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Track(s) taken from CDA67887

Missa Amor ecco colei

composer
6vv; SSATTB; published in Orlandi de Lasso … Missae posthumae, Munich, 1610
author of text
Ordinary of the Mass

The Brabant Ensemble, Stephen Rice (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: September 2010
The Chapel of Harcourt Hill campus, Oxford Brookes University, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: August 2011
Total duration: 23 minutes 15 seconds

Cover artwork: Sibyl (c1540) by Francesco Ubertini Verdi Bachiacca (c1494-1557)
Kunsthistorisches Museum, Vienna / Bridgeman Art Library, London
 
1
Kyrie  [3'09]
2
Gloria  [4'22]
3
Credo  [7'08]
4
Sanctus and Benedictus  [4'26]
5
Agnus Dei  [4'10]

Reviews

'The Brabant Ensemble's singers sound thoroughly engaged in their tribute to Lassus, with a rich tone-spectrum allowing for maximum appreciation of his fluid, elegant polyphony' (Choir & Organ)

'They certainly are astonishing in their harmonic daring, moving from C major via G major and B major to C sharp minor in the bat of an eyelid, and are wonderfully captured here by the suavely assured Brabant Ensemble under scholarly Stephen Rice. The prologue and 12 movements that make up Prophetiae Sibyllarum are joined by a Mass, a magnificat and three marvellous motets, including the sumptuous Tristis est anima mea. Listen and be moved' (The Observer)

'The performances throughout are wonderfully persuasive, with nothing arch or affected in the way in which the texts are presented; expressively, music that is as highly wrought as any of its time is made to seem completely natural' (The Guardian)

'In his day, de Lassus was more celebrated than his contemporary Palestrina and even more prolific, although today their relative pre-eminence is reversed. This disc is typically representative of The Brabant Ensemble's intention to record and promulgate somewhat lesser-known music from the first half of the sixteenth century. Devotees of the period will welcome its austere, otherworldly beauty' (MusicWeb International)
Like the great majority of Lassus’s Masses, Missa Amor ecco colei is a so-called ‘parody’ setting: though no model has been firmly established, it resembles a villanelle on this text by Prospero Caetano. About a quarter of Lassus’s Mass output is for six voices, and the SSATTB voice disposition of Missa Amor ecco colei seems to have been a favoured one: doubling the soprano and tenor lines permits contrast between high and low choirs of three voices, which the composer exploits fully. The Mass is particularly notable for the exuberant running motifs in which the soprano voices either alternate, or sing together in thirds. The Benedictus features an unusually long sequence, a device that is used to such an extent that one would think of an earlier composer such as Obrecht rather than the habitually more rhetorical Lassus. Also worthy of note is the emphasis in the Credo on the words ‘unam sanctam catholicam et apostolicam’, the Munich court having remained faithful to the Catholic church at the Reformation.

from notes by Stephen Rice © 2011

Comme la grande majorité des messes de Lassus, la Missa Amor ecco colei est une messe dite «parodie» et, bien qu’aucun modèle n’ait été fermement arrêté, elle ressemble à une villanelle, sur le même texte, de Prospero Caetano. Environ un quart des messes de Lassus sont à six voix et la distribution SSATTB de celle-ci semble avoir été l’une des préférées du compositeur: doubler les lignes de soprano et de ténor permet des constrastes entre les chœurs grave et aigu à trois voix, exploités à fond. Cette messe vaut surtout par les exubérants motifs ininterrompus dans lesquels les voix de soprano alternent ou bien chantent ensemble, en tierces. Le Benedictus affiche une séquence inhabituellement longue, à tel point qu’on songerait presque à un compositeur antérieur (Obrecht, par exemple) plutôt qu’à Lassus, d’ordinaire plus rhétorique. Il vaut aussi de noter l’accent mis, dans le Credo, sur les mots «unam sanctam catholicam apostolicam», rappel du fait que la cour de Munich resta fidèle à l’Église catholique, au moment de la Réforme.

extrait des notes rédigées par Stephen Rice © 2011
Français: Hypérion

Die allermeisten Messvertonungen von Lassus sind sogenannte Parodiemessen—so auch die Missa Amor ecco colei. Obwohl kein Vorbild festgestellt werden konnte, ähnelt das Werk einer Villanelle auf denselben Text von Prospero Caetano. Etwa ein Viertel der Messen von Lassus ist für sechs Stimmen komponiert und die SSATTB-Anlage der Missa Amor ecco colei scheint besonders bevorzugt gewesen zu sein: durch die Verdopplung der Sopran- und der Tenorlinie kann der Komponist die Kontraste zwischen den drei hohen und tiefen Stimmgruppen voll ausnutzen. Die Messe ist aufgrund ihrer überschwänglich eilenden Motive besonders bemerkenswert, die die Sopranstimmen entweder alternierend oder zusammen in Terzen singen. Im Benedictus erklingt eine ungewöhnlich lange Sequenz—ein Stilmittel, das in solcher Weise verwendet wird, wie man es eher mit einem älteren Komponisten wie Obrecht in Verbindung bringen würde, anstelle des gewöhnlich eher rhetorisch gesinnten Lassus. Ebenfalls hervorzuheben ist die Betonung der Worte „unam sanctam catholicam et apostolicam“ im Credo, da der Münchener Hof während der Reformation der katholischen Kirche treu geblieben war.

aus dem Begleittext von Stephen Rice © 2011
Deutsch: Viola Scheffel

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