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Hyperion Records

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Virgin Annunciate (1450/5) by Fra Angelico (Guido di Pietro) (c1387-1455)
Detroit Institute of Arts, USA, Bequest of Eleanor Clay Ford / Bridgeman Art Library, London
Track(s) taken from CDA67694
Recording details: September 2007
Merton College Chapel, Oxford, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: September 2008
Total duration: 6 minutes 39 seconds

'This is the Brabant Ensemble at their most vigorous and confident … in a fast-growing discography, this is a valuable addition' (Gramophone)

'Rice and his ensemble reveal a composer of warmth and passion who could also write resplendently joyful music when required … the whole recital is marked by an extraordinary unanimity of ensemble, security of intonation and intelligence that surpass all rivals in the repertory. In short, this is a valuable and exquisitely sung addition to the Morales discography' (International Record Review)

'Music of astonishing beauty and rapt polyphonic intensity, which the voices of the Brabant Ensemble unfold with perfect poise' (The Guardian)

'The Magnficat setting glows with power, and the three Lamentations have a grave beauty impossible to resist with the radiant tone and golden blend of Stephen Rice's Brabant Ensemble. The wise selection focuses on material underexposed elsewhere' (The Times)

'The young Oxford choir turns its immaculate ensemble, lucid diction and faultless tuning to the Spanish composer Morales. His Lamentations flow with exquisite sadness … the lines blend like threads in a tapestry … the selection of motets is rich with dynamic contrast, expressivity and downright beautiful singing' (Classic FM Magazine)

'This first-rate recording makes an important contribution not only for its exceptional performances, but in its thoughtful programming … essential' (ClassicsToday.com)

Beati omnes qui timent Dominum
composer
6vv
author of text
Psalm 127 (128)

Introduction  EnglishFrançaisDeutsch
Beati omnes qui timent Dominum must be considered one of Morales’s most attractive works: its sunny disposition is in many ways rather distinct from his usually rather more serious style, creating a sound reminiscent of his distinguished Dutch contemporary Clemens non Papa. (Since the motet is attributed to Morales in a Toledo Cathedral manuscript dating from his tenure as maestro de capilla, his authorship must be secure, however.) The mostly imitative six-voice texture is punctuated with moments of near-homophony, for instance at ‘beatus es, et bene tibi erit’ in the first part, and especially the hoped-for ‘Peace upon Israel’, evoked by lengthened note values in the final minute of the piece.

from notes by Stephen Rice © 2008

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