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Track(s) taken from CDA67749

Concordes adhibete animos

composer
5vv; in mortem Adriani Willaert
author of text

Cinquecento
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
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 6 seconds

Cover artwork: Portrait of Adrian Willaert by An unknown artist (18th century)
Museo internazionale e biblioteca della musica di Bologna
 
1
Concordes adhibete animos  [3'06]

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)
When Willaert died in December 1562, he had served the Venetian basilica di San Marco for 35 years. During this time, the institution had gained a strong international reputation. It is therefore not surprising that Willaert’s death was lamented by no fewer than five composers: Giovanni Battista Conforti and Lorenzo Benvenuti each composed a madrigal, whereas Andrea Gabrieli and Willaert’s nephew Alvise lamented his death with a greghesca (a curious genre, the text of which is based on a mixture of Venetian dialect with Greek words). With his five-voice motet Concordes adhibete animos, Cipriano de Rore—Willaert’s fellow countryman and successor at Saint Mark’s—left a particular musical monument.

Although Rore’s motet carries the heading ‘in mortem Adriani Willaert’, nowhere in its text is grief for the loss of the deceased composer mentioned. The spirited exclamation ‘Vive Adriane decus Musarum, vive Adriane’ that stretches the length of the composition as a soggetto ostinato seems equally at odds with the stated occasion in the composition’s heading. Above all, the piece ends with a ‘joyful’ passage in tempus perfectum, which praises Willaert’s native region: ‘Felix quae hunc genuit Flandria in orbe virum’. Concordes adhibete animos should thus be interpreted as a posthumous panegyric rather than a lamento in the strict sense of the word. The style of Rore’s motet clearly suggests that he wished to uphold the memory of Willaert’s achievements and to guarantee the survival of his music.

from notes by Katelijne Schiltz © 2010

Willaert mourut en décembre 1562, après avoir servi pendant trente-cinq ans la basilique vénitienne de Saint-Marc, qui avait fini par acquérir une forte renommée internationale. Guère surprenant, dès lors, que sa mort ait été pleurée par pas moins de cinq compositeurs: Giovanni Battista Conforti et Lorenzo Benvenuti écrivirent chacun un madrgial tandis que son neveu Alvise et Andrea Gabrieli déplorèrent sa perte par une greghesca (un curieux genre, au texte fondé sur un mélange de dialecte vénitien et de mots grecs). Avec son motet à cinq voix Concordes adhibete animos, Cipriano de Rore—compatriote et successeur de Willaert à Saint-Marc—laissa, lui, un singulier monument musical.

Malgré son en-tête «in mortem Adriani Willaert», le texte de ce motet ne dit jamais la douleur éprouvée à la perte du compositeur. L’exclamation enjouée «Vive Adriane decus Musarum, vive Adriane», qui allonge la composition tel un soggetto ostinato, paraît tout aussi peu en phase avec la solennité des circonstances de l’en-tête. Surtout, la pièce s’achève sur un passage joyeux en tempus perfectum, qui loue la région natale de Willaert: «Felix quae hunc genuit Flandria in orbe virum». Concordes adhibete animos tiendrait dont davantage du panégyrique posthume que du lamento au sens strict. Son style suggère que Rore souhaitait entretenir la mémoire de Willaert et garantir la survie de sa musique.

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

Als Willaert im Dezember 1562 starb, hatte er 35 Jahre lang am Markusdom in Venedig gedient. Während seiner Zeit hatte die Institution sich einen beträchtlichen internationalen Ruf errungen. Es ist daher kaum überraschend, dass Willaerts Tod von nicht weniger als fünf Komponisten beklagt wurde: Giovanni Battista Conforti und Lorenzo Benvenuti komponierten je ein Madrigal, während Andrea Gabrieli und Willaerts Neffe Alvise seinen Tod mit einer greghesca (ein kurioses Genre, bei dem der Text auf einer Mischung von venezianischem Dialekt und griechischen Wörtern basiert) beklagten. Mit seiner fünfstimmigen Motette Concordes adhibete animos schuf Cipriano de Rore—ein Landsmann Willaerts und sein Nachfolger am Markusdom—ein besonderes musikalisches Denkmal.

Obwohl Rores Motette die Überschrift „in mortem Adriani Willaert“ trägt, ist nirgendwo im Text die Rede von der Trauer über den Verlust des verstorbenen Komponisten. Der lebhafte Ausruf „Vive Adriane decus Musarum, vive Adriane“, der sich als ostinates Soggetto durch die gesamte Komposition zieht, scheint ebenso wenig mit dem in der Überschrift genannten Anlass übereinzustimmen. Darüber hinaus endet das Stück mit einer „fröhlichen“ Passage im tempus perfectum, in der die Heimat Willaerts gepriesen wird: „Felix quae hunc genuit Flandria in orbe virum“. Concordes adhibete animos sollte deshalb also eher als posthume laudatio denn als lamento im eigentlichen Sinne aufgefasst werden. Der Stil von Rores Motette deutet offenkundig an, dass er das Andenken an Willaerts Errungenschaften aufrechterhalten und das Fortdauern seiner Musik sicherstellen wollte.

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

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