Cantatas vol. 6: BWV 1, 18, 23: for the Complete Liturgical Year: Wie schön leuchtet der Morgenstern (BWV 1); Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18); Du wahrer Gott und Davids Sohn (BWV 23)
Music For Candlemas Gregraorian Chant & early 13th century polyphony from the Ecole Notre-Dame Ensemble Trigon Passacaille 932 More and more frequently, the interpretations of the Ecole Notre-Dame are being contextualised within a liturgical reconstruction, and not just as a mere anthology of pieces in one style or another. As a result, apart from bringing to light the repertory of a particular period, they also allow us better to understand the liturgical atmosphere in which that music was developed, the music that was the true backbone of religious music throughout the history of the Church. As a result this recording by the Ensemble Trigon (a curious name, taken from one of the elements of pneumatic notation, a group of three notes, although the CD booklet gives some other possible meanings) will be warmly welcomed. The group consists of three women who achieve a polished execution of plainsong, albeit at tempos that are a little slow, and with a touch of "French" pronunciation. The blend of the three voices is very good in the execution of monody (reminding one a little of Anonymous 4, although their approach to the polyphony differs). Trigon has an oriental touch, the result of the use of portamento at some cadences, not because of microtonal elements or an inexact tempering of a scale. In the organa sections the singer of the vox organalis successfully introduces some elements of ornamentation in the style of the florificatio vocis explained by Jerome of Moravia in his Tractatus de Musica (13th century) giving an impression of freedom and greater variety. The clause sections are well treated with a perfect distinction from the organum purum. The notes sung by Margot Kalse are especially interesting. Recommended for all lovers of the Parisian repertory.JUAN CARLOS ASENSIO
Tracklista: 1. Missa da Requiem in D minor, KV 626 2. With contributions by Franz-Xaver Süssmayr, Joseph Leopold Eybler, Johann Jacob Freystädtler, Maximilian Stadler, Arthur Schoonderwoerd 3. Ritter Ignaz von Seyfried and liturgical parts in Gregorian chant
Settings of the canticles, the Magnificat and Nunc dimittis, have played a prominent part in the Office of Evensong since the Reformation. Cranmer’s original Book of Common Prayer of 1549 established the classic pattern for the Anglican Office of psalm–lesson–canticle–lesson–canticle. This pattern survived all the liturgical revisions and upheavals and was reiterated in the definitive 1662 version, which is still adhered to today. The form of Evensong resulted from the fusing together of elements from the Roman Offices of Vespers and Compline, though the liturgical pattern of psalms followed by paired lessons and canticles differs both from its Roman progenitors and from the Lutheran services.The first canticle of Evensong, the Magnificat, acts as a liturgical pivot, providing a transition between lessons from the Old Testament and the New Testament. The Magnificat, whose text is found in Luke 1: 46–55, is a hymn of praise expressing the joy and thanksgiving of the Virgin Mary following the Annunciation.The Nunc dimittis or ‘Song of Simeon’, the second canticle of Evensong, takes its text from Luke 2: 29–32, and acts as a salutation to the arrival of the New Testament message. The words are those uttered in prayer by the aged Simeon who, having witnessed the Presentation of Jesus at the Temple, expresses his faith in God’s promise of Salvation and contemplates his approaching death.Except for the anthem (which is, strictly speaking, extra-liturgical), the canticles have afforded the greatest opportunity for musical development within the Anglican rite. The stylistic foundations of the settings most familiar today from the late nineteenth and early twentieth centuries were established in large part by Samuel Sebastian Wesley and Thomas Attwood Walmisley, two of the most important and influential figures in the history of English church music. The finest achievements of both these men in the setting of the Evening Canticles are included in this recording, which presents six of the most inspired and well-loved settings, spanning from the mid-1850s to the early 1920s.
This recording presents liturgical music from the Divine Office for annual celebrations of Charlemagne’s feast day on January 28, the anniversary of his death in 814. The Divine Office (from the Latin officium, “duty”) is a ritual that is distinct from the mass: whereas the mass commemorates the last Passover meal of Jesus and his disciples as described in the New Testament (commonly called the Last Supper), the Office is related to the Jewish tradition of collective praying and psalm-singing. The CD presents a liturgical reconstruction of the services of Vespers and Compline as they might have been heard in Aachen’s collegiate church on Saturday, January 27, 1582.
2011 sees the first recording by The Sixteen devoted entirely to Palestrina. The disc marks the start of a new project which will result in a series of new recordings exploring a selection of the composer’s vast output, and a Choral Pilgrimage tour.Palestrina was born in 1525 not far from Rome, in the town whose name he bore and from which we take the cover images for this new series of discs. Possibly the greatest composer of liturgical music of all time, Palestrina was a towering figure in Renaissance polyphony. Choral singers world-wide will know his Missa Papae Marcelli (recorded by The Sixteen on COR16014) as, without doubt, it is the most renowned of Palestrina’s works and possibly the most famous mass of all time.Arguably the greatest composer of liturgical music of all time, Palestrina was a towering in Renaissance polyphony. On this disc The Sixteen explores some of the outstanding music he wrote for the Assumption including his Mass and Motet Assumpa est Maria. Without doubt, Palestrina was the great master of all Papal composers and his spiritual craft and harmonic vitality fulfilled the needs of the Vatican. The Ave Maria and Salve Regina, and the Offertory, also entitled Assumpa est Maria, are glorious examples of such work and can be heard in all their splendour on this recording. (Coro)On this new disc The Sixteen has recorded some of the sumptuous music he wrote for the Assumption including his Missa Assumpta est Maria and Salve Regina. Without doubt, Palestrina was the great master of all Papal composers and his spiritual craft and harmonic vitality fulfilled the needs of the Vatican. His motets for the Assumption also entitled Assumpta est Maria, are glorious examples of such work and can be heard in all their splendour on this recording.By his death in 1594, Palestrina had published a huge amount of music including over 100 Masses and over 350 motets.