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Track(s) taken from CDGIM033

Si bona suscepimus

composer
author of text
Job 2: 10; 1: 21

The Tallis Scholars, Peter Phillips (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: Unknown
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Philip Hobbs
Release date: September 2000
Total duration: 6 minutes 58 seconds

Cover artwork: The Creation of Adam by Michelangelo Buonarroti (1475-1564)
Vatican Museum
 
1
Si bona suscepimus  [6'58]

Reviews

'Previously unrecorded, Morales's Missa Si bona suscepimus is performed here by The Tallis Scholars with passion, commitment, sensitivity and vigour. In all, this is the best sort of 'historically aware' performance' (International Record Review)
In purely musical terms Philippe Verdelot’s Si bona suscepimus (published in 1526) is an ideal composition to parody, with its transparent melodic lines, clearly delineated sections and austere textures. The formal beauty of it is increased by a hidden repeat in the music, so that, although the phrases run continuously, the words ‘the Lord has given, the Lord has taken away’ are used as a refrain, giving the overall shape of ABCB (this incidentally is Verdelot’s repeat, not Job’s).

from notes by Peter Phillips © 2000

Musicalement parlant, Si bona suscepimus de Philippe Verdelot (publié en 1526), avec ses lignes mélodiques transparentes, ses sections clairement définies et ses textures austères, se prête idéalement à la parodie. Sa beauté formelle est rehaussée par une répétition cachée dans la musique, en sorte que, même si les phrases défilent en continu, les paroles «Le Seigneur a donné, le Seigneur a ôté» sont utilisées comme un refrain, d’où la forme ABCB (soit dit en passant, cette répétition est de Verdelot, non du livre de Job).

extrait des notes rédigées par Peter Phillips © 2000
Français: Gimell

Rein musikalisch ist Verdelots (1526 veröffentlichtes) Werk Si bona suscepimus mit seinen transparenten Melodielinien, klar gegliederten Abschnitten und kargen Strukturen die ideale Vorlage für eine Parodie. Seine formale Schönheit wird durch eine versteckte Wiederholung in der Musik gesteigert, sodass sich die Phrasen zwar kontinuierlich aneinander reihen, jedoch die Worte “der Herr hat’s gegeben, der Herr hat's genommen” als Refrain eingesetzt werden und der Gesamtaufbau die Form A–B–C–B annimmt (es handelt sich übrigens um Verdelots Wiederholung, nicht die von Hiob).

aus dem Begleittext von Peter Phillips © 2000
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Sacred Music in the Renaissance, Vol. 3
Studio Master: GIMBX3034CDs Boxed set (at a special price)Studio Master FLAC & ALAC downloads available
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