Philippe Herreweghe

Collegium Vocale Gent, Philippe Herreweghe – Monteverdi: Vespro della Beata Vergine (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:27:38 minutes | 1,45 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Phi

This is a long way from the richness of the gilt and mosaics of Venice’s San Marco, in this new Vespro della Beata Vergine by Claudio Monteverdi, recorded by Philippe Herreweghe in the summer of 2017. Above all, the Flemish chief is interested in intimacy; and he knows this extraordinary score like the back of his hand, having conducted it very often, recording it for the first time in 1986 (for harmonia mundi) with the Collegium Vocale Gent, La Chapelle Royale and the Sacqueboutiers of Toulouse.

Philippe Herreweghe is looking for the purest possible expression of piety, using a whole range of methods with sophistication, and a sparse but perfect unity between the vocal soloists and the solo instrumentalists. In this masterpiece, which represents an audacious alloy of the “stile antico” and the “stile moderno”, it seems that Philippe Herreweghe wanted to highlight the former. With its famous Virgin, flanked by Della Robbia’s saints and the mystery of its catacombs which lead who-knows-where, the beautiful church of San Francesco di Asciano, not far from Siena, is being used more and more for concerts and recordings: does its inspiring ambiance call out for music?  –  François Hudry

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Collegium Vocale Gent & Philippe Herreweghe – Gesualdo: Dolcissima mia vita. Madrigali a cinque voci, Libro quinto (1611) (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 55:06 minutes | 936 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Phi

Philippe Herreweghe records his third disc devoted to a controversial figure in the world of music and art in general: Carlo Gesualdo, who had his wife murdered and is suspected of having his son smothered. This time Collegium Vocale Gent performs his fifth book of madrigals (1611), published two years before his death. A collection that even today contributes to the eternal debate: to what extent does art become impregnated with reality, and how can it be appreciated when it emanates from a mind living so close to horror? Here the bold dissonances and sometimes tortured expressiveness that can be perceived in his harmonic language offer food for thought. Can we speak of redemption through art for a murderous composer in the twilight of his life?

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Collegium Vocale Gent, Philippe Herreweghe – Bach: Sonn und Schild, Cantatas BWV 4, 79 & 80 (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 58:39 minutes | 1007 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Phi

For the fourth time on the Phi label, Philippe Herreweghe presents three cantatas by Johann Sebastian Bach – Christ lag in Todesbanden, BWV 4, Gott der Herr ist Sonn und Schild, BWV 79, and Ein feste Burg ist unser Gott, BWV 80. Written at different moments in the composer’s life and based to a large extent on the works of Martin Luther, these cantatas reflect a marked taste for dramaturgy, vivid word painting and an invariably astonishing use of instruments and voices. Philippe Herreweghe and Collegium Vocale Gent give us an accomplished version of these masterpieces, confirming, if further proof were needed, their stature as ardent champions of Bach.

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Collegium Vocale Gent and Philippe Herreweghe – Bach: ‘Meins Lebens Licht’ – Cantatas BWV 45-198 & Motet BWV 118 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 58:33 minutes | 1,06 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Phi

New recordings. After a widely acclaimed St. John Passion in 2020, Philippe Herreweghe and his Collegium Vocale Gent continue their in-depth exploration of the works of the composer who has earned them worldwide fame. Of the two cantatas recorded here, Es ist dir gesagt, Mensch, was gut ist BWV 45, written in 1726, is built around a very virtuosic, almost operatic bass solo setting scriptural words of Christ. Laß, Fürstin, laß noch einen Strahl, BWV 198, which dates from the following year, was composed for the funeral of Christiane Eberhardine, Electress of Saxony and titular Queen of Poland, the daughter of the Margrave of Brandenburg-Bayreuth and an ardent Lutheran, whose death had deeply affected the people of Leipzig.
These works are accompanied by the soothing, luminous motet O Jesu Christ, meins Lebens Licht (BWV118), also composed for a funeral service in 1736 or 1737.

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Philippe Herreweghe & Collegium Vocale Gent – Bach: Motetten (2011)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:02:40 minutes | 599 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Phi

In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That’s no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to “Singet dem Herr ein neues Lied,” from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied. One crucial element is the absolutely pristine intonation and pure tone of the singers, which makes the harmonies clear and distinct. Herreweghe’s graceful shaping of the phrases creates the sense of overlapping waves rising and falling rather than a monolithic wall of sound. The choruses’ discipline in their precise observance of producing matching vowels is another factor that allows the intricacies of the music to come across as clean and well-defined. Although it is scored it for the same forces, in Komm, Jesu, komm Bach works with gleaming, transparent textures, where the felicities of Herreweghe’s leadership and the refinement of the soloists, choruses, and orchestra are even more clearly in evidence. His attention to the emotional content of the piece gives the music a powerfully yearning warmth that, in spite of the large number of performers, feels intensely intimate. The engineers deserve much credit for creating such a carefully balanced aural environment, where details pop with amazing clarity and the sound is at the same time warm and enveloping. This is a release best experienced on a sound system that provides optimal separation and definition. Highly recommended; these are performances that should delight and dazzle fans of Baroque choral music.

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Collegium Vocale Gent, Philippe Herreweghe – Byrd: Infelix ego (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 49:47 minutes | 870 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Phi

Philippe Herreweghe and his Collegium Vocale Gent present their third project for Phi focussing on vocal music of the Renaissance. This time, it is the English composer William Byrd (c.1540-1623) who is being honoured. The title of the programme is that of Byrd’s motet Infelix ego, one of the greatest artistic statements of the 16th century. Its text is a meditation on Psalm 50, written by the Dominican Girolamo Savonarola, a remarkable man who waged a campaign against the corrupt Medici family in Florence. Taking the form of several rhetorical questions and assertions, the text describes all the emotions felt by a tormented soul: guilt, fear, embarrassment, anger but above all the gift of deliverance upon acceptance of Christ’s mercy. Byrd seems to have felt a powerful emotional connection with the words.

The Collegium Vocale Gent also presents the Mass for 5 Voices and a selection of motets by Byrd, along with Alfonso Ferrabosco’s Peccantem me quotidie a5 and Philippus de Monte’s Miserere mei a5.
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Collegium Vocale Gent and Philippe Herreweghe – Monteverdi: Il quarto libro de madrigali (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 57:08 minutes | 967 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Phi

Monteverdi’s Fourth Book of Madrigals, published in 1603 after an eleven-year gestation, bears witness to the metamorphosis of the madrigal and the rapid evolution of music at the turn of the two centuries. It is also a model of the genre and may be regarded as one of the most innovative and emblematic of its composer’s style. This bold, complex book is the culmination of the application of the precepts of the “seconda pratica” on the cusp of the seventeenth century. The dedication tells us that some of its madrigals had been intended for presentation to Duke Alfonso II d’Este (who died in 1597), thus revealing the key influence on this collection of the court of Ferrara, then one of the most sophisticated in Europe and a crucible of musical innovation.

Following the release of the Vespers, Philippe Herreweghe, a great lover of Italy and its repertory, accompanied as ever by Collegium Vocale Gent, signs his second recording devoted to Monteverdi on the Phi label with this Fourth Book of Madrigals.

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