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Track(s) taken from CDGIM029

Ave Regina caelorum

composer
author of text
Antiphon to the Blessed Virgin Mary, from the Feast of the Purification until the Wednesday in Holy Week

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: 5 minutes 56 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
Ave Regina caelorum  [5'56]

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)
Ave Regina caelorum follows a genre typical of the middle Renaissance period and found in the work of, for example, Mouton and Willaert. This involves a free four-part texture, often scored for SATB, into the middle of which is inserted a three-voice canon. The canonic parts have relatively long notes and only sing periodically; and in this case all three maintain their own pitch levels (the root, fourth and fifth degrees) which gives the result a certain academic fascination. However, it is in the sonorities to which all these elements contribute that the expressive power of the piece lies.

from notes by Peter Phillips © 1994

Ave Regina caelorum adopte un genre typique du milieu de la Renaissance que l’on trouve par exemple chez Mouton et Willaert. Cela implique une texture libre pour quatre voix, souvent écrite pour cantus, altus, tenor et bassus, au milieu de laquelle est inclus un canon à trois voix. Les parties en canon comportent des notes relativement longues et ne sont chantées que périodiquement. Dans ce cas, les trois voix conservent leur propre hauteur de ton (fondamentale, quatrième et cinquième degrés), ce qui a pour effet une certaine fascination académique. C’est cependant dans les sonorités auxquelles contribuent tous ces élements que réside la puissance d’expression de l’oeuvre.

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

Ave Regina caelorum folgt einem Formschema, wie es typisch für die mittlere Periode der Renaissance ist und etwa auch bei Mouton und Willaert zu finden ist. In die Vierstimmigkeit, wobei oft der Stimmverband SATB Verwendung findet, wird ein dreistimmiger Kanon eingebunden. Die daran beteiligten Stimmen erklingen in verhältnismäßig langen Notenwerten und treten nur abschnittweise auf. In diesem Stück beharren die Melodien auf ihren Stufen (Grundton, vierte und fünfte Stufe); auch dieser eher akademischen Komponente ist durchaus eine gewisse Wirkung zuzu­schreiben. Jedoch liegt der Grund für die Ausdrucksstärke des Stückes in der Klangfülle, zu der all diese Elemente beitragen.

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

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