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Track(s) taken from CDA67129

Regina caeli I

author of text
Antiphon to the Blessed Virgin Mary in Paschal Time

The Binchois Consort, Andrew Kirkman (conductor)
Recording details: August 1999
St Andrew's Church, Toddington, Gloucestershire, United Kingdom
Produced by David Skinner
Engineered by Tony Faulkner
Release date: October 2000
Total duration: 6 minutes 17 seconds


'It is difficult to imagine more lucid or elegant performances. In a very short time, The Binchois Consort have established themselves as one of the very finest ensembles in the field' (Gramophone)

'Excellent. It is a perfect example of that all-too-rare marriage of first-rate scholarship and high-quality musicianship' (The Daily Telegraph)

'A very fine disc. Another first-rate disc from Andrew Kirkman: this is a must' (International Record Review)

'Fascinating' (CDReview)
Regina coeli I must count as one of the most limpidly beautiful compositions of the later fifteenth century. Each line has an almost sculptural quality, and each emerges periodically from the texture to articulate a series of carefully-planned and gently-paced climaxes. Even the passage of four-against-three proportion near the beginning of the second part of the motet – a touch of typically Busnoisian rhythmic complexity – does nothing to detract from the overall sense of calm and elegance that wreathes this glorious piece.

from notes by Andrew Kirkman © 2000

Regina coeli I doit être considéré comme l’une des compositions les plus limpidement splendides de la fin du XVe siècle. Chaque ligne, d’une qualité quasi sculpturale, émerge périodiquement de la texture pour articuler une série d’apogées minutieusement conçus, à l’allure douce. Même le passage de proportion quatre-contre-trois, près du début de la seconde partie du motet – une touche de complexité harmonique toute busnoisienne – , ne déprécie en rien le nimbe de calme et d’élégance de cette glorieuse pièce.

extrait des notes rédigées par Andrew Kirkman © 2000
Français: Hypérion

Regina coeli I muß in seiner Klarheit als eine der schönsten Kompositionen des ausgehenden fünfzehnten Jahrhunderts gelten. Jede Melodielinie hat etwas beinahe Plastisches, und jede tritt periodisch aus dem Gefüge hervor, um eine Serie sorgfältig geplanter und bedächtiger Höhepunkte zu artikulieren. Selbst die Passage in der Proportion vier zu drei zu Beginn des zweiten Teils der Motette – ein Anflug typisch Busnois’scher rhythmischer Komplexität – beeinträchtigt nicht das vorherrschende Gefühl von Ruhe und Eleganz, das dieses großartige Werk umweht.

aus dem Begleittext von Andrew Kirkman © 2000
Deutsch: Anne Steeb/Bernd Müller

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