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Track(s) taken from CDA67669

A solis ortus cardine / Beatus auctor saeculi

composer
1607; re-published in the 1622 Cantiones Sacre; SSATTB; alternatim
author of text
Hymn at Lauds on the Nativity of Our Lord

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: 8 minutes 20 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

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)

A solis ortus cardine / Beatus auctor saeculi alternates plainchant with polyphony, although in this case the polyphonic verses are based much more closely on the notes of the plainchant hymn than are the polyphonic verses of the Magnificats. The technique of using a plainchant melody stretched out in long notes in one of the lowest voice parts was part of a compositional tradition stretching back for hundreds of years. Praetorius uses the technique (albeit not entirely strictly) to lend an antique feel to this motet’s varied textures.

from notes by Jeremy Summerly © 2008

A solis ortus cardine / Beatus auctor saeculi est marqué par une alternance de plain-chant et de polyphonie, même si les versets polyphoniques s’appuient beaucoup plus sur les notes de l’hymne grégorienne. Utiliser, à l’une des parties les plus graves, une mélodie de plain-chant étirée en valeurs longues ressortissait à une tradition séculaire. Praetorius recourt à cette technique (quoique de manière pas tout à fait stricte) pour donner un côté vieillot aux textures variées de son motet.

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

Vertonungen alterniert auch A solis ortus cardine / Beatus auctor saeculi zwischen Choral und Polyphonie, obwohl die polyphonen Verse sich in diesem Fall näher an die Choralmelodie halten als die der Magnificats. Die Technik, eine Choralmelodie in langen Notenwerten als eine der tiefsten Stimmen zu verwenden, gehört zu einer Jahrhunderte alten Kompositionstradition. Praetorius nutzt diese Technik (wenn auch nicht ganz strikt), um dieser abwechslungsreichen Motette ein antikes Flair zu verleihen.

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

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