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Track(s) taken from CDA67836

Missa Congratulamini mihi

composer
Liber primus missarum, 1566; SSAT(B)B; based on Crecquillon's SATBB motet Congratulamini mihi
author of text
Ordinary of the Mass

The Cardinall's Musick, Andrew Carwood (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Studio Master:
Recording details: November 2009
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: August 2010
Total duration: 32 minutes 5 seconds

Cover artwork: The Penitent Magdalen by Sir Anthony van Dyck (1599-1641)
Private Collection / © Agnew's, London / Bridgeman Art Library, London
 
1
Kyrie  [4'15]
2
Gloria  [6'03]
3
Credo  [9'14]
4
Sanctus  [2'53]
5
Benedictus  [3'01]
6
Agnus Dei  [6'39]

Reviews

'This latest addition to Guerrero's discography is especially to be welcomed for his fine Mass on a motet by Thomas Crecquillon, in which one hears echoes of the style of Guerrero's near-direct contemporary, Palestrina. Like its model it is a joyful, extrovert piece, to which Andrew Carwood's singers respond with an equal measure of buoyancy and vigour' (Gramophone)

'This Mass, beautifully sung by The Cardinall's Musick, reflects Guerrero's soaring style' (The Independent)

'Since 1989, Andrew Carwood has nurtured the group to its current status as a leading exponent of Renaissance music, retaining the essential quality of individual vocal timbres that contribute to a refined, characterful mix and with a polish that is second to none … this entire disc is captivating in its fluency and expressive power' (The Daily Telegraph)

'This is one of the finest Guerrero discs … Carwood has given us a program of the highest distinction … it is beyond excellent' (Fanfare, USA)
Guerrero re-works many of Crecquillon’s themes to form his Missa Congratulamini mihi, and this in itself is a tribute to his consummate compositional abilities. Interestingly the only theme Guerrero seems not to use is the motif associated with ‘et dum flerem’. The rollicking Hosanna is a particularly clever movement when he marries two themes—‘Congratulamini mihi’ and ‘vidi Dominum meum’ (‘Rejoice with me’ and ‘I saw my Lord’)—and thus provides in a nutshell the very heart of the matter. To enhance the Easter joy, and unlike Crecquillon, Guerrero chooses not to use two bass parts but writes two treble parts instead. In the final invocation of the Agnus Dei he restores the second bass voice and repeats the marriage of themes already used in the Hosanna but this time with music of exquisite serenity.

The five-part texture is maintained throughout most of the Mass but Guerrero uses a trio in the Gloria and a telling duet followed by another trio in the Credo. Further delights come when Guerrero allows himself the freedom to compose new material (the ‘Et incarnatus est’ in the Credo and the prayerful Benedictus) and briefly moves away from the sunny disposition of the Mass.

from notes by Andrew Carwood © 2010

Pour sa Missa Congratulamini mihi, Guerrero refaçonne maints thèmes de Crecquillon, preuve de son art consommé de la composition. On notera que l’unique thème dont il paraît ne pas se servir est le motif associé aux mots «et dum flerem». Le guilleret Hosanna, particulièrement habile, le voit marier deux thèmes—«Congratulamini mihi» et «Vidi Dominum meum» («Réjouissez-vous avec moi» et «J’ai vu mon Seigneur»)—, offrant d’un coup le cœur même du sujet. Pour rehausser la joie pascale, et contrairement à Crecquillon, il opte pour deux parties non de basse mais de soprano. Dans l’invocation finale de l’Agnus Dei, il restaure la seconde voix de basse et réitère le mariage des thèmes de l’Hosanna, mais cette fois avec une musique exquisément sereine.

Guerrero ne lâche la texture à cinq parties que pour un trio dans le Gloria et un autre, précédé d’un éloquent duo, dans le Credo. On se délecte aussi quand il prend la liberté de composer un matériau neuf (l’«Et incarnatus est» du Credo et le déprécatoire Benedictus) et qu’il délaisse un instant l’humeur radieuse de la messe.

extrait des notes rédigées par Andrew Carwood © 2010
Français: Hypérion

Guerrero verwendet viele Themen von Crecquillon in seiner Bearbeitung des Materials, die die Missa Congratulamini mihi ergibt, was an sich schon ein Beweis seiner ausgezeichneten Kompositionskunst ist. Interessanterweise ist das einzige Thema, das Guerrero offenbar nicht verarbeitet, das Motiv, das bei „et dum flerem“ erscheint. Das ausgelassene Hosanna ist ein besonders raffinierter Satz, wo er zwei Themen miteinander verbindet—„Congratulamini mihi“ und „vidi Dominum meum“ („Freuet euch mit mir“ und „ich sah meinen Herrn“)—und damit in knappster Form das Eigentliche darstellt. Um die Osterfreude noch zu steigern (und damit unterscheidet er sich von Crecquillon), setzt Guerrero anstelle der zwei Bassstimmen zwei Sopranstimmen. In der letzten Anrufung des Agnus Dei stellt er die zweite Bassstimme jedoch wieder her und wiederholt die Kombination der Themen, die bereits im Hosanna vorkam, doch erklingt diesmal eine Musik von exquisiter Klarheit.

Die fünfstimmige Textur wird in der Messe größtenteils beibehalten, doch verwendet Guerrero ein Trio im Gloria und ein vielsagendes Duett, auf das ein weiteres Trio folgt, im Credo. Weitere Hörgenüsse stellen sich ein, wenn Guerrero sich die Freiheit erlaubt, neues Material zu komponieren (das „Et incarnatus est“ im Credo und das andächtige Benedictus) und sich kurzzeitig von der heiteren Grundstimmung der Messe wegbewegt.

aus dem Begleittext von Andrew Carwood © 2010
Deutsch: Viola Scheffel

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