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Track(s) taken from CDA67799

Hodie Christus natus est

composer
1993; mixed voices unaccompanied
author of text
abbreviated Magnificat Antiphon for Second Vespers, Christmas Day

Royal Holloway Choir, Rupert Gough (conductor)
Recording details: January 2009
St Alban's Church, Holborn, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2009
Total duration: 1 minutes 21 seconds

Cover artwork: The purified soul is like a bright, beautiful chamber by Elizabeth Wang (b1942)
Private Collection / © Radiant Light / Bridgeman Art Library, London
 
1
Hodie Christus natus est  [1'21]

Reviews

'Sound moments of raptural texture (such as the word 'Christ' in Hail, Queen of Heaven, by the far the most substantial piece on this programme) … Dubra's natural home is a mood of controlled meditation and lyrical clarity … this style is well handled by the Choir of Royal Holloway, whose clean-edged sound, under Gough's sympathetic direction, warms to the generous acoustic of St Alban's, Holborn' (Gramophone)

'Royal Holloway's fabulous choristers and their inspired conductor convey the purity and spiritual fervour of Dubra's ear-catching output' (Classic FM Magazine)
Hodie Christus natus est is a simple joyful paean for Christmas Day. The resourceful use of a single line of music for both tenors and basses was born out of necessity when writing for Dubra’s own church choir. There is a hint of the neo-Baroque here in this modal dance in triple time.

from notes by Rupert Gough © 2009

Hodie Christus natus est est un simple cantique joyeux pour le jour de Noël. L’utilisation ingénieuse d’une seule ligne musicale pour les ténors comme pour les basses lui a été imposée par nécessité lorsqu’il écrivait pour son propre chœur d’église. Il y a une touche de néobaroque dans cette danse modale à trois temps.

extrait des notes rédigées par Rupert Gough © 2009
Français: Marie-Stella Pâris

Hodie Christus natus est ist ein schlichter, freudiger Lobgesang für den Weihnachtstag. Der erfinderische Gebrauch einer einzelnen Musiklinie für Tenöre und Bässe entstand aus Notwendigkeit, da er für seinen eigenen Kirchenchor schrieb. In diesem modalen Tanz im Dreiertakt findet sich ein Anhauch von Neobarock.

aus dem Begleittext von Rupert Gough © 2009
Deutsch: Renate Wendel

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