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Track(s) taken from CDA67614

Pater noster

composer
SATTB; published as the first of a pair with the 5-part Ave Maria; Nicolai Gomberti Mvsici Excellentissimi Cvm Qvinqve Vocibvs Liver Primvs (Venice: Scotto, 1550)
author of text
Luke 11: 2b-4

The Brabant Ensemble, Stephen Rice (conductor)
Recording details: September 2006
Queen's College Chapel, Oxford, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: September 2007
Total duration: 5 minutes 7 seconds
 
1
Pater noster  [5'07]

Reviews

'It's one of very few discs of this repertoire I've been happy to play in its entirety, and then several times since. This is in part a tribute to Gombert … but also to The Brabant Ensemble and Stephen Rice … by encouraging an unusually individual and carefully balanced vocal response, he avoids the pitfalls of relentless consistency and arid elision … there is a welcome and (in this music) novel belief in the power of voices as voices … try the sopranos halfway through Hortus conclusus es for erotic Mariolatry at its most disconcertingly sensual. Arise, make haste, as they sing, and hear this music' (Gramophone)

'The Brabant Ensemble's exploration of the 'forgotten generation' of composers between Josquin and Palestrina is reviving an abundance of unwarrantedly neglected sacred polyphony. Judging by this splendid selection of motets, Gombert's neglect is particularly flagrant. In penitential pieces, such as Aspice Domine and Tribulatio et angustia, his lavish use of dissonance within a smooth-flowing yet intricately imitative style creates an atmosphere of almost unbearably intense and bitter anguish, whether contemplating a city laid waste or beseeching rescue from a foetid quagmire … these shapely and well-paced performances do full justice to Gombert's outstanding talent' (The Daily Telegraph)

'This attractive recording provised an excellent opportunity to wallow in his motets … the music is austere but beautiful, with plenty of anguished dissonances and false relations … the music is well-sung … the performers are evidently passionate about 16th-century Flemish music' (Early Music Review)

'This is impressively accomplished ensemble singing … Rice's own booklet notes provide fascinating insights into the music … it is this intelligent approach to the spirit of the text (there is a glorious moment in Hortus conclusus es when the soprano soars ethereally to the line 'arise, make haste my beloved'), coupled with outstanding tuning and balancing, which makes this such a distinguished group. The Brabant Ensemble are quickly establishing themselves as one of the more impressive English groups specializing in Renaissance music, and this, their fourth CD release, only increases their stature' (International Record Review)

'The sheer quality of his music. These 10 motets are notable for their richly glowing sonorities, their disciplined counterpoints, their intensity of expression and, most of all, their careful tailoring of music to text. There's the darkly erotic intensity of Hortus conclusus es, the angst-ridden, pentitential Tribulatio et angustia … the singing is meticulously balanced and blended, Stephen Rice shaping and pacing each work with exquisite judgement' (The Sunday Times)

'Aspice Domine, Ne reminiscaris, Domine and Tribulatio et angustia mine a rich seam of angst, and receive searing performances here … the singing is brightly supported, the texture crystalline' (Early Music)

'Virtually all of these works project an awe-inducing majesty and solemnity, unfolding over many minutes of nearly cadence-free waves of rich-textured polyphony. Pungent dissonances play an integral role in the overall structure, as do repeated-note fragments and brief melodic segments whose impact can be quite striking, especially when introduced in the treble register and then passed through the other voices. It would be impossible to name a highlight--the magnificent Tribulatio et angustia; the grand Aspice Domine; the profoundly moving Pater noster and Ave Maria--because all of these works and performances are exemplary, both as unique creations and as stylistically informed, modern realizations of some of the greatest, yet-to-be-fully-appreciated music of the 16th century. The 14-voice Brabant Ensemble, whose vibrant, perfectly-tuned sound often gives the impression of a larger group, knows the importance of phrasing, breath control, and long-lined dynamic modulation, all of which are essential to really fire up and fully illuminate these scores. The sound, from what proves to be the ideal acoustics of the chapel of The Queen's College, Oxford, is perfectly balanced to allow us to hear each vocal line clearly while enabling the ensemble to properly resonate. This is a recording that demands and rewards multiple hearings … absolutely essential listening!' (ClassicsToday.com)

