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Track(s) taken from CDGIM029

Infelix ego

composer
author of text
after Psalm 50

The Tallis Scholars, Peter Phillips (conductor)
Recording details: Unknown
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Philip Hobbs
Release date: September 1994
Total duration: 12 minutes 15 seconds

Cover artwork: The Last Judgement by Rogier van der Weyden (1399-1464)
Hôtel-Dieu, Beaune, France / Photograph © Paul M. R. Maeyaert, Etikhove-Maarkedal, Belgium
 
1
Infelix ego  [12'15]

Reviews

'As one would expect with a group so experienced in sixteenth-century repertories, both English and Continental, this performance is characterized by great sensitivity to textual inflexion and to the many moments of that exquisite bonding of words and music that was to lead Monteverdi to credit Rore as one of the early masters of the seconda prattica … nevertheless, in the end it is Peter Phillips's ability to control the overall architecture of the music, as well as its detail, that provides the basis for a reading of such conviction; his direction, combined with The Tallis Scholars's strongly-focused singing and well-balanced ensemble, results in a gripping performance of rare beauty, intelligence and power' (Gramophone)
Throughout Infelix ego, a six-part motet scored for AATTBB, runs a cantus firmus motif of eight notes, one for each of the syllables of ‘Miserere mei, Deus’, which is quoted in the second alto part. As the music progresses the note-lengths of this cantus firmus are halved until, at the very end, all the voices take it up. By such a simple method Rore was able to lead this enormous work to a point of resolution while underlining the mood of insistence inherent in the ‘Miserere’ plea.

from notes by Peter Phillips © 1994

Tout au long de Infelix ego, motet à six voix écrit pour cantus, altus, sextus, tenor, quintus et bassus (ici AATTBB), court un motif de cantus firmus de huit notes, une pour chaque syllabe de ‘Miserere mei, Deus’, qui est cité dans la partie d’altus (ici alto II). Au fil de la musique, la longueur des notes de ce cantus firmus diminue de moitié jusqu’à ce qu’à la fin toutes les voix le reprennent. Cette méthode très simple permit à Rore d’amener cette oeuvre colossale à son point de résolution, tout en soulignant le ton d’insistance propre à la supplication du ‘Miserere’.

extrait des notes rédigées par Peter Phillips © 1994
Français: Meena Wallaby

Durch die sechs­stimmige Motette Infelix ego (AATTBB) zieht sich ein Cantus firmus-Motiv, das im zweiten Alt erklingt und dessen acht Töne den einzelnen Silben der Worte “Miserere mei, Deus” zugeordnet werden. Im Verlauf des Stückes werden die Notenwerte des Cantus firmus halbiert, bis er ganz zum Schluß von allen Stimmen aufgenommen wird. Durch dieses einfache Verfahren sah sich de Rore in der Lage, dieses großartige Werk einer Lösung zuzuführen, während er gleichzeitig die Eindringlichkeit des “Miserere”-Anrufes hervorhebt.

aus dem Begleittext von Peter Phillips © 1994
Deutsch: Gerd Hüttenhofer

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