Savall's musical training started in the school choir of his native town (1947-55). He later completed his training at the Barcelona Conservatory of Music (1959-65). Afterward, he began his specialisation in early music at the Schola Cantorum Basiliensis in Basel, Switzerland (1968-70).
In 1974 he formed the ensemble Hespèrion XX (since 2000 as Hespèrion XXI), together with the soprano Montserrat Figueras (his wife), Lorenzo Alpert and Hopkinson Smith. Hespèrion XX favored a style of interpretation characterised by great musical vitality and at the same time, maximum historical accuracy.
In 1987 he returned to Barcelona to found La Capella Reial de Catalunya, a vocal ensemble devoted to the interpretation of music prior to the 18th century.
Finally, in 1989 Savall created Le Concert des Nations, an orchestra that is generally dedicated to the baroque repertoire, but which sometimes also serves as an outlet for music that hails from the classical/romantic repertoire (e.g. Sinfonia a Gran Orquesta by Juan Crisótomo de Arriga).
Savall's discography includes more than 140 recordings. Since 1998 he has released his records with his own label, Alia Vox.
Jordi Savall is also a two-time Grammy nominee, who scored the 1991 Alain Corneau film, Tous les matins du monde (also awarded the César of the French film industry in 1992). The soundtrack, re-released on his own Alia Vox label, has sold more than a million copies worldwide.
In Nomine III a 5
Jordi Savall Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
The lyrics you've provided are actually from the Latin text of the "Confutatis" section of the Requiem Mass. However, as you mentioned Jordi Savall's song "In Nomine III a 5", it is important to note that these lyrics are not specifically associated with that particular composition. "In Nomine" is a term used for a type of instrumental composition based on the plainsong melody of the same name, typically used in the Renaissance era. That being said, let's delve into the meaning of the lyrics you provided from the "Confutatis" section of the Requiem Mass.
These lyrics are traditionally interpreted as follows:
Chorus
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
Translation:
The damned are confounded,
and consigned to the flames of woe.
Call me with the blessed.
I humbly and earnestly pray,
my heart contrite as ashes,
take care of my end.
These lyrics reflect the plea of an individual (presumably the deceased or someone speaking on their behalf) to be separated from the condemned and called to join the blessed. The supplicant acknowledges their sinfulness and brokenness ("cor contritum quasi cinis" - heart contrite as ashes) while requesting divine intervention in ensuring a favorable outcome at the end of their life ("gere curam mei finis" - take care of my end).
Please note that my interpretation is based on a general understanding of the Requiem Mass and Latin language, and the meaning can vary slightly depending on the specific context and interpretation of the text.
Line by Line Meaning
Confutatis maledictis,
Condemning the cursed,
Flammis acribus addictis,
Bound by fierce flames,
Voca me cum benedictis.
Call me together with the blessed.
Oro supplex et acclinis,
I humbly pray and bow down,
Cor contritum quasi cinis,
A heart crushed like ashes,
Gere curam mei finis.
Take care of my end.
Lyrics © O/B/O APRA AMCOS
Written by: Traditional
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