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Track(s) taken from CDA67928

Christ rising

composer
editor
reconstruction of lower bass part
author of text
Romans 6: 9-11; 1 Corinthians 15: 20-22 (texts appointed to be sung on Easter Day in Edward VI's second Prayer Book, 1552

Westminster Abbey Choir, James O'Donnell (conductor)
Recording details: June 2011
All Hallows, Gospel Oak, London, United Kingdom
Produced by Jeremy Summerly
Engineered by David Hinitt
Release date: May 2012
Total duration: 3 minutes 40 seconds

Cover artwork: Orb of the world in Christ’s hand (detail from the Westminster Retable).
Copyright © Dean and Chapter of Westminster
 
1
Christ rising  [3'40]

Reviews

'For a true celebration of the English high-treble phenomenon one need look no further than this. The amplitude of the basses makes a most wonderful balancing effect with the brightness of the boys and there are great surges of sound that almost lift you out of your seat. Just as you think they've given their all, a super-charged wave of glory takes it all to the next level. Their quiet singing is heavenly, too, and both ends of the dynamic spectrum are sublimely devotional' (Choir & Organ)

'The Gloria of Tye's magnificent Missa Euge bone brings you up short with some startlingly grumpy gestures and intriguing harmonic shifts, but the dark clouds never last long—the closing section of his glorious motet Peccavimus cum patribus nostris, for instance, resolves in an explosion of dazzling polyphony. Westminster Abbey Choir are on brilliant form here, trebles crisp and alert and lay vicars forthright and muscular' (The Observer)

'Immediately one is introduced to Tye's extraordinary sound-world of unusual cadences and rigorous alternation of high and low voices to achieve impressive effects. All of these are carefully allowed to speak for themeselves thanks to the judicious direction of Westminster Abbey's Organist and Master of the Choristers, James O'Donnell' (International Record Review)
Christ rising is a six-voice setting of the Easter Anthems. The text belongs to the 1552 Book of Common Prayer, where it was ritually substituted for the Venite during Matins on Easter Day. The lowest partbook of the only (early seventeenth-century) source of this piece has been lost and requires reconstruction (here by John Langdon in 1970). The harmonic language is bold and frequently dissonant. The English cadence at the words ‘of the dead’ is one of the more gentle of the piece’s many dissonances. The augmented chord and subsequent simultaneous false relation used to paint the words ‘For seeing that by man came death’ might, on their own, be found expressive and tolerable, but the other fourteen instances of the simultaneous false relation (and three other non-simultaneous ones) make this piece acoustically disturbing (most notably so at the words ‘For as by Adam all men do die’). Each occurrence of the false relation is justifiable in terms of micro word-painting, and the brilliantly conceived contrasting consonant ending does justice to the words ‘restored to life’, but the overall effect is brash in the extreme. Perhaps it was this aspect of Tye’s stylistic dogma that so agitated Elizabeth I: ‘Sometimes playing on the organ in the chapel of Queen Elizabeth, which contained much music, but little delight to the ear, she would send the verger to tell him he played out of tune; whereupon he sent word that her ears were out of tune.’

from notes by Jeremy Summerly © 2012

Christ rising est une mise en musique à six voix de l’anthem pascal. Ce texte fait partie du Book of Common Prayer de 1552, où le rituel le substitua au Venite pendant les matines du jour de Pâques. La partie la plus grave étant manquante dans la seule source qui nous reste (datant du début du XVIIe siècle), nous avons opté pour la reconstitution opérée par John Langdon en 1970. Le langage harmonique est audacieux et souvent dissonant. La cadence anglaise aux mots «of the dead» est une des nombreuses dissonances douces de cette pièce. Pris tout seuls, l’accord augmenté et la fausse relation simultanée suivante, utilisés pour peindre les mots «For seeing that by man came death», pourraient sembler expressifs et tolérables, mais les quatorze autres exemples de fausse relation simultanée (plus trois autres encore, non simultanées) confèrent à cette œuvre une acoustique perturbante (surtout aux mots «For as by Adam all men do die»). Chacune de ces fausses relations peut se justifier en termes de micro-figuralisme et la conclusion consonante contrastive, brillamment conçue, rend justice aux mots «restored to life» mais l’effet global est impertinent à l’extrême. Ce fut peut-être cet aspect du dogme stylistique de Tye qui agita tant Élisabeth Ire: «Parfois, alors qu’il jouait sur l’orgue de la chapelle de la reine Élisabeth, qui abritait beaucoup de musique, mais sans grand plaisir pour l’oreille, elle envoyait le bedeau lui dire qu’il jouait faux; sur quoi il lui faisait savoir que c’étaient ses oreilles qui étaient désaccordées.»

extrait des notes rédigées par Jeremy Summerly © 2012
Français: Hypérion

Christ rising ist eine sechsstimmige Vertonung eines Anthems zur Osterzeit. Der Text stammt aus dem Book of Common Prayer von 1552, wo er dem Ritus gemäß während der Morgenandacht am Ostersonntag an die Stelle des Venite gestellt wurde. Das tiefste Stimmbuch der einzigen Quelle dieses Stücks (die aus dem 17. Jahrhundert stammt) ist verschollen und muss rekonstruiert werden (hier liegt die Version von John Langdon von 1970 vor). Der harmonische Ausdruck ist kühn und oft dissonant. Die englische Kadenz bei den Worten „of the dead“ [der Toten] ist ein eher mildes Beispiel der vielen Dissonanzen des Stücks. Der übermäßige Akkord und darauffolgende simultane Querstand, mit dem die Worte „For seeing that by man came death“ [Denn da durch einen Menschen der Tod gekommen ist] musikalisch dargestellt werden, könnte, für sich allein genommen, als expressiv und erträglich betrachtet werden, doch lassen die weiteren 14 simultanen Querstände (sowie die drei nicht-simultanen Beispiele dieses Stilmittels) das Stück akustisch verstörend erscheinen (besonders bei den Worten „For as by Adam all men do die“ [Denn wie sie in Adam alle sterben]). Die einzelnen Querstände lassen sich alle jeweils in Hinsicht auf die Mikro-Tonmalerei rechtfertigen, und das brillant konstruierte kontrastierend-konsonante Ende wird den Worten „restored to life“ [lebendig gemacht werden] gerecht, doch ist der Gesamteffekt geradezu penetrant. Vielleicht war es dieser Aspekt des Tye’schen stilistischen Dogmas, der Elisabeth I. so erregte: „Es passierte manchmal, dass er die Orgel in der Kapelle der Königin Elisabeth spielte und zwar viel Musik machte, das Ohr allerdings nur wenig erfreute. Dann schickte sie ihm einen Kirchendiener, um ihm ausrichten zu lassen, dass er schräg spiele, woraufhin er zur Antwort schickte, dass ihre Ohren schräg seien.“

aus dem Begleittext von Jeremy Summerly © 2012
Deutsch: Viola Scheffel

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