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Hyperion Records

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Vertumnus by Giuseppe Arcimboldo (1527-1593)
Track(s) taken from CDA67854
Recording details: April 2010
Kloster Pernegg, Waldviertel, Austria
Produced by Adrian Peacock
Engineered by Markus Wallner
Release date: May 2011
Total duration: 5 minutes 25 seconds

'Cinquecento's famed flexibility, harmonic blend and impeccable balance are caught perfectly in the stillness of the monastery at Pernegg in Austria. This is a disc to savour' (Gramophone)

'The music, a wonderful discovery, is polyphony of the highest quality, and Cinquecento marries smooth ensemble to marvellous interpretational vision. The recorded sound is excellent, doing full justice to their almost instrumental sonorities' (Choir & Organ)

'The voices of Cinquecento produce balanced, tuneful, clear and stylish performances … the quiet tensions of the 'Et incarnatus est' section are beautifully rendered, and the Benedictus is displayed and sustained with perfect poise … the recording deserves credit, too, for lending substance and space to the mere six voices that produce these compelling harmonies' (BBC Music Magazine)

'[Cinquecento] gives resounding interpretations of the pieces … the ensemble's sonorous tone is based principally on a perfect balance between the voices, taut and intelligent pacing and a supremely confident shaping of musical line. The effect of their performances is enhanced as much by the lucid and warmly resonant recorded sound as the euphonious clarity of Schoendorff's writing' (International Record Review)

Usquequo Domine oblivisceris me?
composer
6vv; published in Venice in 1587
author of text
Psalm 12 (13)

Introduction  EnglishFrançaisDeutsch
Philippe de Monte composed motets only in the second part of his career, from 1568 onwards. The two-part motet for six voices Usquequo Domine oblivisceris me?, which Schoendorff chose as the model for his Mass, was published in Venice in 1587. It is a setting of the six verses of Psalm 12 (Vulgate). The use of the Psalms in the Roman Catholic liturgy at this period seems to have been influenced by the Protestant practice of performing them in full. By the late 1580s Philippe de Monte, now a sexagenarian personally affected by the often itinerant life (one need only think of the many imperial diets) and the financial difficulties of the court, was in such bad health and poor spirits that he expressed a desire to resign from the court. In this context, the setting of this Psalm takes on special significance and seems to reflect the Kapellmeister’s state of mind.

from notes by Bénédicte Even-Lassmann © 2011
English: Charles Johnston

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