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Track(s) taken from CDA67669

Gaudete omnes

1599; re-published in the 1622 Cantiones Sacrae; SSATTB
author of text

The Cardinall's Musick, Andrew Carwood (conductor)
Recording details: February 2008
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: October 2008
Total duration: 3 minutes 31 seconds

Cover artwork: Virgin and child holding a half-eaten pear (detail) (1512) by Albrecht Dürer (1471-1528)
Kunsthistorisches Museum, Vienna / Bridgeman Art Library, London


'A superior festive selection box indeed' (Gramophone)

'The often highly expressive, sometimes quirky, and always well-crafted Magnificats and motets of Hieronymus Prateorius are a fine example of the strength-in-depth of German musical creativity. Andrew Carwood and The Cardinall's Musick ardently relish the interplay of voices in the eight-art scorings … the overall impression is compelling, fresh and immediate' (Choir & Organ)

'Their beautiful singing of such fine music deserves wide circulation' (Early Music Review)

'This superb disc … these are stunning performances, which is of course to be expected from this remarkable vocal ensemble … all are bathed in a richly texutred and highly variegated choral sound … Hieronymus Praetorius is considered by many to be one of the greatest North German composers of the first half of the seventeenth century. This release will surely go some way to convincing the rest of us of the truth of this assertion' (International Record Review)

'Hieronymus Praetorius gains his place in the sun with this outstanding release. The 16th-century organist and composer emerges as a master of vivid choral contrasts and effects' (Classic FM Magazine)

Gaudete omnes is an optimistic motet whose forward momentum is created by a fluent mixture of contrasting compositional styles. Closely woven six-voice imitative polyphony and agile madrigalian voice-exchange is balanced by solid homophonic writing, each section deftly linked to the previous one with the musical affect carefully chosen to suit the meaning of each phrase of the text. Throughout the motet, much of the listener’s attention is focused on the two upper voices which compete with each other during the imitative passages but sit comfortably together during the chordal sections. Praetorius shows such self-confidence in his mode of expression and in the clarity of word-setting that the contrapuntal mastery is easy to miss, not least in the Alleluia where the highest voice delivers an aurally arresting four-note statement which is the motif of the moment heard in inversion and augmentation.

from notes by Jeremy Summerly © 2008

Gaudete omnes est un motet optimiste qui va de l’avant grâce à un fluide mélange de styles contrastants: une polyphonie à six voix en imitation serrée et d’agiles échanges vocaux madrigalesques y sont balancés par une robuste écriture homophone, chaque section étant habilement reliée à la précédente par un effet musical choisi avec soin en fonction du sens de chaque phrase textuelle. Tout au long du motet, l’attention de l’auditeur est essentiellement focalisée sur les deux voix supérieures qui rivalisent entre elles durant les passages imitatifs, mais qui s’asseoient confortablement pendant les sections en accords. Praetorius affiche une telle assurance dans son mode d’expression, dans la clarté de sa mise en musique, que l’on pourrait aisément passer à côté de sa maestria contrapuntique, surtout dans l’Alleluia, où la voix la plus aiguë délivre une énonciation de quatre notes, saisissante sur le plan sonore, qui est le motif du moment entendu en renversement et en augmentation.

extrait des notes rédigées par Jeremy Summerly © 2008
Français: Hypérion

Gaudete omnes ist eine optimistische Motette, deren Elan durch eine fließende Mischung kontrastierender Kompositionsstile kreiert wird. Eng verwebte sechsstimmige imitative Polyphonie und reger madrigalistischer Austausch zwischen den Stimmen wird durch solide homophone Passagen ausbalanciert, und jeder Abschnitt wird geschickt mit dem vorangegangenen verknüpft, wobei der musikalische Effekt jeweils sorgfältig auf die Bedeutung der einzelnen Phrasen des Texts angepasst wird. Die ganze Motette hindurch wird die Aufmerksamkeit des Hörers auf die beiden Oberstimmen konzentriert, die während der imitativen Passagen miteinander konkurrieren, aber in den homophonen Abschnitten harmonisch zusammenarbeiten. Praetorius zeigt in seiner Ausdrucksweise und Klarheit der Wortvertonung solches Selbstbewusstsein, dass die kontrapunktische Meisterschaft, nicht zuletzt im Alleluja, leicht zu übersehen ist, wo die höchste Stimme ein viernotiges Motiv präsentiert, das aufhören lässt und augenblicklich in Umkehrung und Augmentation zu hören ist.

aus dem Begleittext von Jeremy Summerly © 2008
Deutsch: Renate Wendel

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