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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: 6 minutes 32 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)

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

Introduction  EnglishFrançaisDeutsch
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

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