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COMPOSERVarious
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PERFORMERLa Tempete, Simon-Pierre Bestion
Isaac, Scelsi, Tavener: Hypnos / Bestion, La Tempête
- Alpha
- January 14, 2022
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RELEASE DATEJanuary 14, 2022
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UPC3760014197864
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CATALOG NUMBERALPHA786
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LABELAlpha
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NUMBER OF DISCS1
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GENRE
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Missa de requiem: Introit
Composer: Pierre de Manchicourt
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Quis dabit capiti meo aquam?
Composer: Heinrich Isaac
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Requiem, Op. 358: Requiem
Composer: Olivier Greif
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Missa paschalis: Kyrie
Composer: Ludwig Senfl
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Graduale [Old Roman Mass, Santa Cecilia del Trastevere, 11th century]
Composer: Anonymous
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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3 Canti sacri: No. 3. Gloria in excelsis Deo
Composer: Giacinto Scelsi
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Missa ex tempore: Gloria
Composer: Marcel Pérès
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Dixit Dominus [Antiphonaire ambrosien du British Museum, Chant ambrosien de l’église de milan, 12th century]
Composer: Anonymous
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Missa pro defunctis: Sanctus
Composer: Pedro de Escobar
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Lamentatio Jeremie prophete: Guimel
Composer: Marbrianus de Orto
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Messe de Requiem: Agnus Dei
Composer: Antoine de Févin
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Libera me, Domine
Composer: Juan de Anchieta
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
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Song for Athene
Composer: John Tavener
Ensemble: La Tempête
Conductor: Simon-Pierre Bestion
Featuring ⌄
Product Details ⌄
Works ⌄
One of the New York Times' 5 Classical Albums to Hear Now!
Hypnos, God of Sleep . . . Simon-Pierre Bestion’s recordings are often inspired by his desire to recreate a ritual. His aim here was to recreate a Requiem service, ‘the ceremony that accompanies the passage of a human being into the hereafter, while supporting the feelings of all who witness it. Making use of all the freedom that this act of re-creation afforded me, I constructed this program without boundaries between repertories or different musical aesthetics – from the Middle Ages through the Renaissance to the twentieth century – selecting the works for their captivating musical material, their hypnotic and meditative dimension’. Intonations from Byzantine chant sit alongside guttural voices in Giacinto Scelsi and the English vocal style of John Tavener; Franco-Flemish Renaissance polyphony encounters the influences of eastern or western spiritual traditions present in the contemporary works.
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