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Hyperion Records

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The Annunciation with two saints and four prophets (1333) by Simone Martini (1284-1344)
& Lippo Memmi (fl1317-1347). Galleria degli Uffizi, Florence / Giraudon / Bridgeman Art Library, London
Track(s) taken from CDA67938
Recording details: October 2011
Westminster Cathedral, London, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: January 2013
Total duration: 5 minutes 35 seconds

'The choir is on excellent form and the recorded sound seems perfectly to capture a sense of place, of atmosphere' (Gramophone)

'This is an album for those who love the acoustic, the atmosphere and the traditions of the Roman Catholic Cathedral in London … the pacing and cohesion of the Agnus Dei of Paelstrina's Missa Emendemus in Melius is accomplished and moving, and their singing of plainsong with organ second-to-none' (BBC Music Magazine)

'The true musical spirit of the Lenten season … is to be found in the ancient antiphons, psalms and motets which have been part of the liturgical fabric of the season for centuries. This is what we have here, and an intensely beautiful CD it makes too … nobody could remain untouched by the profound beauty and timelessness of this music, and given these unaffected, sensitive and fluent performances from a choir which has been singing Lenten music in a liturgical context for decades, the result is something very special indeed … this is a beautifully devised programme, sung with ineffable perceptiveness by the Westminster choristers and recorded with utterly natural atmosphere by the Hyperion team' (International Record Review)

In spiritu humilitatis
8vv; SATB SATB; Motetti a cinque voci, Venice, 1620
author of text

Introduction  EnglishFrançaisDeutsch
Giovanni Croce was fortunate enough to be associated with St Mark’s, Venice, in its heyday, but unfortunate enough to be overshadowed by his great contemporary Giovanni Gabrieli. Croce steered a safe path through the early years of the emerging Baroque era, and remained conservatively linked to the music of the Venetian old school as represented by Gabrieli’s uncle, Andrea. That said, Croce’s sacred music is never less than carefully assembled, and the directness of its text-setting and formal harmonic coherence make it frequently alluring, most obviously in In spiritu humilitatis by the inspired use of reverentially beautiful accented passing notes at the mention of the Lord’s name (‘Domine Deus’). In spiritu humilitatis is a model of humanistic humility, the two four-part choirs indulging variously in gentle dialogue and empathetic enjoinment.

from notes by Jeremy Summerly © 2013

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