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Track(s) taken from CDA67586

Laudes Regiae

First line:
Christus vincit, Christus regnat, Christus imperat
composer
author of text

Leigh Nixon (tenor), Westminster Abbey Choir, James O'Donnell (conductor)
Recording details: February 2006
Westminster Abbey, London, United Kingdom
Produced by Jeremy Summerly
Engineered by Simon Eadon
Release date: September 2006
Total duration: 4 minutes 8 seconds
 
Matins
1

Reviews

'Anglican music can be heard at its best from Westminster Abbey … a varied programme stylishly performed' (Choir & Organ)

'Early notice is served of how well the Abbey's choristers are currently singing … an admirably varied programme, with excellent Hyperion recording' (BBC Music Magazine)

'Exhilarating performances' (The Daily Telegraph)

'As with the previous releases in this series, the choir (and organist Robert Quinney, who here ends the disc in spectacular fashion with Jeanne Demessieux's Te Deum), under the fluent direction of James O'Donnell, is above reproach' (International Record Review)

'After eight years James O'Donnell has brought a new sound to the choir of Westminster Abbey. The boys show the greater improvement, a firmer, more solid tone, but the men also now sound like the best adult choirs … the acoustics of the Gothic building are superb, and the organ makes magnificent sounds' (Fanfare, USA)

'The range of musical styles is as varied as could be … the standard of singing and recording is fully equal to such demanding music, but it is equally satisfying to hear psalms and familiar canticles, Stanford in C (Morning) and Purcell in G minor (Evening) performed with such loving care. An excellent disc, highly recommended' (Cathedral Music)
The Office of Matins begins with the plainsong Laudes Regiae, or Royal acclamations, sung on great and joyful occasions (such as coronations) since the time of the Emperor Charlemagne (742–814). It is likely that a version of the Laudes Regiae was sung at Edward’s Coronation in Winchester Cathedral. The Laudes were adapted for the context of their use, and the saints invoked specially chosen for the circumstances of the performance. This present-day version is based on the famous medieval English source from Worcester Cathedral. It begins by invoking the intercession of the saints associated with Westminster Abbey (including, of course, St Edward) for the Queen, and then goes on to acclaim Christ as King. With its powerful litany-like momentum and tuneful character it is not hard to see why this has become one of the most celebrated plainsong melodies.

from notes by James O'Donnell © 2006

L’office de Matins s’ouvre sur les Laudes Regiae en plain-chant, acclamations royales chantées lors des grands événements joyeux (tels les couronnements) depuis l’époque de l’empereur Charlemagne (742–814). Probablement en chanta-t-on au couronnement d’Édouard, en la cathédrale de Winchester. Les Laudes étaient adaptées aux circonstances, qui déterminaient notamment le choix des saints invoqués. La présente version, fondée sur la fameuse source médiévale anglaise de la cathédrale de Worcester, invoque d’abord l’intercession des saints associés à l’abbaye de Westminster (dont, bien sûr, saint Édouard) pour la reine, avant d’acclamer le Christ en tant que roi. À entendre son puissant élan en manière de litanie et son caractère mélodieux, on comprend pourquoi cette pièce est devenue l’une des plus célèbres mélodies grégoriennes.

extrait des notes rédigées par James O'Donnell © 2006
Français: Hypérion

Das Offizium der Matutin beginnt mit dem Choral Laudes Regiae (den Königlichen Akklamationen), die seit der Zeit des Kaisers Karls des Großen (742–814) zu bedeutenden oder besonders freudigen Anlässen (wie etwa Krönungen) gesungen werden. Es ist wahrscheinlich, dass eine Version der Laudes Regiae bei Eduards Krönung in der Kathedrale von Winchester gesungen wurde. Die Laudes wurden ihrem jeweiligen Anlass angepasst, und die Heiligen, die angerufen werden, entsprechend den Umständen der Aufführung ausgewählt. Die heutige Fassung basiert auf der berühmten mittelalterlichen Quelle in der Kathedrale von Worcester. Sie beginnt mit den Fürbitten der mit der Westminster Abbey assoziierten Heiligen (darunter natürlich der Hl. Eduard) für die englische Königin und feiert dann Christus als König. Mit seiner kraftvollen Dynamik und seinem melodiösen Charakter lässt sich leicht verstehen, warum dies einer der berühmtesten Choralgesänge ist.

aus dem Begleittext von James O'Donnell © 2006
Deutsch: Renate Wendel

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