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Track(s) taken from CDA67614

Ave sanctissima Maria

composer
SATTB; Mvsica excellentissimi Nicolai Gomberti … Liber primvs Qvinqve Vocvm (Venice: Scotto, 1539)
author of text
Antiphon for the Blessed Virgin Mary

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: 6 minutes 37 seconds
 
1
Ave sanctissima Maria  [6'37]

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)
A piece that makes extensive use of pitch repetition is Ave sanctissima Maria. Here the prayer to the Virgin begins by listing various of her attributes: ‘mater Dei, regina caeli, porta paradisi, domina mundi, pura singularis’ (‘mother of God, queen of heaven, gate of paradise, ruler of the world, uniquely pure’). Gombert unites these statements by creating different but related motifs, each emphasizing the same pitch, and thus creating the effect of a single thought, expressed in different ways. The final section of the piece ends the disc with the invocation ‘et ora pro peccatis meis’ (‘and pray for [forgiveness of] my sins’), which is repeated twenty-seven times (a significant number, since it is the perfect 3 of the Trinity, raised to the power of itself); after the final cadence between soprano and tenor, Gombert writes an extended coda, in which the other three voices each repeat the phrase yet again, as if the prayer to the Virgin were continuing even as the piece ends. The devotional significance of this prayer is underlined by the indulgence of 11,000 years granted by Pope Sixtus IV, the builder of the Sistine Chapel and possibly the writer of the text, to anyone who said it devoutly.

from notes by Stephen Rice © 2007

Ave sanctissima Maria recourt, lui aussi, abondamment à la répétition de hauteur de son. Ici, la prière mariale s’ouvre sur une énumération des épithètes de la Vierge: «mater Dei, regina caeli, porta paradisi, domina mundi, pura singularis» («mère de Dieu, reine du ciel, porte du paradis, maîtresse du monde, singulièrement pure»). Pour unir toutes ces énonciations, Gombert crée des motifs différents mais apparentés, qui appuient chacun sur la même hauteur de son, d’où un effet de pensée unique, exprimée de diverses manières. La section finale de cette pièce clôt le disque sur l’imprécation «et ora pro peccatis meis» («et prie pour [le pardon de] mes péchés»), répétée vingt-sept fois (un chiffre d’importance puisqu’il est le trois parfait de la Trinité, élevé à sa propre puissance); passé la cadence finale entre soprano et ténor, Gombert écrit une coda prolongée, où chacune des trois autres voix répète de nouveau l’imprécation, comme si la prière à la Vierge perdurait une fois la pièce achevée. L’importance dévotionnelle de cette oraison est confirmée par l’indulgence de onze mille ans que le pape Sixte IV, bâtisseur de la chapelle Sixtine et possible auteur du texte, accorda à quiconque la dirait avec piété.

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

Ein Stück, das vielfach von Tonrepetitionen Gebrauch macht, ist Ave sanctissima Maria. Das Gebet an die Jungfrau beginnt hier mit einer Auflistung ihrer verschiedenen Attribute: „mater Dei, regina caeli, porta paradisi, domina mundi, pura singularis“ („Mutter Gottes, Himmelskönigin, Pforte zum Paradies, Herrin der Welt, einzigartig Reine“). Gombert vereint diese Aussagen, indem er verschiedene, aber miteinander verwandte Motive erfindet, die jeweils die gleiche Note betonen und dadurch die Wirkung eines einzigen Gedankens erzielen, der auf verschiedene Weise ausgedrückt wird. Der Schlussabschnitt dieses Stückes beschließt diese CD mit der eindringlichen Bitte „et ora pro peccatis meis“ („und bitte für [die Vergebung] meiner Sünden“), die 27 Mal wiederholt wird (eine signifikante Zahl, da es die perfekte 3 der Dreieinigkeit im Quadrat darstellt); nach der Schlusskadenz zwischen Sopran und Tenor schreibt Gombert eine lange Coda, in der die übrigen drei Stimmen jeweils die Phrase wiederholen, als ob das Gebet an die Jungfrau selbst nach dem Ende des Stückes noch weitergeht. Die andächtige Bedeutung dieses Gebets wird durch den Ablass von 11.000 Jahren unterstrichen, den Papst Sixtus IV, der Erbauer der Sixtinischen Kapelle und womöglich der Autor des Textes, jedem gewährte, der es fromm sprach.

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

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