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Track(s) taken from CDA67579

Conditor alme siderum

composer
5vv / 4vv / 6vv
author of text
Hymn at Vespers in Advent

Cinquecento
Recording details: June 2006
Dominikanerkirche, Retz, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: February 2007
Total duration: 6 minutes 43 seconds
 
1
Conditor alme siderum  [6'43]

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)
Conditor alme siderum, one of the most ancient hymns in the Roman liturgy, is sung at Vespers during Advent. Like the great majority of polyphonic hymn settings in the Renaissance, Vaet’s version sets alternate verses, leaving the odd-numbered verses to be sung to the chant melody. The texture is further varied by altering the number of voices: five in verse 2, four in verse 4 and six in the triple-time verse 6.

from notes by Stephen Rice © 2007

Conditor alme siderum, l’une des plus anciennes hymnes de la liturgie romaine, est chantée aux vêpres, durant l’Avent. Comme presque toutes les hymnes polyphoniques de la Renaissance, la version de Vaet met en musique un verset sur deux, laissant la mélodie du plain-chant aux versets impairs. La texture est, en outre, variée en modifiant le nombre de voix: cinq dans le verset 2, quatre dans le verset 4 et six dans le verset 6, ternaire.

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

Conditor alme siderum, eine der ältesten Hymnen in der römischen Liturgie wird in der Vesper zur Adventszeit gesungen. Wie für die Mehrheit polyphoner Hymnensätze der Renaissance vertont Vaets Fassung alternierende Strophen und lässt die ungeraden Strophen choraliter singen. Das Gewebe wird zusätzlich dadurch bereichert, dass er die Anzahl der Stimmen ändert: fünf für die 2. Strophe, vier für die 4. und sechs in der 6. Strophe im Dreiermetrum.

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

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