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Reviews (4)
The guardian
d. 24. Aug. 2017
By
By
Erica Jeal
d. 24. Aug. 2017
"About half of it is taken up with Victoria's Surge Propera mass - and instead of a full choir filling the corners of a lofty cathedral we get Potter, solo, with Jacob Heringman filling in the remaining lines on the vihuela, an instrument that is the missing link between lute and guitar. This is the secret of the title: that the choral works of four and five centuries ago were seen at the time not as fixed monuments but as music ripe for adaptation as intimate chamber pieces".
Fono Forum
2017 September
By
By
Johannes Schmitz
2017 September
"Die Renaissance-Chöre von Victoria und noch mehr die von Josquin erscheinen uns Heutigen als edel einfache Kompositionen ... Potter extrahiert ... die mittlerer Stimme und singt diese überwiegend solistisch, begleitet von beide Vihuela-spielern ... Dem Ideal eines reinen Tons verpflichtet. Das Phänomen Potter besteht allerdings darin, dass er gleichzeitig eine emotionalisierende Wirkung erzeugt ... Potter nimmt seinen eigenen Weg".
The gramophone
2017 November
By
By
Fabrice Fitch
2017 November
"Polyphony in the Renaissance was performed in all sorts of ways, from a profusion of voices and instruments to a single lutenist or a lone singer accompanying him or herself on a string instrument ... Potter leads a hand-picked ensemble in an exploration of how such an approach might have sounded ... The result is most stimulating, particularly in the Mass, where the tenor part is sung on its own".
BBC music magazine
2017 December
By
By
Anthony Pryer
2017 December
"The relatively plain harmonies of this instrumental version of "Josquin's Absalon fili mi" ... provide an intriguing contrast with the exotic tonal excursions frequently heard in vocal performances".
Vurdering : 4/5.