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Tag: Simon-Pierre Bestion

La tempete, Simon-Pierre Bestion – Monteverdi: Vespro (2019) [Official Digital Download 24bit/96kHz]

La tempête, Simon-Pierre Bestion – Monteverdi: Vespro (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 02:21:43 minutes | 2,63 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha

Do not adjust your set, there is no mistake: you’re not listening to a Marcel Perez record. This is indeed the Vespers of the Blessed Virgin by Monteverdi for the label Alpha. Simon- Pierre Bestion, faithful fixture of the Cris de Paris and Insula Orchestra, conducts his own ensemble, La Tempête. With its wild vocal polyphonics, it is rooted in the folk traditions of Sardinia and Corsica. These Vespers are simply stunning, and enriched by Gregorian faux-bourdons. As the instrumentation wasn’t always set down precisely, the orchestra is able to make use of uncommon timbres, while still respecting the Italian cosmopolitanism of the Venice of the day (a shofar, harps, trombones, chitarrones).

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La Tempete & Simon-Pierre Bestion – Azahar (2017) [Official Digital Download 24bit/88,2kHz]

La Tempête & Simon-Pierre Bestion – Azahar (2017)
FLAC (tracks) 24-bit/88,2 kHz | Time – 1:24:16 minutes | 1,37 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Alpha

French vocal and instrumental ensemble La Tempête contrasts and interweaves the polyphony of Machaut with the poetry of the Spanish cantigas and the century of Stravinsky and Ohana on Azahar (“orange blossom” in Spanish). Ensemble founder and leader Simon-Pierre Bestion enjoys disorienting listeners by shifting between different historical periods. He says that Stravinsky wrote his Mass after discovering Machaut’s setting, while Ohana’s Cantigas de Santa Maria allude to Alfonso the Wise and to folk song.

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La Tempete & Simon-Pierre Bestion – Larmes de Resurrection (Collection chateau de Versailles) (2018) [Official Digital Download 24bit/96kHz]

La Tempête & Simon-Pierre Bestion – Larmes de Résurrection (Collection château de Versailles) (2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:17:07 minutes | 1,34 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Alpha

In 1623, when the Thirty Years War was raging, Europe was torn apart by the confrontation between Protestant and Catholic peoples. Schütz and Schein, close friends with a deep-rooted Lutheran faith, were thoroughly in accordance with the spirit of their time when they wrote these works imbued with frugality, humility, even austerity. Yet these two great minds were still driven by a burning passion, paradoxically very attached to Italianate style, which is very evident here. With his ensemble La Tempête, Simon-Pierre Bestion has now become established as one of the most creative interpreters on today’s musical scene, revisiting the repertory, juxtaposing works in varying styles and from different periods, as he demonstrated in his first two recordings for Alpha (The Tempest – Diapason d’Or – and Azahar – Choc de Classica). At the head of an exceptional group of performers, equally at home in medieval and contemporary music, he presents here a ‘rewrite’ for a large and colourful orchestra, featuring a Lebanese singer specialising in Byzantine chant in the role of the Evangelist: a radical new take on the ardent mysticism buried in this music, bringing it unexpected vitality and warmth.

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Simon-Pierre Bestion, La Tempete – The Tempest: inspired by Shakespeare (2015) [Official Digital Download 24bit/96kHz]

Simon-Pierre Bestion, La Tempete – The Tempest: inspired by Shakespeare (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:21 minutes | 1,51 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front cover | © Alpha Classics / Outhere Music France
Recorded: From 29 to 31 july 2014 at L’eglise du Saint-Esprit (Choisy-Le-Roi, France)

A profoundly modern dimension emerges from this confrontation between English works from the 17th century (Henry Purcell, Matthew Locke) and works from the 20th and 21st centuries (Philippe Hersant, Franck Martin, Thierry Pécou). Coming from highly different musical universes, each composition is, however, largely inspired by the founding themes of Shakespeare’s play, sometimes taking up excerpts from it.
The text is recited in English, or rather Shakespeare’s ‘Old English’, as are all the sung parts, in order to reproduce the strong, sweet accent of that tongue.

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