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Andreas Scholl, Edin Karamazov, Marcus Markl & Christophe Coin - A Musicall Banquet (2000)

Andreas Scholl, Edin Karamazov, Marcus Markl & Christophe Coin - A Musicall Banquet (2000)
  • Title: A Musicall Banquet
  • Year Of Release: 2000
  • Label: Decca Music Group Ltd.
  • Genre: Classical
  • Quality: flac lossless
  • Total Time: 01:07:28
  • Total Size: 247 mb
  • WebSite:
Tracklist

01. Holborne: My heavy sprite, oppress'd with sorrow's might
02. Dowland: Lady, if you so spite me
03. Dowland: In darkness let me dwell
04. Anonymous: O dear life, when shall it be?
05. Guédron: Ce penser qui sans fin tirannise ma vie
06. Guédron: Si le parler et la silence
07. Martin: Change thy mind since she doth change
08. Anonymous: Go, my flock, go get you hence
09. Megli: Se de farmi morire?
10. Caccini: Amarilli mia bella
11. Anonymous: Passava Amor su arco desarmado
12. Dowland: Far from triumphing court
13. Dowland: Sir Robert Sidney His Galliard
14. Tessier: In a grove most rich of shade
15. Guédron: Vous que le Bonheur rappelle
16. Traditional: Vuestros ojos tienen d'Amour
17. Anonymous: Sta notte mi sognava
18. Batchelar: To plead my faith
19. Hales: O Eyes, leave off your weeping
20. Caccini: Dovrò dunque morire?
21. Anonymous: O bella piu

Entitled A Musical Banquet, this recital by countertenor Andreas Scholl is one more irritating disc in a series of annoying discs by one of the most affected and porfoundly emasculated of the contemporary crop of countertenors. Essentially the highlights of Robert Dowland's collection of lute songs bearing the same name, Scholl's recording is as vapid and void as it is frail and feeble. Scholl's tone is so attenuated as to be nearly inaudible and his expression is so eviscerated as to be all but imperceptible. And in Elizabethan lute songs, songs with titles like "In darkness let me dwell" and "Must I then die," such emotional coyness is hardly appropriate much less justifiable. While there might be good musicological reasons why Scholl should sing with a dull and listless expression and such a fragile and weak tone, those reasons are why musicology is bunk. If being a countertenor means having to renounce any but the most exenterated means of expression, you can keep it.

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