Delectatio angeli: Music of love, longing & lament

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These performances must rank amongst Bott's best (and that's saying something), her range sometimes impinging in pitch and timbre on alto/counter-tenor territory. Whatever the mood, and whether... — BBC Music Magazine, March 2006, 5 out of 5 stars More…

Release Date: 3rd Jan 2006
Catalogue No: CDA67549
Label: Hyperion
Series: Early Vocal Music
Length: 62 minutes

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anon.: Ar ne kuth ich sorghe non (The Prisoner's Song)

Work length3:36

$1.10

$1.50

Catherine Bott (soprano)

anon.: English Dance

Work length1:57

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Bedyngham: O rosa bella

Work length3:40

$1.10

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Catherine Bott (soprano)

Ventadorn: Can vei la lauzeta mover

Work length7:16

$1.10

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Catherine Bott (soprano)

Vaillant: Par maintes foys

Work length2:51

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Catherine Bott (soprano)

Meaux: Trop est mes maris jalos

Work length3:30

$1.10

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Catherine Bott (soprano)

Landini, F: Giunta vaga biltá

Work length2:37

$1.10

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Catherine Bott (soprano)

Ciconia: Per quella strada

Work length3:22

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Catherine Bott (soprano)

Ciconia: Una Panthera

Work length3:46

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Dufay: L'alta belleza tua

Work length1:40

$1.10

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Catherine Bott (soprano)

Dufay: Helas mon dueil

Work length3:16

$1.10

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Catherine Bott (soprano)

Dufay: Vergene bella

Work length4:13

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Catherine Bott (soprano)

Perugia, M: Le greygnour bien

Work length4:39

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Catherine Bott (soprano)

anon.: Four Planctus (Las Huelgas ms)

Work length15:56

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Catherine Bott (soprano)

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An extract from Kate Botts introduction to this recording: This project began over lunch at Pavlo Beznosiuks house, when he, Mark Levy and I were spending a day playing through our favourite repertoire, with a view to making a CD celebrating the compelling sound of one voice and two fiddles. The fiddle was a five-stringed bowed instrument which was the most important musical instrument in the middle ages, because in the hands of a master fiddler it could so closely follow and imitate the human voice. Wed begun exploring this combination of gut strings (theirs and mine) almost by chance a few years agoand the experience proved so liberating that we kept going. There are various ways of creating a programme for a recording. You can record someones complete output within a genrebut no one wrote their songs and dances exclusively for soprano and fiddles. You can devise a programme around a themewell, the overwhelming topic for solo songs is, of course, unrequited love, but that would mean leaving out so many interesting lyrics. Or you can just make a delicious and varied selection of great music from among your own personal favourites and go into a recording studio. A studio? When it is a truth universally acknowledged that early music is always recorded in a lovely country church? How could we deprive ourselves of all those stirring times when your best performance ever fades into a Gothic silence accompanied only by the distant roar of a ride-on lawnmower, or a reassuring helicopter accompanying the passage of Someone Very Important to the nearest country house hotel? Without a backward glance, as it turned out. Mark and Pavlo are players of international standing on the Baroque viol and violinI never fail to be moved by the passion and spontaneity of their performances on medieval fiddles, and Im bowled over by their commitment to getting the most out of these more primitive instruments. It was one of those magical recordings that was a delight to make from start to finish. Whether youre discovering this wondrous music for the first time or are revisiting much-loved repertoire, I hope you enjoy these pieces as much as we do.

Reviews

March 2006

These performances must rank amongst Bott's best (and that's saying something), her range sometimes impinging in pitch and timbre on alto/counter-tenor territory. Whatever the mood, and whether singing with the fiddles or unaccompanied, her voice is rich and expressive, no more so than on the a capella first Planctus and a stunning love song by Bernart de Ventadorn.

Delectatio angeli

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