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Track(s) taken from CDA67761

In pace

composer
5vv; Lib. decimus: Passiones dominice in ramis palmarum (Paris: Attaingnant, 1535)
author of text
Respond at Sunday Compline from the First Sunday in Lent until Passion Sunday

The Brabant Ensemble, Stephen Rice (conductor)
Recording details: September 2009
The Chapel of Harcourt Hill campus, Oxford Brookes University, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: May 2010
Total duration: 8 minutes 52 seconds

Cover artwork: The Annunciation. Panel from an altarpiece (1478/85) by Lorenzo di Credi (1459-1537)
Louvre, Paris / Peter Willi / Bridgeman Art Library, London
 
1
In pace  [8'52]

Reviews

'The Brabant Ensemble happily bring their familiar virtues to bear in sensitive, transparent performances. Musical adventurers will want this recording to discover a superb composer they may not know … Moulu's idiom is pleasingly inventive and immediately engaging' (Gramophone)

'An outstandingly beautiful setting for five voices [In pace], built around a canon. This is a real discovery, and I can imagine it inspiring many choir directors to include it in their repertoires. The Brabant Ensemble's vibrant sound is ideal for this music. Rice is careful never to allow the upper voices to dominate, with the result that the polyphonic workings of all these pieces are clearly audible, something rather rarer than one might think. This is a highly impressive release' (International Record Review)

'The Brabant Ensemble are an eleven-voiced choir, using female altos and sopranos. They sing with a lovely clear, focused tone which allows the polyphony space to flourish and each line is clearly delineated. They sing the Latin with a form of French pronunciation which is entirely suitable for this composer. Moulu is not a showy writer. Stephen Rice and his ensemble allow the composer's distinctive reflective voice to come over in these fascinating and rather enchanting pieces' (MusicWeb International)

'Revel in the bare intervals at the start of the Mater floreat which become a glowing major chord as the inner parts enter. Or the exquisite solemnity of the shorter In Pace. We are also treated to a brief Josquin motet which Moulu used as the model for his own Missa Missus est Gabriel Angelas. All sung with astonishing confidence and beauty of tone by Stephen Rice’s Brabant Ensemble' (TheArtsDesk.com)
The Compline responsory In pace represents Moulu at the opposite end of his compositional style from Mater floreat. Whereas the latter is forthright and declamatory, highlighting the named composers and employing fanfare-like imitative points to begin and end the piece to the glory of France’s king and queen, In pace responds to its text by creating a dreamlike soundscape, with long, highly melismatic lines and few obvious cadences. The texture is based around the lower voices: the tenor operates in canon at the upper fifth (in the ‘Gloria Patri’ the upper voice leads and the tenor follows) and, as in many canonic pieces at this time, is largely in longer notes and has a restricted range. It is left to the three free parts to weave the melismatic texture around these two fixed points, therefore. The text was set by several composers in the first half of the sixteenth century, and unusually for responsory settings, the polyphony is given—by others such as the Englishmen John Blitheman, John Taverner, and John Sheppard as well as Moulu—to the sections that would be sung by a soloist in performance of the plainsong responsory.

from notes by Stephen Rice © 2010

Le répons de complies In pace nous montre un Moulu aux antipodes stylistiques de son Mater floreat. Là où ce dernier est direct et déclamatoire, mettant en lumière les compositeurs réputés et employant des points d’imitation façon fanfare pour s’ouvrir et se clore à la gloire du roi et de la reine de France, lui traduit le texte par un univers sonore irréel, affichant de longues lignes très mélismatiques et peu de cadences manifestes. La texture est bâtie autour des voix graves: le ténor opère en canon à la quinte supérieure (dans le «Gloria Patri», la voix supérieure mène et le ténor suit) et, comme souvent dans les pièces canoniques de l’époque, il est essentiellement en longues, avec un ambitus restreint. À charge donc aux trois parties libres de tisser la texture mélismatique autour de ces deux points fixes. Dans la première moitié du XVIe siècle, plusieurs compositeurs mirent en musique ce texte et, chose rare pour une répons, tous—Moulu mais aussi les Anglais John Blitheman, John Taverner et John Sheppard—confièrent la polyphonie aux sections chantées par un soliste dans une exécution en plain-chant.

extrait des notes rédigées par Stephen Rice © 2010
Français: Hypérion

Mit dem Responsorium In pace für die Komplet zeigt Moulu—im Vergleich zu Mater floreat—die ganze Bandbreite seines kompositorischen Stils. Während das Letztere direkt und deklamatorisch angelegt ist, die Komponistennamen betont werden und fanfarenartige, imitative Figuren zu Beginn und zum Schluss des Stücks zu Ehren des Königs und der Königin von Frankreich erklingen, wird im In pace der Text mit einem traumhaften Klanggewebe mit langen, melismatischen Linien und nur wenigen offensichtlichen Kadenzen verarbeitet. Die Textur konzentriert sich auf die tieferen Stimmen: der Tenor ist in einen Oberquintkanon eingebunden (im „Gloria Patri“ führt die obere Stimme und der Tenor folgt) und ist, wie es in vielen kanonischen Stücken der Zeit üblich war, zum größten Teil in längeren Noten gehalten und hat einen eingeschränkten Tonumfang. Die drei freien Stimmen schlingen sich also um diese beiden Fixpunkte herum und ergeben das melismatische Geflecht. Der Text wurde während der ersten Hälfte des 16. Jahrhunderts von mehreren Komponisten vertont und, was bei Responsoriumsvertonungen ungewöhnlich ist, die Polyphonie ist—sowohl von anderen Komponisten wie etwa den Engländern John Blitheman, John Taverner und John Sheppard als auch von Moulu—den Abschnitten zugeteilt, die beim Aufführen des Responsoriums in Cantus-planus-Form von einem Solisten gesungen wurden.

aus dem Begleittext von Stephen Rice © 2010
Deutsch: Viola Scheffel

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