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Track(s) taken from CDA67854

Magnificat sexti toni

composer
5vv; published in Venice in 1593
author of text
Luke 1: 46b-55

Cinquecento
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: April 2010
Kloster Pernegg, Waldviertel, Austria
Produced by Adrian Peacock
Engineered by Markus Wallner
Release date: May 2011
Total duration: 6 minutes 32 seconds

Cover artwork: Vertumnus by Giuseppe Arcimboldo (1527-1593)
 
1
Magnificat sexti toni  [6'32]

Reviews

'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)
Schoendorff’s Magnificat sexti toni for five voices comes from a collection of nine settings of that text published in Venice in 1593 by one of his colleagues, the Carmelite friar, tenor and court chaplain Vincenzo Nerito, who dedicated it to Chimarrhaeus. This publication was so successful that it was reissued seven years later by a Nuremberg printer. The Magnificat is sung at Sunday and Festal Vespers. As one of the innovations of the Counter-Reformation, a new Marian feast had been extended to the Church Universal in 1585: the Presentation of the Virgin (21 November). Complying with a wish already expressed a generation previously by the Council of Trent, the setting of the canticle from Luke’s Gospel alternates plainchant with polyphony while respecting the clarity of the Latin prosody, thus guaranteeing the intelligibility of the text (‘et divites dimisit’). However, as the eminent instrumentalist he was, the composer also displays his taste for ornamentation and coloratura (‘ad patres nostros’, ‘in brachio suo’).

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

Le Magnificat sexti toni à cinq voix de Schoendorff fait partie d’un recueil de neuf Magnificat publié à Venise en 1593 par un collègue, le carmélite, ténor et chapelain de la cour Vincent Nerito qui le dédie à J. Chimarrhaeus. Cette édition connut un tel succès qu’elle fut reprise sept ans plus tard par un imprimeur de Nuremberg. Le Magnificat est chanté aux vêpres dominicales et festives. Dans le cadre de la Contre-Réforme catholique une nouvelle fête mariale avait été élargie à l’Eglise universelle en 1585: la présentation de la Vierge (21 novembre). Comme souhaité déjà une génération plus tôt par le concile de Trente, ce chant biblique emprunté à l’évangile de Luc alterne les répons en plain-chant avec la polyphonie tout en respectant clairement la prosodie latine et garantissant ainsi la bonne intelligibilité du texte («et divites dimisit»). Cependant, en éminent instrumentiste qu’il est, le compositeur exprime aussi son goût de l’ornementation et de la vocalise («ad patres nostros», «in brachio suo»).

extrait des notes rédigées par Bénédicte Even-Lassmann © 2011

Schoendorffs Magnificat sexti toni für fünf Stimmen stammt aus einer Sammlung mit neun Vertonungen dieses Texts, die 1593 in Venedig von einem seiner Kollegen, dem Karmelitermönch, Tenor und Hofprediger Vincenzo Nerito herausgegeben worden war, die er Chimarrhaeus widmete. Diese Publikation war derart erfolgreich, dass sie sieben Jahre später von einem Nürnberger Drucker noch einmal aufgelegt wurde. Das Magnificat wird zur Vesper an Sonn- und Feiertagen gesungen. Im Zuge der Gegenreformation führte die katholische Kirche 1585 einen neuen Marienfesttag ein: Unsere liebe Frau in Jerusalem (21. November). In der Vertonung des Canticums aus dem Lukasevangelium werden Cantus-planus-Responsorien mit Polyphonie alterniert, wobei die Deutlichkeit der lateinischen Prosodie beachtet und damit die Textverständlichkeit („et divites dimisit“) gewährleistet wird, was bereits eine Generation vorher beim Tridentiner Konzil verlangt worden war. Als bedeutender Instrumentalist jedoch zeigt der Komponist hier auch seine Vorliebe für Ornamentation und Koloratur (bei „ad patres nostros“ und „in brachio suo“).

aus dem Begleittext von Bénédicte Even-Lassmann © 2011
Deutsch: Viola Scheffel

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