Click cover art to view larger version
Track(s) taken from CDA67579

Videns Dominus

composer
5vv
author of text
John 11

Cinquecento
Recording details: June 2006
Dominikanerkirche, Retz, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: February 2007
Total duration: 4 minutes 55 seconds
 
1
Videns Dominus  [4'55]

Reviews

'From this showing, Cinquecento would be well placed to advocate Vaet further. An all-male a cappella ensemble, they sound clear and bright, and articulate the music lucidly' (Gramophone)

'The fine motets recorded here suggest that his [Vaet] skill in achieving the closest possible union between text and music was comparable with that of Lassus. This is especially obvious in the darkly sonorous Videns Dominus, which tells the story of the raising of Lazarus, with its slow sustained evocation of Jesus's grief, and the climactic rising and falling scale figures symbolising the opening of the tomb. Ascendetis post filium provides the basis for an attractive Mass by his colleague Antonius Galli, which also contains many Lassus-like touches, including sudden brief bursts of triple time and the reiteration of quirky little rhythmic figures … Cinquecento's six male voices produce a rich and expressive sound … this is a very promising debut disc' (The Daily Telegraph)

'Continuo lacrimas, Vaet's gracious lament on the death of the composer Clemens non Papa, is a small masterpiece both in technique and emotional resonance … Cinquecento is an all-male vocal ensemble with members drawn from five European countries … the voices are young, lithe, pure in intonation and warm in timbre—in short, ideal for interpreting Renaissance polyphony. Their phrasing is supple, mellifluous and understated, while always alert to the musical rhetoric … no lover of Renaissance polyphony should overlook this outstanding début recording' (International Record Review)

'This revelatory disc, beguilingly sung, includes Galli's exquisite Missa Ascendetis post filium' (Classic FM Magazine)

'Such a collection of rarities would be commendable even if the performances were not so fine. Cinquecento makes this a triumphant debut recording, indicating that we can look forward to more Renaissance polyphony of similar interest. The six male voices, based in Vienna but coming from five countries, display a fine ensemble, doubtless a necessary result of working together without a leader. The Mass by Galli is worth the price of the disc, a fine work of the period and the sort of thing that was just waiting to be revived. Give this disc a hearing and be prepared for a revelation' (Fanfare, USA)

'A jaw-droppingly beautiful collection of a capella choral works by Jacobus Vaet, Antonius Galli, Pieter Maessens and Orlando Lassus performed by the male six-voice ensemble Cinquecento. All were written for the 16th-century Hapsburg court, and they run the gamut from Vaet's sweetly straightforward antiphon 'O quam gloriosum' to Galli's brilliant parody mass on 'Ascendetis post filium'. Cinquecento's sound is creamy and sweet, and the music is exceptionally fine. Highly recommended' (CD Hotlist, USA)

'This is Cinquecento's debut recording, an all-male ensemble which promises to rival the best of their kind in the choral scene. Indeed these are thrilling, exhilarating performances which should go a long way towards establishing this repertoire on a sounder footing. Worth buying, if only for Vaet's masterly motets … [Missa Ascendentis post filium] is a slow and 'deliberate' work. Listen to the mournful 'Kyrie' with some of the qualities of a dream, moving slowly and barely making an impact on the world, on which it yet so totally relies. That, convincingly, is how Cinquecento present it. No fuss, no undue emphasis on its heights and depths. Yet it's all the more impressive for their holding back as they feel their way through the music. Their performance—listen to the Gloria—has a particularly effective mix of majesty, magnificence and intimacy. Pretty much how you would expect and have wanted a contemporary performance to have sounded. This Mass is perhaps the high-point of this disc; the Credo, for instance, is a movement of ethereal beauty, intensely personal and low key but with a conviction—given the parallel dedication and careful drive of Cinquecento—that lends this highly colored work such power and feeling' (Classical.net)

'Pour servir cette 'Musique à la cour de Maximilien II de Bohême', oncle de Charles Quint, le chant de l'ensemble Cinquecento est séduisant. La qualité des tutti, l'accord homogène (et légèrement réverbéré) entre l'agilité des pupitres aigus et l'ampleur des basses font sonner les nombreuses trouvailles harmoniques qui parsèment ces oeuvres méconnues … la chapelle de Maximilien II regroupait surtout des compositeurs flamands de la génération de Nicolas Gombert, c'est-à-dire inspirée par un flux musical continu. Des aspérités harmoniques viennent rehausser des textures denses sous la forme de fausses relations que Cinquecento fait sonner avec beaucoup d'adresse, surtout dans le beau motet de déploration Continuo lacrimas' (Le Monde de la Musique, France)
The story of the raising of Lazarus is told in Vaet’s setting of Videns Dominus, a popular text in the mid-sixteenth century, with parallel settings by Willaert and Clemens, among others. The text is taken from Chapter 11 of St John’s Gospel. Vaet’s motet is unusual in beginning with all five voices entering almost immediately, rather than developing an imitative point as was more usual: in this, as in other respects, Vaet’s affinity with the directly rhetorical style of Orlandus Lassus is apparent. As in Ascendetis post filium, the emotional high point of the piece is reached at the end of its first section, where Jesus weeps before the assembled mourners, and calls forth Lazarus: the latter phrase is set to simultaneous rising and falling scales, giving an aural impression of the opening of the tomb.

from notes by Stephen Rice © 2007

La résurrection de Lazare (chapitre 11 de l’Évangile selon saint Jean) est relatée dans le Videns Dominus, un texte populaire au milieu du XVIe siècle—Willaert et Clemens, entre autres, le mirent aussi en musique. Le motet de Vaet surprend par sa manière de faire entrer les cinq voix presque dès le début, au lieu de développer un point d’imitation: en cet aspect, comme en d’autres, l’affinité du compositeur avec le style absolument rhétorique d’Orlandus Lassus est patente. Comme dans Ascendetis post filium, le summum émotionnel de l’œuvre survient à la fin de la première section, quand Jésus pleure devant la foule en deuil et appelle Lazare: la dernière phrase, mise en musique sur des gammes simultanément ascendantes et descendantes, donne l’impression sonore de l’ouverture du tombeau.

extrait des notes rédigées par Stephen Rice © 2007
Français: Hypérion

Die Geschichte von der Auferweckung des Lazarus aus dem Tode wird in Vaets Vertonung von Videns Dominus erzählt, einem populären Text in der Mitte des 16. Jahrhunderts, der gleichzeitig von Willaert, Clemens und anderen gesetzt wurde. Der Text ist Kapitel 11 aus dem Johannesevangelium entnommen. Vaets Motette ist insofern ungewöhnlich als am Anfang alle Stimmen nahezu gleichzeitig einsetzen statt sich imitativ zu entfalten, wie es eher üblich war: hierin, wie auch in anderer Hinsicht, zeigt sich deutlich Vaets Neigung zu dem direkten, rhetorischen Stil von Orlandus Lassus. Wie in Ascendetis post filium wird auch hier der emotionale Höhepunkt am Ende des ersten Abschnitts erreicht, als Jesus vor den versammelten Trauernden weint und Lazarus weckt: diese Phrase verwendet aufsteigende und fallende Tonleitern gleichzeitig, was beim Hören den Eindruck des sich öffnenden Grabes erweckt.

aus dem Begleittext von Stephen Rice © 2007
Deutsch: Renate Wendel