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Hyperion Records

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Michael by Arild Rosenkrantz (1870-1964)
Courtesy of Peter Nahum at The Leicester Galleries, London / Private Collection, Denmark
Track(s) taken from CDA67832
Recording details: July 2010
Trinity College Chapel, Cambridge, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: July 2011
Total duration: 11 minutes 41 seconds

'In the fourth year of Stephen Layton's directorship the Trinity choir's sense of corporate ease and confidence is such that nothing phases them. The singing is beautifully blended, the parts sensitively balanced, the absence of spurious vibrato a constant pleasure. Typically outstanding Hyperion sound caps this warmly recommendable issue' (BBC Music Magazine)

'Maestro Layton is a master of shading and dynamic control, so there's always a sense of ebb and flow to the glowing harmonies that animate this music' (American Record Guide)

'First, a health warning: it is impossible to do anything else but listen once the opening track of this glorious album begins … here is music making of the highest quality. I don’t have the space to mention all of the choral wonders on this disc but I can say with certainty that it is an album that will repay repeated listening for years to come' (Classic FM Magazine)

Three New Motets 'in memoriam Thomas Tallis'
2005; No 1: 5 September; No 2: 30 August; No 3: 25 June; SATB SATB unaccompanied; composed for the Kansas City Chorale, the Grinnell Singers, Seattle Pro Musica as part of Tallis's 500th birthday celebrations; first performed in Kansas City 19/1/2006
author of text
No 1: Feast of the Circumcision and Octave of the Nativity; No 2: Antiphon at Second Vespers, Corpus Christi; No 3: Responsory at Matins on Holy Saturday

Introduction  EnglishFrançaisDeutsch
Of the three texts chosen by Steven Stucky for his Three New Motets ‘in memoriam Thomas Tallis’, composed in 2005 for the Seattle Pro Musica as part of Tallis’s 500th birthday celebrations, only O sacrum convivium was definitely set by the old Elizabethan master. Alongside the rhythmic urgency of O sacrum convivium, O admirabile commercium and O vos omnes, both predominantly homophonic, are quiet and respectful, much like Tallis’s own shorter four-part motets. For all their adventurous harmonic language they engender a modest yet powerful feeling of homage to their dedicatee.

from notes by Gabriel Crouch © 2011

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