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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: 2 minutes 17 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)

Veni Sancte Spiritus
composer
5vv; published in Nuremberg in 1600
author of text
Invocation to the Holy Ghost

Introduction  EnglishFrançaisDeutsch
The five-voice motet Veni Sancte Spiritus, published along with the Te decet hymnus, takes over from plainchant the opening melody in descending thirds of the invocation to the Holy Spirit at Pentecost. The syllabic style sometimes accentuates the prosody (‘et tui amoris’), while runs are used to convey the lightness of the Holy Spirit and the jubilation of the Alleluia. Not only does the head-motif follow a descending curve, but the five voices enter successively from cantus to bassus: this expressive device allows us to ‘hear’ the Holy Spirit descending on the faithful. The spiritual union granted to them despite their diversity of language is twice symbolized by homophony in three voices on the words ‘gentes in unitate fidei congregasti’.

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

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