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Track(s) taken from CDA67749

Creator omnium, Deus

composer
6vv; first published in Leuven by Pierre Phalèse in Liber sextus cantionum sacrarum, 1554; 1558 print, Royal Library of Brussels, Fonds Fétis, used here; this is the model for Lassus' motet of the same name
author of text
after II Maccabees 1: 24

Cinquecento
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Recording details: June 2009
Wallfahrtskirche, St Wolfgang bei Weitra, Austria
Produced by Adrian Peacock
Engineered by Markus Wallner
Release date: June 2010
Total duration: 3 minutes 16 seconds

Cover artwork: Portrait of Adrian Willaert by An unknown artist (18th century)
Museo internazionale e biblioteca della musica di Bologna
 
1
Creator omnium, Deus  [3'16]

Reviews

'A dissonant motet on drunkenness and a hymn to the Holy Shroud … are among the treasures here, sung by the accomplished ensemble Cinquecento … a stimulating disc' (The Observer)

'A disc which combines one of the finest vocal ensembles in Europe currently at the height of its power with the richly scored and constantly inventive music of Adrian Willaert promises to be a revelation … the singing throughout is superbly blended, nuanced, tuned and expressive' (Early Music Review)

'A beautifully conceived and immaculately realised sequence, sung with simple directness by the six male voices of Cinquecento' (The Guardian)

'The magnificent Missa Mente tota … a tour de force … the fluidity and flexibilty of Cinquecento's sound means that every melodic line of the work is audible … their placement of chords, too, is absolutely precise, but the precision and suavity never come at the cost of passion—these singers know how to make abstruse polyphony sound genuinely exciting … this is a very fine disc indeed; I suspect that if Willaert could hear it he might think that he'd found his ideal performers' (International Record Review)
Creator omnium, Deus was published in 1554 by the Leuven music printer Pierre Phalèse as part of the Liber sextus cantionum sacrarum. The motet is based on the apocryphal biblical text Maccabees—the passage in question marks the beginning of the prayer of Nehemias (‘Creator of all things, God, dreadful and strong and just and merciful’). Willaert’s six-voice piece contains a canon at the lower fifth between Tenor primus and Tenor secundus, who quote the plainsong melody in long note values, thus clearly distinguishing the canon from the other voices. From ‘Da pacem, Domine’ onwards, the canonic voices use smaller note values and merge rhythmically with the other voices. Willaert’s Creator omnium, Deus was the model for a motet by Orlandus Lassus, which is also for six voices and carries a canon at the lower fifth.

from notes by Katelijne Schiltz © 2010

Le motet Creator omnium, Deus fut publié en 1554 par Pierre Phalèse, imprimeur de musique à Louvain, dans le cadre du Liber sextus cantionum sacrarum. Il s’appuie sur le texte biblique apocryphe des Machabées, précisément sur le passage marquant le début de la prière de Néhémie («Créateur de toute chose, Dieu, redoutable et puissant, juste et miséricordieux»). La pièce à six voix de Willaert renferme un canon à la quinte inférieure entre le Tenor primus et le Tenor secundus, qui citent la mélodie grégorienne en longues—le canon se démarque alors bien des autres voix. À partir de «Da pacem, Domine», les voix canoniques recourent à des valeurs de note plus petites et se fondent rythmiquement aux autres voix. Le Creator omnium, Deus de Willaert servit de modèle à un motet d’Orlandus Lassus également à six voix et porteur d’un canon à la quinte inférieure.

extrait des notes rédigées par Katelijne Schiltz © 2010
Français: Hypérion

Creator omnium, Deus wurde 1554 von dem Leuvener Notendrucker Pierre Phalèse als Teil des Liber sextus cantionum sacrarum herausgegeben. Der Motette liegt das 2. Buch der Makkabäer, ein apokryphes Buch des Alten Testaments, zugrunde, und zwar der Beginn des Gebets des Nehemia („Schöpfer aller Wesen, schrecklicher, starker, gerechter und gnädiger Gott“). In Willaerts sechsstimmigen Stück erklingt ein Unterquintkanon zwischen Tenor primus und Tenor secundus, die die Choralmelodie in langen Notenwerten zitieren und damit den Kanon deutlich von den anderen Stimmen absetzen. Ab „Da pacem, Domine“ verwenden die Kanonstimmen kleinere Notenwerte und verschmelzen so rhythmisch mit den anderen Stimmen. Willaerts Creator omnium, Deus war das Vorbild für eine Motette von Orlandus Lassus, die ebenfalls für sechs Stimmen angelegt ist und in der ein Unterquintkanon vorkommt.

aus dem Begleittext von Katelijne Schiltz © 2010
Deutsch: Viola Scheffel

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