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Track(s) taken from CDA67696

Incipit oratio Jeremiae prophetae

SATB SATB; Liber secundus mutetarum, sex, septem et octo vocum, Dominico Phinot autore (Lyons: Beringen, 1548). P2019-1548
author of text
Lamentations 5: 1-8

The Brabant Ensemble, Stephen Rice (conductor)
Recording details: August 2008
The Chapel of Harcourt Hill campus, Oxford Brookes University, United Kingdom
Produced by Jeremy Summerly
Engineered by Justin Lowe
Release date: August 2009
Total duration: 11 minutes 38 seconds

Cover artwork: Job mocked by his wife. Georges de la Tour (1593-1652)
Musée départemental des Vosges, Épinal, France / Lauros / Giraudon / Bridgeman Images

Other recordings available for download

El León de Oro, Peter Phillips (conductor)


‘There are many laurels to award in this column, but arguably the biggest, shiniest and bushiest wreath should land on Stephen Rice and his spirited Brabant Ensemble for their outstanding disc of works by Dominique Phinot. What a discovery! Extraordinary music, not least the 'secret chromatic art' exemplified in the motet Pater Peccavi, which deserves the widest hearing thanks to these sinuous, assured performance, captured in an edgy acoustic that enhances the curious architecture of the polyphony’ (Choir & Organ)

‘The Brabant Ensemble's performances of these fascinating works are as polished and assured as we have come to expect, full-throated yet finely modelled and shimmering with lively intelligence. Rice unerringly finds the right pace for each work … and pays full heed to Phinot's expressive use of contrasting textures. Amidst all the drama of the larger works, the ensemble's caressing, translucent rendition of O sacrum convivium is a particular high point. This is a valuable and engrossing premiere for a neglected and somewhat unconventional sixteenth-century master’ (International Record Review)

‘Rice has outdone his achievement of the first five discs with this fascinating and rewarding offering. If you have not discovered the Brabant Ensemble yet, by all means start here’ (Fanfare, USA)

‘If you are to make an investment into a new or unknown composer you need to be able to trust the performers. With The Brabant Ensemble and the musicianship and prowess of Stephen Rice you know that you are in safe hands … awards. They have a gloriously fresh, yet intensely expressive sound, intonation is miraculous and they are aided on each occasion by a superb acoustic and recording’ (MusicWeb International)
When we listen to Phinot’s double-choir motets and Lamentations, it is soon apparent that the composer’s main objective is to create musical structures rather than to respond to a liturgical requirement. By far the largest of these is Incipit oratio Jeremiae prophetae, a multi-sectional as well as polychoral composition. Phinot departs from the standard practice of Renaissance Lamentation settings in not composing music for the Hebrew letters that begin each verse; rather, the four middle sections comprise a continuous narrative of the first eight verses of the book’s fifth chapter. Phinot contrasts an upper-voice section (‘Pupilli facti sumus’) with a lower (‘Cervicibus minabamur’), creating an alternative division of the eight voices to the usual one between two SATB choirs. His control of the sonorous possibilities of eight-part writing is seen most effectively at the beginning of the final narrative section (‘Patres nostri peccaverunt’), where the full choir returns in force after the two reduced-voice sections.

from notes by Roger Jacob & Stephen Rice © 2009

À écouter ses motets à double chœur et ses Lamentations, on comprend vite que Phinot cherchait avant tout non pas tant à satisfaire des exigences liturgiques qu’à forger des structures musicales. La plus vaste de ces œuvres est, et de loin, Incipit oratio Jeremiae prophetae, une composition polychorale à plusieurs sections. Phinot se démarque de la pratique habituelle des Lamentations renaissantes en s’abstenant de mettre en musique les lettres hébraïques ouvrant chaque verset; chez lui, les quatre sections médianes comprennent une narration continue des huit premiers versets du cinquième chapitre du livre. Par son opposition section à voix aiguës («Pupilli facti sumus»)/section à voix graves («Cervicibus minabamur»), il offre une alternative à la traditionnelle division des huit voix entre deux chœurs SATB. Il maîtrisait les possibilités sonores de l’écriture à huit parties, et cela transparaît d’une manière particulièrement impressionnante au début de la dernière section narrative («Patres nostri peccaverunt»), quand le grand chœur revient en force après deux sections à voix réduites.

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

Wenn wir die doppelchörigen Motetten und Klagelieder Phinots hören, so wird es bald deutlich, dass es dem Komponisten in erster Linie darum ging, musikalische Strukturen zu formen, und nicht so sehr darum, den Ansprüchen der Liturgie gerecht zu werden. Bei weitem das umfangreichste dieser Werke ist das Incipit oratio Jeremiae prophetae, eine mehrteilige und auch mehrchörige Komposition. Phinot weicht von der Renaissance-Standardpraxis bei Klageliedervertonungen insofern ab, als dass er für die Buchstaben des hebräischen Alphabets zu Beginn der Verse keine Musik komponiert. Stattdessen bilden die vier Mittelteile eine durchgehende Erzählung der ersten acht Verse des fünften Kapitels des Buches. Phinot stellt eine Passage für Oberstimmen („Pupilli facti sumus“) einer Passage für Unterstimmen („Cervicibus minabamur“) gegenüber und unterteilt damit die acht Stimmen anders als sonst, wenn mit zwei SATB-Chören gearbeitet wird. Seine Kontrolle über die klanglichen Möglichkeiten einer achtstimmigen Struktur wird zu Beginn des letzten Teils der Erzählung deutlich („Patres nostri peccaverunt“), wo der gesamte Chor eindrucksvoll nach den beiden Teilen mit reduzierten Stimmen wiederkehrt.

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

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Amarae morti
Studio Master: CDA68279Studio Master FLAC & ALAC downloads available
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