'During the three days of recording and preforming Pleyel's sacred music it became clear to me that the composer's most significant contributions to church music lie in the way in which he puts choir and orchestra into context. Even though Pleyel composed relatively few sacred works when compared to other genres in his voluminous coeuvre (possibly due to the cathedral fire during the Franco-Prussian War 1870-1871), they are of particular interest because they provide, more than any other musical genre, a unique overview over the entire range of Pleyel's faculties as a composer: Everyone performers and listeners alike, were positively surprised by the quality of Pleyel's sacred works during the recording session. Pleyel's sacred music should receive more attention. It was important and appropriate to put these works from Pleyel's first and second creative period to disc.' (Adolf Ehrentraud, President of the Internationale Ignaz Joseph Pleyel Gesellschaft (IPG))

REVIEW:

When we last left Perceval (heard on La Nef’s earlier Dorian recording, Perceval, The Quest for the Grail Vol. 1--type Q383 in Search Reviews) he was departing from Belrepeire Castle, scene of his victorious battle and home of his beautiful, beloved lady Blancheflor, determined to return to his mother, who he had long ago left grieving and sorrowful. In this Volume 2, Perceval, sung with clear, unadorned, lyrical beauty by countertenor Daniel Taylor in perhaps his best recorded performance to date, falls into many more adventures, some quite mysterious and even surreal. His encounter with the Fisher King in the Castle of the Grail involves a bizarre processional that involves a spear dripping with blood, a candelabra, a silver platter, and, unbeknownst to Perceval, the Grail itself. The next morning, all he has seen has vanished. For years more he wanders, facing many challenges and meeting a strange and wonderful cast of characters--a maiden, an injured goose, the Hideous Damsel, and a Holy Hermit--all of whom help reveal secrets regarding his journey and of the Grail, “a thing of great sacredness that supports and fortifies life.”

If you’re not familiar with the amazing Canadian ensemble La Nef, you owe it to yourself to hear its performances, and the two discs that make up the story of Perceval and the Grail are a good place to start. What these musician/storyteller/actors have done is adapted the 12th-century texts of Chrétien de Troyes’ version of the grail story and set them to various existing and newly composed tunes, supported with original and highly effective instrumental accompaniments. In a strange way, La Nef has modernized the story and its presentation while preserving an aura of “ancientness” through use of old instruments--harp, viol, psaltery, early guitar, shawm, percussion, recorder--the ancient languages, and perfectly chosen, characterful voices. There’s an abundance of beautiful music here, and the tunes are always tastefully and imaginatively used--the British folksong “Ca’ the yowes” set to the words “Tout le jour, sa voie tint”; the clever interjection of the old English song “Brid one brere” (Bird on briar) into the scene where Perceval finds the injured goose; and the varied use of the Easter plainchant “Victimae paschali laudes” at Perceval’s Good Friday visit to the Hermit.

One of the disc’s highlights is the haunting solo and accompaniment to the Fisher King’s song of greeting, a tune adapted from a Gaelic melody. All of the voices and instrumental performances are outstanding (especially Taylor, baritone Rafik Samman, soprano Catherine Herrmann, contralto Claire Gignac, viol player Betsy MacMillan, and guitarist Sylvain Bergeron) and they’re captured in Dorian’s trademark top-notch sound. This disc and its companion volume provide two of the most delightful hours you can spend with a recording. If you like great stories, fantastic music, and a bit of medieval magic, you can’t go wrong with La Nef and Perceval.

--David Vernier, ClassicsToday.com

Bach Collegium Japan and Masaaki Suzuki’s fifth volume in their commendable survey of Bach’s vocal music with a collection of his festive secular Birthday cantatas, composed to honor a broad array of personages and including pieces presented as musical dramas where the soloists embody characters from Greek mythology, here sung by Joanne Lunn, soprano; Robin Blaze, counter-tenor; Makoto Sakurada, tenor; Dominik Wörner, bass.

Includes work(s) by Maximo Pujol, Marco Pereira. Soloist: Ricardo Cobo.

Domenico Cimarosa’s abilities as an operatic composer are evident in his large-scale Requiem in which the soloists and chorus range from the mournful supplication of the opening movements, through vivid evocations of the ‘day of wrath’ and the praises uttered by the heavenly hosts in the Sanctus, to the prayers for mercy, peace and eternal light which conclude the work. Composed to commemorate the death in 1787 of the wife of the French ambassador in St Petersburg, its overall character is one of classical restraint.

Includes work(s) by various composers.

This new release features Carl Reinecke’s Die wilden Schwaene (The Wild Swans). This work in sixteen musical numbers is based on a Hans Christian Andersen fairy tale. Performers on this release include soprano Kirsten Labonte, alto Gerhild Romberger, soprano Shuang Shi, baritone Markus Kohler, and more.