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Track(s) taken from CDA67748

Missa Gaudeamus

based on Morales' Iubilate Deo omnis terra, itself based on the chant Gaudeamus omnes; published in 1585 by Dominico Basa, Rome
edition prepared by JOED Music
author of text
Ordinary of the Mass

Westminster Cathedral Lay Clerks, Matthew Martin (conductor)
Recording details: July 2008
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: July 2009
Total duration: 34 minutes 50 seconds

Cover artwork: The Assumption of the Virgin by Jean-François De Troy (1679-1752)
Musée des Beaux-Arts, Rouen, France / Lauros / Giraudon / Bridgeman Art Library, London


‘Westminster Cathedral's 19 Lay Clerks give a beautifully paced rendition of Victoria's rarely performed (and even less often recorded) Missa Gaudeamus … the choral blend is—as might be expected—superb and exquisitely balanced. The countertenors soar to amazing heights without the slightest hint of strain … this benchmark recording is another superb addition to both Hyperion's and Westminster Cathedral's illustrious Victoria discography’ (Gramophone)

‘It makes a compelling whole, sung with rapt purity by the male voices of Westminster Cathedral choir’ (The Guardian)

‘Close-up, full-throated and passionate’ (International Record Review)

‘The men of Westminster Cathedral Choir make a stunning sound … beautifully sung’ (Classic FM Magazine)

‘An elaborate musical mosaic, the appeal of which owes much to the atmospheric depths of the Westminster acoustic, beautifully captured on this recording’ (Financial Times)
Victoria’s Missa Gaudeamus is based on a motet, Iubilate Deo omnis terra, by Morales which was written in 1538 to celebrate the cessation of hostilities between Francis I and Charles V as a result of mediation by the Pope, Paul III, who persuaded them to meet and sign a treaty at Nice. In the motet and the Mass both composers make much use of the opening phrase of the introit Gaudeamus omnes—‘Let us all rejoice’—as a cantus firmus, upon which to build their music. Gaudeamus omnes is a Mass Proper. Mass Propers are older forms of the Mass liturgy which vary according to the date and/or season of the liturgical calendar, and which can be interpolated between movements of the Mass Ordinary, the unvarying movements of the Mass as they were established in a later era.

from notes by Jon Dixon © 2009

La Missa Gaudeamus de Victoria repose sur un motet de Morales, Iubilate Deo omnis terra, écrit en 1538 pour célébrer la fin des hostilités entre François Ier et Charles Quint, grâce à la médiation du pape Paul III, qui les persuada de se rencontrer et de signer un traité à Nice. Dans ce motet et dans la messe, les deux compositeurs font largement appel à la première phrase de l’Introït, Gaudeamus omnes—«Réjouissons-nous»—comme cantus firmus, phrase sur laquelle ils construisent leur musique. Gaudeamus omnes est l’un des éléments du propre de la messe. Les propres de la messe sont d’anciennes formes de la liturgie de la messe qui varient selon la date et/ou la saison du calendrier liturgique; ils peuvent s’insérer entre les parties de l’ordinaire de la messe, qui constituent les éléments fixes de la messe tels qu’ils ont été établis à une époque ultérieure.

extrait des notes rédigées par Jon Dixon © 2009
Français: Marie-Stella Pâris

Victorias Missa Gaudeamus basiert auf der Motette Iubilate Deo omnis terra von Morales, die 1583 zur Feier der Waffenruhe zwischen François I. und Charles V. geschrieben wurde, die durch die Vermittlung von Papst Paul III. erreicht wurde, der die beiden überredet hatte, sich in Nizza zu treffen und einen Vertrag zu unterzeichnen. In der Motette wie in der Messe verwenden die beiden Komponisten vielfach die Anfangsphrase des Introitus Gaudeamus omnes—„Lasst uns frohlocken“—als Cantus firmus, auf dem sie ihre Musik aufbauen. Gaudeamus omnes ist eine Proprium-Messe. Proprium-Messen sind eine ältere Form der Messliturgie, die sich je nach Datum und/oder Jahreszeit des liturgischen Kalenders ändern, und die zwischen die Sätze des Messordinariums, den unveränderlichen Sätzen der Messe, die sich später etablierten, eingeschoben werden können.

aus dem Begleittext von Jon Dixon © 2009
Deutsch: Renate Wendel

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