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Track(s) taken from CDA67479

Ave Maria a 4

composer
of questionable authenticity; first printed by Pedrell in 1913
author of text
Antiphon for the Blessed Virgin Mary

Westminster Cathedral Choir, Martin Baker (conductor), Robert Quinney (organ)
Recording details: February 2004
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: October 2004
Total duration: 2 minutes 8 seconds
 
1
Ave Maria a 4  [2'08]

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)
Westminster Cathedral Choir, David Hill (conductor)

Reviews

'The choir of Westminster Cathedral has long been noted for its distinctive Continental-style tone, which gives its performances of Latin sacred polyphony an attractively distinctive quality. This magnificent recording, which shows off Victoria's mastery of the art of writing music for up to three choirs in the grandest possible manner, suggests that 2004 is a vintage year for them … recordings of Renaissance polyphony rarely come much better than this' (The Daily Telegraph)

'the choir is radiant in its home acoustic, and Martin Baker's well-researched decision to employ an understated organ 'continuo' adds small but telling touches of colour to the texture' (International Record Review)

'It is ideally suited to the full-throated, vibrant singing of the Westminster Cathedral Choir, while Martin Baker's finely controlled direction displays a keen architectural sense … A wonderful disc' (Goldberg)
Almost all Victoria’s surviving works were printed in his lifetime; many of his motets were reprinted as many as six times. Of the few works that survive only in manuscript some were wrongly attributed to him by Pedrell at the beginning of the twentieth century. The four-part Ave Maria, perhaps rightly, continues to be accepted as Victoria’s, though it has to be noted that Pedrell first printed it in 1913 and its source remains obscure.

from notes by Bruno Turner © 1984

Victoria vit presque toutes les œuvres qui nous ont été conservées de lui publiées de son vivant—nombre de ses motets connurent jusqu’à six réimpressions. Parmi les quelques pièces n’ayant survécu qu’en manuscrit, certaines lui furent imputées, à tort, par Pedrell, au début du XXe siècle. L’Ave Maria à quatre parties continue d’ailleurs à lui être attribué, peut-être à raison, même si, notons-le, Pedrell l’imprima pour la première fois en 1913 et que sa source demeure obscure.

extrait des notes rédigées par Bruno Turner © 1984
Français: Hypérion

Fast alle überlieferten Werke Victorias erschienen bereits zu seinen Lebzeiten im Druck und viele seiner Motetten wurden bis zu sechs Mal neu aufgelegt. Von den wenigen Werken, die nur als Manuskript überliefert sind, hat Pedrell am Anfang des 20. Jahrhunderts irrtümlicherweise Victoria einige zugeschrieben. Das vierstimmige Ave Maria wird jedoch vielleicht zu Recht weithin als eine Komposition Victorias akzeptiert, obwohl darauf hingewiesen werden sollte, dass es erstmals im Jahre 1913 von Pedrell gedruckt wurde und dass die Quelle des Werks nach wie vor unbekannt ist.

aus dem Begleittext von Bruno Turner © 1984
Deutsch: Viola Scheffel

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