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Ave Maria … virgo serena

composer
author of text

 
The ability to move from undemonstrative imitative writing to chords is on display in the last section of the substantial setting of Ave Maria … virgo serena, the chords coming where the name ‘Maria’ is invoked. Mouton underlines the gentleness of this idea by using a slow triple-time for Mary, immediately returning to duple for the remainder of the text.

from notes by Peter Phillips © 2012

Cette aptitude à passer d’une écriture imitative toute en retenue à des accords se fait jour dans la dernière section du substantiel Ave Maria … virgo serena, où les accords surviennent à l’invocation de «Maria». Afin de souligner la douceur de cette idée, Mouton utilise une lente mesure ternaire pour Marie et reprend incontinent le binaire pour le reste du texte.

extrait des notes rédigées par Peter Phillips © 2012
Français: Gimell

Die Fähigkeit, von einem unauf­dring­lichen imitativen Stil zu Akkorden zu wechseln, zeigt sich in dem Schlussteil seiner umfangreichen Vertonung von Ave Maria … virgo serena, in der die Akkorde erklingen, wenn der Name „Maria“ angerufen wird. Mouton unterstreicht die Sanftheit, die sie verkörpert, indem er für Maria einen langsamen Dreiertakt verwendet, sonst allerdings sofort zu einem Zweiertakt zurückkehrt.

aus dem Begleittext von Peter Phillips © 2012
Deutsch: Viola Scheffel

Recordings

Mouton: Missa Dictes moy toutes voz pensées
Studio Master: CDGIM047Studio Master FLAC & ALAC downloads available

Details

Track 10 on CDGIM047 [9'33]

Track-specific metadata for CDGIM047 track 10

Artists
ISRC
GB-ADM-12-04710
Duration
9'33
Recording date
Recording venue
Merton College Chapel, Oxford, United Kingdom
Recording producer
Steve C Smith & Peter Phillips
Recording engineer
Philip Hobbs
Hyperion usage
  1. Mouton: Missa Dictes moy toutes voz pensées (CDGIM047)
    Disc 1 Track 10
    Release date: October 2012
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