(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)
Jordi Savall is probably the musician who has done the most to bring early Iberian music into the canon of classical music. Few of today's music lovers had heard of Diego Ortiz, Alonso Mudarra or José Marin before Savall and his collaborators gave these composers the attention they deserve most. The fact that the works of the French Sainte Colombe, Marin Marais and François Couperin are now as well-known as they are is also largely due to the music archaeological activity of Savall.
The economist's nightmare
Savall, born in 1941 in Igualada, began his specialization in ancient music after graduating as a cellist at the Conservatory of Music in Barcelona – he began in 1968 at the renowned Schola Cantorum Basiliensis in Switzerland, where he has been teaching since 1973. Together with his wife, the soprano Montserrat Figueras, he established in 1974 the ensemble Hespèrion XX (now XXI), which quickly gained great recognition with a repertoire ranging from the Middle Ages to the Baroque. In 1986 he founded the vocal ensemble La Capella Reial de Catalunya to perform vocal music from before 1800, and in 1989 the orchestra Le Concert des Nations was formed to take care of classicism.
Savall is known for insisting on taking the time he needs when making recordings. Maybe that's why he started his own record company, Alia Vox, in 1998. The name is Latin for "other voice", and this voice is the musician's – the company was started with the goal of putting the performers' needs and desires at the center. At this company he releases records where he follows his own visions and preferences, and with a repertoire that may be the business economist's nightmare, but definitely the music lover's dream.
There is an emotional authenticity and immediacy in Savall's interpretations, and one gets the impression that the instruments and the brilliant handling of them become mediators rather than goals in themselves – despite an often colorful instrument park. The impression of richness of color also comes from Savall's preoccupation with preserving a heterogeneous soundscape – each instrument is allowed to ring and be heard, without being subordinated to a single timbre. This gives the performances a physical and human touch.
Bring the music to life
Savall's interpretations have sometimes been characterized as too subjective and manneristic – especially those of Germanic music, which has a different temperament than the Romanesque. I do not think that his subjectivity goes beyond stylistic or aesthetic frameworks – rather I find that it testifies to a musician who translates the score into a living musical material. The only recording I find him less than ideal in is Bach's game sonatas, where I think the game is too unstring. However, you do not get one more version of Handel's Water Music than his; and Le Concert des Nations' recording of Beethoven EroicaSymphony is one of the tightest and most majestic interpretations of this "arch-German" work. These two releases are also some of the best Savall has done. In addition, I recommend Hespèrion XXI's two exceptional recordings of Elizabethan consortmusic, as well as the anthology Battaglie & Lamenti.
Alone and together with the ensembles, Savall has made well over 100 recordings. His biggest success so far is the soundtrack to Alain Corneau's film All the days of the year from 1992, which deals with the relationship between Marin Marais and Sainte Colombe. He has received many awards and accolades, including from the French Ministry of Culture.
Jordi Savall is an institution, a unique musician whose efforts for early music cannot be overstated. He has collaborated with most of today's premier early music specialized musicians, many of whom have been associated with his ensembles.
On Sunday and Monday he plays in Oslo. I do not intend to miss him.
