Switzerland – Day 2

Published: 16th October 2015

2015-10-15 10.53.59This morningAlass Zofingen we were taken to the Stiftsbibliothek St Gallen, where a private viewing of the Tchudi Liederbuch had been arranged. It was amazing to see the music we are performing in Tschudi’s own beautifully neat hand, with lots of annotations in the margins of almost every piece! No photos were allowed in the viewing room, or sadly in the amazing eighteenth-century Rococo library hall, but we did get a snap of the enormous over-shoe slippers that are mandatory footwear when visiting, to preserve the painstakingly-restored wooden floors!

Then on to Zofingen, for our concert in a converted cinema – the Alass has a fantastically intimate, relaxed atmosphere, very different to yesterday’s venue (but both equally wonderful!), which allowed us to bring out the more chamber-music-like aspects of our programme, and it was great to chat with the audience at the reception afterwards, with some Swiss wine, sausage and cheese in hand!

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Reviews

"The Marian Consort’s performances deliver full value in terms of expressive range and sophistication. Pitch-perfect tuning and immaculately clean ensemble … add further to the attractions of this eminently listenable recital."

BBC Music Magazine

"You are left in no doubt of the agony of the crucifixion in the vocal and horn climax of the opening chorus of Stabat Mater ... intense and riveting."

The Times

"There’s earnest beauty in it and the instrumental playing on this recording is spot on – the Berkeley Ensemble under David Wordsworth clinches the balance of chaste, plaintive and urgent."

The Gaurdian

"The Marian Consort has built an enviable reputation for coolly poised and precisely balanced performances and indeed there are times here when the listener can only sit back and admire, seduced by the sheer beauty of sound."

Early Music Today

"Singing one person to a part, the Marian Consort give sublimely refined, spacious and impeccably tuned performances."

The Sunday Times

"The Marian Consort’s background in early music pays dividends in their superb precision of pitch, impeccable rhythmic placing and beautiful diction … the lush harmonies that open [Judica me] are sumptuously delivered and beautifully recorded."

Gramophone

"Little is known about the 16th-century composer, except that his beautifully smooth polyphony was much admired ... As revealed with pellucid clarity by Rory McCleery’s young Marian Consort on this first recording devoted exclusively to Maillard, he was a subtly expressive composer."

The Times

"With two women in the group, they make no pretence at emulating what might have happened in the 16th century; but that lets them sing out with more freedom. So this is no-nonsense musicianship, but for all that thoroughly musical ... The unfussy performance helps the music enormously."

Gramophone

"The motets are more adventurous, declamatory and cleverly nuanced, with a recognisable house style. The Marian Consort produces a very pleasing sound."

Early Music Today

"The most striking feature of this entertainingly varied collection is the consistently fresh, fruit-ripe tonal quality of the Marian Consort's singing … poised and flexible, the text responded to with notable insight and maturity."

BBC Music Magazine