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Track(s) taken from CDA67658

Gaudent in caelis animae Sanctorum

composer
6vv; paraphrase of the plainsong Magnificat Antiphon at Second Vespers for the Common of Two or more Martyrs outside Eastertide
author of text
Magnificat Antiphon at Second Vespers on the Common of Two or More Martyrs

Cinquecento
Studio Master FLAC & ALAC downloads available
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Recording details: August 2007
Wallfahrtskirche, St Wolfgang bei Weitra, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: May 2008
Total duration: 2 minutes 23 seconds

Cover artwork: Winter by Giuseppe Arcimboldo (1527-1593)
Private Collection, © Agnew's, London / Bridgeman Art Library, London
 
1
Gaudent in caelis animae Sanctorum  [2'23]

Reviews

'The music is beautifully performed and well worth a listen; Monte's settings are full of variety and fruity chromaticisms, and Cinquecento more than does him justice' (Choir & Organ)

'Their performances make it clear that Monte is a composer of distinction' (BBC Music Magazine)

'An enticing snapshot of [Monte's] musical personality. Detailed word-painting and an imaginatively dramatic response to his texts' changing moods are displayed in pieces such as Ad te levavi and Miserere mei' (The Daily Telegraph)

'An impassioned and beautiful performance by Cinquecento … the exceptional blend of voices and unified approach to phrasing augur well for their future as great interpreters of Renaissance music … a marvellous affinity for Monte … they have no need of a conductor to achieve lovely long phrases full of warmth and life … the individual voices are all lovely, and the countertenors float above the texture without dominating it' (Early Music Review)

'An unusually gifted ensemble, both vocally and musically … here is a group whose tone, vocal flexibility, collective and individual musicianship and commitment to their chosen repertoire places them at the very forefront of modern-day specialists in the performance of Renaissance vocal music … a disc which is not only a real treat to the ears but a most valuable and worthwhile exposé of little-known repertoire … unfailingly compelling and absorbing performances … it is the Mass which, at 25 minutes, dominates the disc and shows most obviously the many strengths of this outstanding vocal ensemble … at the start of the Kyrie, for example, we have a layered texutre the subtle balance of which, while seeming entirely natural, must have taken a great deal of effort to achieve. As it unfolds there is the impression of clouds parting to reveal a vast landscape as viewed from a montain top, a sense of spaciousness and a grandeur which is profoundly moving. This is a veritable jewel of a disc' (International Record Review)

'Beautifully blended sound by a young pan-European vocal sextet, rich with character and individuality in rare 16th-century polyphony' (Classic FM Magazine)
Gaudent in caelis animae Sanctorum combines a paraphrase of a plainsong antiphon (for the Magnificat at Second Vespers for the Common of Two or more Martyrs outside Eastertide) with canonic treatment: the chant melody is imitated at the interval of a fifth by the second lowest and second highest voices, though others also follow its contours. The use of the chant in two—occasionally more—voices thus reflects the number of martyrs celebrated, and their canonic relationship suggests God’s law linking them. The melody as reworked by Monte is similar to that in use in Habsburg territories in the sixteenth century, as preserved in a 1519 antiphoner from Passau: its canonic treatment necessitates several variations, however. The element of rejoicing is provided by the vigour of Monte’s rhythmicization of the chant melody, together with its intrinsically ‘major-key’ modality. The motet ends with a reference to the saints rejoicing without end, a point subtly underlined by the reluctance of the highest voice to make its cadence until after the other five have arrived on the final chord.

from notes by Stephen Rice © 2008

Gaudent in caelis animae Sanctorum combine une paraphrase d’une antienne grégorienne (pour le Magnificat chanté aux secondes vêpres et destiné au Commun de deux ou plusieurs martyrs en dehors du temps pascal) avec un traitement canonique: la mélodie grégorienne est imitée à l’intervalle d’une quinte par la deuxième voix la plus grave et par la deuxième voix la plus aiguë, même si les autres voix suivent également ses contours. L’usage du plain-chant à deux voix—voire davantage—reflète ainsi le nombre de martyrs célébrés, leur relation canonique suggérant, elle, la loi de Dieu qui les relie. La mélodie retravaillée par de Monte ressemble à celle en usage dans les territoires des Habsbourg au XVIe siècle, telle qu’elle nous a été conservée par un antiphonaire de Passau (1519); son traitement canonique nécessite, cependant, plusieurs variations. La «rythmicisation» vigoureuse de la mélodie grégorienne opérée par de Monte et la modalité intrinsèquement «en majeur» font toute l’allégresse de ce motet, qui s’achève sur une référence aux saints se réjouissant sans fin—un point subtilement souligné par la répugnance de la voix la plus aiguë à faire sa cadence avant que les cinq autres voix ne soient parvenues à l’accord final.

extrait des notes rédigées par Stephen Rice © 2008
Français: Hypérion

Gaudent in caelis animae Sanctorum kombiniert eine Paraphrase einer Choral-Antiphon (für das Magnificat der Zweiten Vesper für den gemeinsamen Gedenktag von für zwei oder mehr Märtyrern außerhalb der Osterzeit) mit kanonischer Behandlung: die Choralmelodie wird von der zweittiefsten und zweithöchsten Stimme im Intervall einer Quinte imitiert, obwohl auch andere ihrer Kontur folgen. Der Gebrauch des Chorals in zwei, manchmal sogar mehr Stimmen reflektiert also die Anzahl der Märtyrer, die gefeiert werden, und ihre kanonische Beziehung deutet Gottes Gesetz an, das sie verbindet. Die Melodie in Montes Neubearbeitung ist der ähnlich, die im 16. Jahrhundert in den Habsburgischen Territorien in Gebrauch waren, und wie sie in einem Antiphonar von 1519 aus Passau erhalten ist: ihre kanonische Behandlung erfordert jedoch mehrere Variationen. Das Element des Jubels wird durch den Elan von Montes Rhythmisierung der Choralmelodie sowie ihre immanente „Dur“-Modalität erzeugt. Die Motette schließt mit einer Anspielung an den endlosen Jubel der Heiligen, ein Punkt, der durch das Zögern der höchsten Stimme unterstrichen wird, ihre Kadenz zu singen bis die anderen fünf auf dem Schlussakkord angekommen sind.

aus dem Begleittext von Stephen Rice © 2008
Deutsch: Renate Wendel

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