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Track(s) taken from CDA67696

Confitebor tibi, Domine

composer
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)

The Brabant Ensemble, Stephen Rice (conductor)
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

Cover artwork: Job mocked by his wife by Georges de la Tour (1593-1652)
Musée départemental des Vosges, Épinal, France / Lauros / Giraudon / Bridgeman Art Library, London
 
1
Confitebor tibi, Domine  [6'56]

Reviews

'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)
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

La forme du psaume vespéral est, à certains égards, moins resplendissante que celle, par exemple, des motets à double chœur, mais elle est assurément plus au cœur de la vie des pratiquants du XVIe siècle. Confitebor tibi, Domine était un des psaumes les plus chantés, que les musiciens connaissaient par cœur: la mise en musique de Phinot sur le troisième ton suit de près le plain-chant au superius des versets polyphoniques. Le début du verset 9 («Sanctum et terribile nomen eius») est une inflexion remarquablement harmonique, où un bémol explicitement indiqué, à la basse, entraîne soudain la musique en terre inconnue—mais, contrairement à ce qui se passe dans Pater peccavi, la teneur grégorienne est vite retrouvée.

extrait des notes rédigées par Roger Jacob & Stephen Rice © 2009
Français: Hypérion

Das Genre des Vesperpsalms ist in gewisser Weise weniger glanzvoll als etwa eine doppelchörige Motette, doch war er für Kirchgänger des 16. Jahrhunderts sicherlich von zentralerer Bedeutung. Confitebor tibi, Domine war einer der am meisten gesungenen Psalmen, den Musiker sicherlich auswendig kannten. Phinots Vertonung zum dritten Tonus ist in der Oberstimme der polyphonen Verse dicht an der Cantusversion gehalten. Eine bemerkenswerte harmonische Wendung findet zu Beginn des 9. Verses („Sanctum et terribile nomen eius“) statt, wo ein explizit angegebenes B in der Bassstimme dafür sorgt, dass sich die Musik auf völlig unbekanntes Gebiet begibt; anders jedoch als in Pater peccavi kehrt sie schnell zu dem Ton zurück, auf dem der Cantus rezitiert wird.

aus dem Begleittext von Roger Jacob & Stephen Rice © 2009
Deutsch: Viola Scheffel

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