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Track(s) taken from CDA67669

Magnificat secundi toni

1602 Cantiones Sacrae; SATB SATB; alternatim
author of text
Luke 1: 46-55

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: 9 minutes 49 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)

The structures of the Magnificats in the second and fourth modes (hypodorian and hypophrygian respectively) are formulaic, yet Praetorius displays an impressive ability to build innovative musical architecture using the strict scaffolding of the period. The even-numbered verses of the canticles are set polyphonically and bichorally in duple time while the odd-numbered verses are sung to the unadorned plainchant of the relevant mode. The polyphonic verses take the notes of the chant as their starting point, and each verse is carried away with a flight of fancy based as much on the speech-rhythm of the words as on their meaning. Both Glorias are set entirely polyphonically, the fourth-tone Magnificat alternating between triple and duple time and the second-tone Magnificat reserving its muscular triple-time section for the closing words ‘et in saecula saeculorum. Amen’.

from notes by Jeremy Summerly © 2008

Les structures des Magnificat publiés en 1602 dans les deuxième et quatrième tons (respectivement hypodorien et hypophrygien) sont à base de formules, mais Praetorius montre une impressionnante capacité à bâtir une architecture musicale novatrice avec le strict échafaudage de l’époque. Les versets pairs des cantiques sont traités en mètre binaire de manière polyphonique et bichorale, les impairs étant, eux, exécutés sur le plain-chant dépouillé du mode adéquat. Les versets polyphoniques prennent pour point de départ les notes du plain-chant et chaque verset est emporté par une envolée imaginative fondée sur le rythme de la parole autant que sur le sens des mots. Les deux Gloria sont entièrement polyphoniques, le Magnificat dans le quatrième ton alternant entre mètre binaire et ternaire, tandis que celui dans le deuxième ton réserve sa vigoureuse section ternaire à l’«et in saecula saeculorum. Amen» conclusif.

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

Ihre Struktur ist jeweils formelhaft, aber Praetorius zeigt ein beeindruckendes Talent für innovative musikalische Architektur innerhalb des strengen Gerüsts der Periode. Die geradzahligen Verse der Lobgesänge sind polyphon und doppelchörig im Zweier-Metrum gesetzt, die ungeradzahligen ungeschmückt choraliter im entsprechenden Kirchenton. Die polyphonen Verse nehmen die Töne des Chorals als Ausgangspunkt, und jeder Vers wird in einem Phantasieflug davongetragen, der genauso auf dem Sprechrhythmus der Worte als auf ihrer Bedeutung basiert. Beide Glorias sind vollständig polyphon vertont; das Magnificat im vierten Ton alterniert zwischen Zweier- und Dreiermetrum, während das im zweiten Ton sein viriles Dreiermetrum für die Schlussworte „et in saecula saeculorum. Amen“ aufhebt.

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

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