'This music is stunning, and the performance here is clear and bright, with perfect balance across the voice parts and the sustained lines. Highly recommended' (GScene)

'Les moments à couper le souffle ne manquent pas dans la dernière réalisation du Brabant Ensemble. Les amateurs de polyphonie de la Renaissance se réjouiront de voir apparaître des joyaux tels que Hortus conclusus es, aux invraisemblables chaînes de dissonances, ou une version du Inviolata qui, pour évoquer lointainement un modèle de Josquin, ne se situe pas moins dans un registre d'élégiaque mélancolie où Gombert surpasse tous ses contemporains' (Le Monde de la Musique, France)
The motets Pater noster and Ave Maria, which seem to have been intended as a pair, appearing together in almost all of their sources, are both based on well-known plainchants. The tone for the Lord’s Prayer would have been sung at most celebrations of Mass, and Gombert’s setting is suffused with the chant phrases, worked as usual in his flexible style of imitative counterpoint. It was performed in the nineteenth century by the pioneering musicologist François-Joseph Fétis (1784–1871), who stated that it was the equal of anything by Palestrina (high praise indeed at a time when the latter’s contrapuntal techniques were regarded as the ideal), and produced a deep impression on his audience. The Ave Maria similarly reworks its chant material, notably adapting the famous melody as it does so, with the second entry of the alto producing a chromatically altered version.

from notes by Stephen Rice © 2007

Les motets Pater noster et Ave Maria, qui semblent avoir été conçus comme un diptyque (ils figurent ensemble dans presque toutes les sources), reposent tous deux sur des plains-chants célèbres. Le ton destiné au Notre-Père était chanté à la célébration de la plupart des messes et Gombert inonde sa pièce de phrases en plain-chant, qu’il travaille, comme toujours, dans son style flexible de contrepoint imitatif. Pater noster fut exécuté au XIXe siècle par François-Joseph Fétis (1784–1871), musicologue novateur qui en fit l’égal d’une œuvre de Palestrina (alors fort prisé, ses techniques contrapuntiques étant perçues comme un idéal) et impressionna beaucoup son auditoire. L’Ave Maria retravaille, lui aussi, son matériau de plain-chant, adaptant notamment la fameuse mélodie, avec la seconde entrée de l’alto qui produit une version chromatiquement altérée.

extrait des notes rédigées par Stephen Rice © 2007
Français: Hyperion Records Ltd

Die Motetten Pater noster und Ave Maria, die anscheinend als Paar gedacht sind, erscheinen in nahezu allen Quellen zusammen und basieren beide auf wohl bekannten Choralmelodien. Der Tonus für das Vaterunser wurde in den meisten Messfeiern gesungen und Gomberts Satz ist von Phrasen aus dem Choral durchzogen, die wie üblich in seinem flexiblen imitativen Kontrapunkt verarbeitet werden. Es wurde im 19. Jahrhundert vom musikwissenschaftlichen Pionier François-Joseph Fétis (1784–1871) aufgeführt, der behauptete, dass es allem, was Palestrina schrieb, gleich kam (hohes Lob in einer Zeit, in der Palestrinas Kontrapunkt-Technik als Ideal angesehen wurde) und hinterließ einen tiefen Eindruck bei seinem Publikum. Das Ave Maria verarbeitet sein Choralmaterial ähnlich, und adaptiert die berühmte Melodie denkwürdig, indem der zweite Einsatz des Alts eine chromatisch veränderte Fassung vorstellt.

aus dem Begleittext von Stephen Rice © 2007
Deutsch: Renate Wendel

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