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Hyperion Records

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Spring by Giuseppe Arcimboldo (1527-1593)
Real Adademia de Bellas Artes de San Fernando, Madrid / Bridgeman Art Library, London
Track(s) taken from CDA67733
Recording details: May 2008
Kloster Pernegg, Waldviertel, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: March 2009
Total duration: 5 minutes 35 seconds

'Stunning … Cinquecento's one-to-a-part approach, with countertenors on the top lines, is ideally suited to this repertory and really works wonders … at telling moments they modulate their delivery to considerable expressive effect … this highly accomplished singing does not draw attention to itself (or at least, not unduly) but focuses attention squarely on the composer. But for his early death, Vaet would have almost certainly emerged as a leading figure of his generation … this deserves to be widely heard' (Gramophone)

'A delicious feast of harmonic tension and inwardly-sensed architecture [Spiritus Domini]. Other gems include the expressive Miserere mei and a brilliant Salve Regina' (BBC Music Magazine)

Miserere mei, Deus
composer
5vv
author of text
Psalm 51: 1, 6

Introduction  EnglishFrançaisDeutsch
Any mid-to-late sixteenth-century composer attempting a setting of the Psalm text Miserere mei, Deus knew that he stood in the shadow of Josquin Desprez, whose five-voice setting was one of the best-known and most influential motets of the period. Vaet manages to stand aside from the Josquin tradition somewhat, whilst nonetheless nodding to it. Josquin repeated the opening phrase ‘Have mercy on me, God’ after each verse, providing a powerful unifying theme recognizable instantly from the semitone up to and back down from the first syllable of ‘Deus’. Vaet opens with a fantasia on this melody, referring to it but not allowing it to suffuse the texture as Josquin did. He then moves away from the motif, creating his own rich sonority with a preponderance of lower voices, before finally returning to it to close the motet.

from notes by Stephen Rice © 2009

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