Hyperion Records

Beata es, Maria
4vv; Motetti libro quarto (Venice: Ottaviano Petrucci, 1505). RISM 1505/2, fols. 9v (Superius), 8r (Altus), 8v (Tenor), 9r (Bassus)
author of text

'Brumel: Missa de beata virgine & motets' (CDA68065)
Brumel: Missa de beata virgine & motets
CDA68065  3 November 2014 Release  
Track 2 on CDA68065 [4'11] 3 November 2014 Release

Beata es, Maria
The motet Beata es, Maria is based on a lauda spirituale, the genre which flourished in Italy from the thirteenth to the sixteenth centuries and which was often sung by members of religious confraternities, outside the formal liturgy. As the musicologist Jennifer Bloxam has noted, Brumel’s setting is also related to two earlier works, by Loyset Compère (c1445–1518) and Jacob Obrecht (1457/8–1505). The latter was published in the same volume as Brumel’s (Motetti libro quarto, 1505) by the earliest printer of polyphony, Ottaviano Petrucci. Both begin with a presentation of the lauda melody in the tenor voice and in triple time, and both proceed to words from the litany ‘O Christe, audi nos’. Brumel is more systematic than Obrecht in returning to the litany text as a form of refrain, though all three composers repeat the text ‘O Christe, audi nos’ to complete the motet. As Bloxam aptly remarks, Brumel’s Beata es, Maria is ‘a consummate synthesis of Franco-Flemish contrapuntal craft with the light, tuneful, rhythmically vivacious, vertically oriented Italian style of the polyphonic lauda’. Particularly effective are the contrasting duets between upper and lower voices.

from notes by Stephen Rice © 2014

Track-specific metadata
Details for CDA68065 track 2
Recording date
31 August 2013
Recording venue
The Church of St Michael and All Angels, Summertown, Oxford, United Kingdom
Recording producer
Antony Pitts
Recording engineer
David Hinitt
Hyperion usage
  1. Brumel: Missa de beata virgine & motets (CDA68065)
    Disc 1 Track 2
    Release date: 3 November 2014
    3 November 2014 Release
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