Chant 1450 & Ken Zuckerman – Eros & Thanatos: Renaissance Love Songs & Plainchant for the Dead [2CD] (2015)

Artist: Chant 1450 & Ken Zuckerman
Title Of Album: Eros & Thanatos: Renaissance Love Songs & Plainchant for the Dead
Year Of Release: 2015
Label: Christophorus
Genre: Classical
Quality: mp3 320 kbps
Total Time: 68:12 min
Total Size: 156 MB


01. Antiphon. Dirige Domine – Sarod I
02. Antiphon. Convertere Domine – Del ENCINA. Pues que jamás olvidaros
03. Antiphon. Nequando rapiat ut leo – Sarod II
04. ZUCKERMAN. Sarod III. Dansa desiderans
05. Del ENCINA. Mi libertad en sosiego
06. Responsorium. Credo quod redemptor
07. Sarod IV. Qui Lazarum resuscitasti (Prelude)
08. Responsorium. Qui Lazarum resuscitasti
09. Del ENCINA. Los sospiros no sosiegan
10. Responsorium. Domine quando veneris


11. Antiphon. In loco pascuae – Del ENCINA. Non quiero que me consienta
12. Antiphon. Delicta iuventutis – Sarod V
13. Antiphon. Credo videre – Del ENCINA. Mortal tristura me dieron
14. ZUCKERMAN. Sarod VI. Esperanza
15. Del ENCINA. Quedate, carillo, adiós
16. Responsorium. Memento mei Deus
17. Sarod VII. Hei mihi (Prelude)
18. Responsorium. Hei mihi
19. Del ENCINA. Razón que fuerça no quiere
20. Responsorium. Ne recorderis

Eros and Thanatos, the Greek gods of covetous love and gentle death, are symbols of this programme from chant 1450. The ensemble sings the chants of the nocturnal matins from the Gregorian Liturgy of the Hours, reading from a 16th-century manuscript in the Cathedral of Toledo. Unexpected components are integrated into the rigid structure of the liturgy: in place of the long Psalms and readings sung on a single recitation tone, we hear four-part love songs by the Spanish poet and composer Juan del Enzina (1468-1529). Both in their content and polyphonic texture, they provide a counterpoint to the monodic funeral liturgy. In between these songs and sometimes simultaneously with them, Ken Zuckerman improvises on the sarod, a traditional Indian instrument. With its bright sound and the entire weight of the North Indian musical language behind it, the sarod lends the programme a surprising colour. It reveals a close proximity to Gregorian chant with its fundamental structure based on fixed scales, however, harmoniously joining in with the songs, filling gaps and creating smooth transitions. In this way, the love songs and Indian instrumental music respond to the austere Thanatos Gregorian chants with the power of life, allowing Eros to shine.

Share Button