That Inspires You?
6. Interlude (Bass Solo)
8. Freda’s Disposition
9. With Whom Do You Learn Trust?
12. It’s Already Too Late
…Holy minimalism, mystic minimalism, spiritual minimalism, or sacred minimalism are terms, sometimes pejorative, used to describe the musical works of a number of late-twentieth-century composers of Western classical music. The compositions are distinguished by a minimalist compositional aesthetic and a distinctly religious or mystical subject focus.
With the growing popularity of minimalist music in the 1960s and 1970s, which often broke sharply with prevailing musical aesthetics of serialism and aleatoric music, many composers, building on the work of such minimalists as Terry Riley, Philip Glass and Steve Reich, began to work with more traditional notions of simple melody and harmony in a radically simplified framework. This transition was seen variously as an aspect of musical post-modernism or as neo-romanticism, that is a return to the lyricism of the nineteenth century.
In the 1970s and continuing in the 1980s and 1990s, several composers, many of whom had previously worked in serial or experimental milieux, began working with similar aesthetic ideals – radically simplified compositional materials, a strong foundation in tonality or modality, and the use of simple, repetitive melodies – but included with them an explicitly religious orientation. Many of these composers looked to Renaissance or medieval music for inspiration, or to the liturgical music of the Orthodox Churches, some of which employ only a cappella in their services. Examples include Arvo Pärt (an Estonian Orthodox), John Tavener (a British composer who converted to Russian Orthodoxy), Henryk Górecki (a Polish Catholic), Alan Hovhaness (the earliest mystic minimalist), Sofia Gubaidulina, Giya Kancheli, Hans Otte, Pēteris Vasks and Vladimír Godár.
Despite being grouped together, the composers tend to dislike the term, and are by no means a “school” of close-knit associates. Their widely differing nationalities, religious backgrounds, and compositional inspirations make the term problematic, but it is nonetheless in widespread use, sometimes critically, among musicologists and music critics, primarily because of the lack of a better term. “Neo-Contemplative Music” is one example of a suitable alternative…”