The Gesualdo Six sing one of William Byrd's most moving compositions, Ave verum corpus (Hail, true Body). Discover music like this being sung at a church near you at www.achurchnearyou.com
Possibly the best close harmony of any choir today; including Voces8, King's, and Chanticleer. But I just can't get over Gopal's eyes in this video. It's like TENOR EYE LASERS. GO!
This beautiful piece usually is sung by choirs. When sung by just six voices, the polyphony is much clearer and more readily followed. Thanks for posting this fine performance.
THIS IS NOT ABOUT THIS PARTICULAR TRACK, BUT EARLY AUGUST 2021 I WAS READING A BOOK "10 PRAYERS THAT CHANGED THE WORLD" IN MY GARDEN JUST OPPOSITE THE CHURCH AT CLODOCK IN HEREFORDSHIRE. THIS WONDERFUL SOUND WAFTED OVER ME (THE SIX IN PRACTICE FOR THE EVING EVENT) AND I WAS IN WONDER AT THE EFFECT IT HAD ON ME. THEIR SOUND WAS WAFTING OUT OF THE CHURCH AND OVER TO ME IN MY GARDEN READING THIS EQUALY AMAZING BOOK. I WAS JUST MESMERISED BY THE SOUND, WENT OVER TO THE CHURCH AND LISTENED TO THEM PRACTISING. IT IS SOMETHING I SHALL TREASURE ALL MY LIFE CHRIS HAYWOOD OF CLODOCK.
The musicianship of the tenor is outstanding. Blends in to the point of not noticing him - except for harmonically interesting phrases here and there. Stunning from the whole choir
They are so attuned to each other. Around 1:40, 1:45, during a solo of the second-highest voice, see how the highest singer is silently singing along in his mind.
To be clear, that part is not a solo, it sounds like a solo because in a full choir, you will have a lot more voices. If you want, i can show you the exact sheet music they are using as its the same as the one in my choir.
I had the pleasure of performing this in college with a full choir. The sound that just 6 voices can produce is just amazing. The smaller group allows for a more sharp contrast between the voice parts, especially in the upper voices. Well done! Brings back so many memories :)
This is honestly the best rendition of Ave Verum Corpus I’ve heard in a while. I’m contrast to a full choir’s overall power, I like the subtle yet comforting feeling of a smaller ensemble really laying the foundation of the chords together… giving them true light. I throughly enjoyed the 1st counter-tenor’s distinct tone color, but the 2nd counter-tenor had to be my favorite. His higher register is phenomenal, but what really did it for me, was his awareness of the other voice parts, adapting, and using his subtle but prominent tone to blend accordingly.
Undoubtedly the best recording of this moving piece, the setting of which was written by the recusant William Byrd as a lament for the loss of the "old faith". Henry VIII died a Catholic, separated from Rome, but still adhering to the tenets of the faith. Under his son, Edward VI, and steered by Cramner, the true damage was done. The accoustics of the Lady Chapel of Ely Cathedral, brutally vandalized by religious zealots during the Reformation, are second to none.
Cranmer was a learned man and knew the weaknesses of the current Church in doctrine at that time. The French had seemed to take over the Papacy and so Henry VIII had to break free from them and the Pope or he would be tied feudally to take part in the French King's wars H e had lost a lot of the population in recurrent outbreaks of plague so needed to retain men for the army of England and Wales.
Absolutely wonderful. The way it sounds reminds us the famous Hilliard ensemble. I don't understand the need of a conductor, though. When such a level is reached, it's useless.
It would be interesting to know how perfect intonation became less and less important in European singing. I suppose it's certain physical necessities imposed on singers who must make large operatic sounds.
Tuning is an interesting problem. Bear in mind that we now have equal temperament where, in theory, only the octaves are 'perfect': major thirds are seriously wide and fifths are slightly narrow, compared to the perfect or mathematically exact interval. Equal temperamant 'enables' very reaonable tuning in all keys. Why else the Bach 48? Could go on with much more material but wont...
Well, both are testimonies of their time. That means both a valuable but we can't distinguish which is technically better. Although we can have a personal preference based on our taste and that means something else.
I really dislike that the director never allows the music to fully breathe, slightly rushing certain cadences like at "Sanguine" and "Mariae". I love the second countertenor - his voice is evocative of a really older style. Going back to the Tallis Scholars.
I respect your criticisms naturally--everyone to their own etc but Owain Park (The Director, Founder and Conductor) is a hugely experienced musician who was a pupil of John Rutter and also an esteemed Composer in his own right. I am quite happy to listen to his interpretation and respect his judgement therefore. No offence is you by the way. "Vive la différence" !
@@nickdouglass421 That's generally true. However, educational background alone does not make one relevant. There were sections of dramatical possibility that went woefully unrealised, and I just happen to be a bit finicky about those things. Edit: Luckily, Guy James' solo performance was enough to settle me so win-win
@@el7284 Fair enough! Am not experienced enough to make further criticisms. You mentioned the Tallis Scholars. My F.R.C.O. friend was Peter Phillips' close acquaintance at college MANY years ago. Small world.....
@@cosborne06 I agree. I was just watching their performance of "Veni, Veni, Emmanuel," and I was moved by how Owain's conducting really serves the group. He is very reserved and his movements are small, but they are very meaningful and give really good direction to the group, all without being in the way.
