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Track(s) taken from CDA67669

O bone Jesu

composer
1599; re-published in the 1622 Cantiones Sacrae; SAATTB
author of text

The Cardinall's Musick, Andrew Carwood (conductor)
Recording details: February 2008
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: October 2008
Total duration: 7 minutes 52 seconds

Cover artwork: Virgin and child holding a half-eaten pear (detail) (1512) by Albrecht Dürer (1471-1528)
Kunsthistorisches Museum, Vienna / Bridgeman Art Library, London
 
1
O bone Jesu  [7'52]

Reviews

'A superior festive selection box indeed' (Gramophone)

'The often highly expressive, sometimes quirky, and always well-crafted Magnificats and motets of Hieronymus Prateorius are a fine example of the strength-in-depth of German musical creativity. Andrew Carwood and The Cardinall's Musick ardently relish the interplay of voices in the eight-art scorings … the overall impression is compelling, fresh and immediate' (Choir & Organ)

'Their beautiful singing of such fine music deserves wide circulation' (Early Music Review)

'This superb disc … these are stunning performances, which is of course to be expected from this remarkable vocal ensemble … all are bathed in a richly texutred and highly variegated choral sound … Hieronymus Praetorius is considered by many to be one of the greatest North German composers of the first half of the seventeenth century. This release will surely go some way to convincing the rest of us of the truth of this assertion' (International Record Review)

'Hieronymus Praetorius gains his place in the sun with this outstanding release. The 16th-century organist and composer emerges as a master of vivid choral contrasts and effects' (Classic FM Magazine)

The six voices of O bone Jesu are combined in an indulgent texture that reflects the self-analysis of the opening words. Praetorius sustains a narrative which incorporates aggressive rhythms to depict self-blame (at ‘quod per culpam’), gently lilting, arching lines to portray nostalgic reminiscence (at ‘Memento’), and a bitter twist to what is ostensibly sweet harmony (at the first appearance of ‘dulcissime’).

from notes by Jeremy Summerly © 2008

Les six voix de O bone Jesu sont combinées en une texture conciliante, reflet de l’autoanalyse des premiers mots. Praetorius maintient une narration qui incorpore des rythmes agressifs (pour dépeindre le mea-culpa, à «quod per culpam»), des lignes en arche doucement allantes (pour traduire la réminiscence nostalgique, à «Memento») et une amère torsion faite à ce qui est une harmonie en apparence paisible (au premier «dulcissime»).

extrait des notes rédigées par Jeremy Summerly © 2008
Français: Hypérion

Die sechs Stimmen von O bone Jesu in einer schwelgerischen Strukturkombiniert, die die Selbstanalyse der Anfangsworte reflektiert. Praetorius spinnt einen Erzählungsfaden, der aggressive Rhythmen einbaut, um Selbstbeschuldigung (bei „quod per culpam“) auszudrücken, sanft gesponnene Bögen, um (bei „Memento“) nostalgische Erinnerung zu schildern, und einen bitteren Beigeschmack zu einer scheinbar süßen Harmonie (beim ersten „dulcissime“).

aus dem Begleittext von Jeremy Summerly © 2008
Deutsch: Renate Wendel

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