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Track(s) taken from CDA67669

Videns Dominus

composer
1599; re-published in the 1622 Cantiones Sacrae; Tempore passionis Domini; SATB SATB
author of text
after John 11

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: 4 minutes 24 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
Videns Dominus  [4'24]

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 Passiontide motet Videns Dominus has eight voices which are arranged in two equal choirs of four voices. Praetorius clearly enjoyed working in the polychoral medium (or strictly speaking bichoral in this case) which took recent developments from Venice as its starting point. The essence of this motet is disarmingly simple—the two choirs separately imitate or otherwise support each other until particularly important phrases within the text when both choirs join together (as, for instance, to great effect at Jesus’s calling of the name Lazarus).

from notes by Jeremy Summerly © 2008

Le motet pour le temps de la Passion Videns Dominus possède huit voix qui sont agencées en deux chœurs égaux de quatre voix. À l’évidence, Praetorius apprécia de travailler cette polychoralité (ou, à strictement parler ici, cette bichoralité) qui, partie de Venise, connaissait alors un développement récent. L’essence de ce motet est d’une simplicité désarmante: les deux chœurs s’imitent séparément ou se soutiennent mutuellement pour se réunir aux mots les plus importants (ainsi, par exemple, avec beaucoup d’effet, à la mention du nom de Lazare).

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

Die Fastenmotette Videns Dominus is in eine bestimmt Form gegossen—acht Stimmen werden in zwei gleiche vierstimmige Chöre arrangiert. Praetorius genoss offensichtlich, im mehrchörigen (oder in diesem Falle streng genommen doppelchörigen) Medium zu arbeiten, das die jüngsten Entwicklungen in Venedig zum Vorbild hat. Das Wesen dieser Motette ist entwaffnend schlicht—die beiden Chöre imitieren jeweils separat oder unterstützen sich gegenseitig, bis sich beide Chöre in besonders bedeutenden Phrasen vereinen (wie zum Beispiel besonders wirkungsvoll, als Lazarus erwähnt wird).

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

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