Please wait...

Hyperion Records

Click cover art to view larger version
Portrait of Adrian Willaert by An unknown artist (18th century)
Museo internazionale e biblioteca della musica di Bologna
Track(s) taken from CDA67749
Recording details: June 2009
Wallfahrtskirche, St Wolfgang bei Weitra, Austria
Produced by Adrian Peacock
Engineered by Markus Wallner
Release date: June 2010
Total duration: 11 minutes 34 seconds

'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)

O iubar, nostrae specimen salutis
composer
6vv; published in Hymnorum musica, Venice, 1542
author of text
Hymn at Vespers of the Holy Shroud

Introduction  EnglishFrançaisDeutsch
O iubar, nostrae specimen salutis was published in Willaert’s Hymnorum musica (Venice, 1542). As the subtitle of this book indicates, the Hymns are arranged in accordance with the church calendar (‘secundum ordinem romanae ecclesiae’). It is thus rather surprising that the collection includes a Hymn for the Holy Shroud. Interestingly, the publication of O iubar took place only a decade after the Shroud had been seriously damaged by a fire in the Sainte Chapelle of Chambéry. After its repair by the Poor Clare nuns, the Shroud was taken to Italy for exhibitions in Turin, Milan and Vercelli. It is possible that Willaert composed the piece for one of those occasions. Although most of the Hymns in the collection are composed alternatim—one stanza being sung in plainsong, the next polyphonically and so on—O iubar is polyphonic throughout. Willaert creates variety by means of the number of voices—from a bicinium (third strophe) to six voices in the final strophe—and the treatment of the pre-existing melody: it can be cited literally in long note values, paraphrased or treated as a canon.

from notes by Katelijne Schiltz © 2010

Show: MP3 FLAC ALAC
   English   Français   Deutsch