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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: 8 minutes 53 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)

Veni Creator Spiritus
1589; Gardane collection
author of text

Introduction  EnglishFrançaisDeutsch
Veni Creator Spiritus is a hymn, from the composer’s 1589 collection (published by Angelo Gardano in Venice), alternating chant with polyphony. The reformed Breviary which appeared in 1568 induced a number of illustrious composers to write cycles of hymns, including Lassus, Victoria and Guerrero. Though the hymns—true liturgical gems—are today a barely known part of Palestrina’s output, there is no good reason why this should continue to be so, as the limpid beauty of this setting well shows. It is scored for four voices, except for the doxology, which is set for five.

from notes by Ivan Moody © 2003

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