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Hyperion Records

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Jesus appears to the disciples together under one roof.
Biblioteca Reale, Turin. Codex de Predis, Italian, 15th century, folio 137r / Bridgeman Art Library, London
Track(s) taken from CDH55449
Recording details: March 2002
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: January 2003
Total duration: 6 minutes 11 seconds

'The renowned choir are on top form as they respond to Palestrina's majesty … highly recommended' (Gramophone)

'This is a thoughtful, carefully analysed performance—Baker and the Westminster choir communicate a clear sense of the structural logic … the singers are excellent … virtually flawless … shut your eyes and you can almost smell the incense. Very warmly recommended' (BBC Music Magazine)

'Purposeful performances by a choir for whom this music is a staple diet, and whose slightly edgy, 'continental' treble sound is ideally suited to it' (The Daily Telegraph)

'Here [Martin Baker] reinforces his reputation and that of the choir in energetic accounts of music by Palestrina celebrating Pentecost' (The Guardian)

'Palestrina's mellifluous counterpoint resonates like whipped cream in the cathedral acoustics, yet the clarity and sensitivity of texture is exemplary … delicious' (The Scotsman)

'These performances are as near peerless as is possible in an imperfect world. An essential addition to any Palestrina collection. Magnificent music, magnificently recorded' (Goldberg)

Dum complerentur
composer
1569; Liber primus motettorum
author of text
First Responsory at Matins on Whit Sunday; after Acts 2: 1-2

Introduction  EnglishFrançaisDeutsch
The celebrated motet Dum complerentur was pub­lished in the Liber primus motettorum, containing works for five to seven voices, printed at Rome in 1569. It is a vivid pictorial evocation of the ‘rushing wind’ of Pentecost, the sudden outpouring of the Holy Spirit described in the Acts of the Apostles. Palestrina uses the repeated ‘Alleluias’ of the text as a cue for a flowing musical figure precisely suggestive of this, and the exultant abundance of musical ideas during the course of the motet—each phrase has its own distinctive musical motive—similarly reflects the Spirit ‘blowing where it listeth’.

from notes by Ivan Moody © 2003

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