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Track(s) taken from CDGIM026

Magnificat secundi toni

composer
author of text
Luke 1: 46b-55

The Tallis Scholars, Peter Phillips (conductor)
Recording details: Unknown
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Mike Clements & Mike Hatch
Release date: September 1992
Total duration: 16 minutes 47 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
Magnificat secundi toni  [16'47]

Reviews

'The Tallis Scholars bring to this performance of Brumel's 'Earthquake' Mass … their faultless sixteenth-century technique and their wide experience of renaissance music. In addition, the clean acoustics of the parish church of Salle in Norfolk provide them with ideal sound conditions for tackling music of such complexity. Indeed, the lines are easily distinguished and the overall effect is one of controlled precision and perfection … the inclusion by Phillips of Brumel's two wonderful deep-toned Good Friday Lamentations is greatly to be welcomed and the composer's solemn Mode II Magnificat setting was a brilliant choice with which to round off this fine 'The Tallis Scholars bring to this performance of Brumel's 'Earthquake' Mass … their faultless sixteenth-century technique and their wide experience of renaissance music. In addition, the clean acoustics of the parish church of Salle in Norfolk provide them with ideal sound conditions for tackling music of such complexity. Indeed, the lines are easily distinguished and the overall effect is one of controlled precision and perfection … the inclusion by Phillips of Brumel's two wonderful deep-toned Good Friday Lamentations is greatly to be welcomed and the composer's solemn Mode II Magnificat setting was a brilliant choice with which to round off this fine recording' (Gramophone)
Brumel’s Second Tone Magnificat is a through-composed setting, where most would have alternated chant and polyphony. Its compositional style is surprisingly close to that of the twelve-part Mass, except that the chant is stated mainly in the top part in embellished form. Brumel here again relied on rhythmical sequences, at times almost baroque in their vitality, which give an interesting perspective, in four parts, to the astonishing twelve-part music of the Mass.

from notes by Peter Phillips © 1992

Le Magnificat secundi toni de Brumel est une mise en musique durchkomponiert, là où la plupart des compositeurs auraient fait alterner plain-chant et polyphonie. Son style de composition est curieusement proche de celui de la Messe à douze voix, mis à part le fait que le plain-chant est confié essentiellement à la partie la plus haute sous une forme ornée. Là encore, Brumel s’est appuyé sur des séquences rythmiques, d’une vitalité parfois presque baroque, qui donnent une perspective intéressante, en quatre parties, à l’étonnante musique pour douze voix de la Messe.

extrait des notes rédigées par Peter Phillips © 1992
Français: Meena Wallaby

Brumels Magnificat-Vertonung im 2. Kirchenton ist durchkomponiert, ein ungewöhnliches Verfahren, denn üblicherweise alternieren in dieser Gattung die einzelnen Abschnitte zwischen der Einstimmigkeit des Gregorianischen Chorals und der mehrstimmigen Komposition. Stilistisch sind sich das Magnificat und die zwölfstimmige Messe überraschend ähnlich, mit Ausnahme der Tatsache, daß der gregorianische Cantus firmus im Magnificat in ausgezierter Form meist in der obersten Stimme zu finden ist. Auch hier baute Brumel auf die Wirkung rhythmisierter Sequenzen, die mitunter durch eine geradezu barocke Beweglichkeit auffallen, und läßt so im vierstimmigen Satz die erstaunliche Zwölfstimmigkeit der Messe in anderem Licht erscheinen.

aus dem Begleittext von Peter Phillips © 1992
Deutsch: Gerd Hüttenhofer

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