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Track(s) taken from CDA67733

Filiae Jerusalem

author of text
Antiphon at Vespers, Common of Martyrs in Paschal Time, adapted to include mention of Maximilian

Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: May 2008
Kloster Pernegg, Waldviertel, Austria
Produced by Stephen Rice
Engineered by Markus Wallner
Release date: March 2009
Total duration: 3 minutes 4 seconds

Cover artwork: Spring by Giuseppe Arcimboldo (1527-1593)
Real Adademia de Bellas Artes de San Fernando, Madrid / Bridgeman Art Library, London


'Stunning … Cinquecento's one-to-a-part approach, with countertenors on the top lines, is ideally suited to this repertory and really works wonders … at telling moments they modulate their delivery to considerable expressive effect … this highly accomplished singing does not draw attention to itself (or at least, not unduly) but focuses attention squarely on the composer. But for his early death, Vaet would have almost certainly emerged as a leading figure of his generation … this deserves to be widely heard' (Gramophone)

'A delicious feast of harmonic tension and inwardly-sensed architecture [Spiritus Domini]. Other gems include the expressive Miserere mei and a brilliant Salve Regina' (BBC Music Magazine)
The short motet Filiae Jerusalem provides a fine example of the conflation of sacred and secular elements in music of this period. Its opening suggests a liturgical text: the first, busy, imitative point represents the throng of Palm Sunday observers jostling to see Jesus enter Jerusalem. However, the ‘martyr’ apparently being celebrated is in fact the emperor Maximilian, ‘with the crown with which the Lord crowned him’: the idea of emperor as martyr may possibly be a reference to Maximilian’s noted sympathy with Protestantism.

from notes by Stephen Rice © 2009

Le court motet Filiae Jerusalem illustre bien la colligation d’éléments sacrés et profanes dans la musique de cette époque. Son ouverture suggère un texte liturgique: le premier motif imitatif, animé, incarne la foule des fidèles qui, le dimanche des Rameaux, se bouscule pour voir Jésus entrer dans Jérusalem. Toutefois, le «martyr» célébré ici est apparemment Maximilien («avec la couronne avec laquelle le Seigneur le couronna»), peut-être par allusion aux affinités connues de cet empereur avec le protestantisme.

extrait des notes rédigées par Stephen Rice © 2009
Français: Hypérion

Die kurze Motette Filiae Jerusalem zeigt auf ähnliche Art und Weise die Verschmelzung geistlicher und weltlicher Elemente in der Musik dieser Zeit auf. Der Anfang scheint auf einen liturgischen Text hinzudeuten: die erste, geschäftige und imitative Passage stellt die Menschenmenge am Palmsonntag dar, die sich versammelt hat, um Jesu’ Einzug in Jerusalem zu sehen. Jedoch ist der „Märtyrer“, der hier anscheinend gefeiert wird, der Kaiser Maximilian „mit der Krone, mit der ihn der Herr gekrönt hat“: das Bild des Kaisers als Märtyrer könnte ein Hinweis auf Maximilians bekannte Sympathien für den Protestantismus sein.

aus dem Begleittext von Stephen Rice © 2009
Deutsch: Viola Scheffel

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