I've just listened to a few more extracts from Book 8, and I see what you mean, Richard, about the close miking - that didn't seem apparent to me on the pieces played on BAL yesterday. I loathe up close recordings for voices. La Venexiana it is, then!
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... as I recall, one of the things Kirsten Gibson found interesting in the Delitiae Musicae recordings was their use of exclusively male voices
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'Interesting' maybe - but for me, the sound of 2 high countertenors at the top of all those madrigals where Monteverdi surely expected to hear two sopranos is more of a curiosity. And certainly a bizarre top choice for a library?Comment
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It certainly was, having just listened to this BaL. Unlike Richard B & MickyD, I have a weakness for close-miking in a resonant acoustic (if the tuning’s good enough)... I’m a front-row junkie at concerts &c. So that aspect suits me just fine, and I’m not disturbed by the absence of sopranos (historically accurate or not)Originally posted by vinteuil View Post"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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After "Tempro la cetra" I listened all through their Book 7 and decided I was going to listen to all the others as well.Originally posted by MickyD View PostComment
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After books 7 and 8 I went back to book 6 and realised that La Venexiana and Concerto Italiano use different editions of this for their recordings, the former (mostly) without continuo and the latter with. So you have to have both.Originally posted by Richard Barrett View PostComment
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