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Hyperion Records

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Job mocked by his wife by Georges de la Tour (1593-1652)
Musée départemental des Vosges, Épinal, France / Lauros / Giraudon / Bridgeman Art Library, London
Track(s) taken from CDA67696
Recording details: August 2008
The Chapel of Harcourt Hill campus, Oxford Brookes University, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: August 2009
Total duration: 6 minutes 56 seconds

'There are many laurels to award in this column, but arguably the biggest, shiniest and bushiest wreath should land on Stephen Rice and his spirited Brabant Ensemble for their outstanding disc of works by Dominique Phinot. What a discovery! Extraordinary music, not least the 'secret chromatic art' exemplified in the motet Pater Peccavi, which deserves the widest hearing thanks to these sinuous, assured performance, captured in an edgy acoustic that enhances the curious architecture of the polyphony' (Choir & Organ)

'The Brabant Ensemble's performances of these fascinating works are as polished and assured as we have come to expect, full-throated yet finely modelled and shimmering with lively intelligence. Rice unerringly finds the right pace for each work … and pays full heed to Phinot's expressive use of contrasting textures. Amidst all the drama of the larger works, the ensemble's caressing, translucent rendition of O sacrum convivium is a particular high point. This is a valuable and engrossing premiere for a neglected and somewhat unconventional sixteenth-century master' (International Record Review)

'Rice has outdone his achievement of the first five discs with this fascinating and rewarding offering. If you have not discovered the Brabant Ensemble yet, by all means start here' (Fanfare, USA)

'If you are to make an investment into a new or unknown composer you need to be able to trust the performers. With the Brabant Ensemble and the musicianship and prowess of Stephen Rice you know that you are in safe hands … awards. They have a gloriously fresh, yet intensely expressive sound, intonation is miraculous and they are aided on each occasion by a superb acoustic and recording' (MusicWeb International)

Confitebor tibi, Domine
4vv; tone 3; Di Dominico Phinot, Il primo Libro, Di Salmi, A quatro voci, a uno choro, con la gionta, di dui Magnificat (Venice: Scotto, 1555). P2022[A]-1555
author of text
Psalm 110 (111)

Introduction  EnglishFrançaisDeutsch
The form of the Vesper Psalm is in some ways less glamorous than for instance double-choir motets, but certainly more central to the lives of sixteenth-century church-goers. Confitebor tibi, Domine was one of the most frequently chanted Psalms, which would have been known by heart to the musicians: Phinot’s setting to the third tone follows the plainsong closely in the top voice of the polyphonic verses. A notably harmonic twist is the beginning of verse 9 (‘Sanctum et terribile nomen eius’), where an explicitly indicated flat in the bass part causes the music to move suddenly into uncharted territory: unlike in Pater peccavi, however, it quickly reverts to the chant reciting note.

from notes by Roger Jacob & Stephen Rice © 2009

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