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Track(s) taken from CDA67747

Laudibus in sanctis

2008; composed for and dedicated to Stephen Layton and Trinity College Choir Cambridge
author of text
Psalm 150, paraphrased

Trinity College Choir Cambridge, Stephen Layton (conductor)
Recording details: August 2008
Ely Cathedral, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: February 2010
Total duration: 10 minutes 30 seconds

Cover artwork: About 2500 Tigers (2008) by Charlie Baird (b1955)
Private Collection / Bridgeman Art Library, London


'A fascinating collection of choral works … centring on a Mass setting by Latvian Uģis Prauliņš … probably the single most impressive moment in the work is the end of the Credo, whose increasing waves of spoken affirmation of faith are haloed by bell-like choral roulades … Einfelde's music is altogether more introverted, darker than that of Prauliņš but beautifully crafted and jewel-like … [Angelis suis Dominis and Pater noster by Miškinis] are works of absolutely luminous beauty' (Gramophone)

'The Choir of Trinity College Cambridge enjoys the urgent heartbeat of this music … Missa Rigensis contains many wonders, including a buoyant Gloria which vanishes magically into the long acoustic perspectives of the Lady Chapel, Ely Cathedral, where this disc was most sensitively produced and engineered  … Stephen Layton conducts this music with all the rigour, colour and craft characteristic of his work' (BBC Music Magazine)

'Stephen Layton conducts vital and immaculate performances. These works must be quite taxing and they’re not always as simple or as straightforward as they may sound. The singing is a pure joy from first to last. The recording lends an appropriately reverberant aura to the music. This splendid release perfectly complements Hyperion’s disc devoted to Dubra’s choral music, enthusiastically reviewed here a few months ago (Hail, Queen of Heaven). This disc will appeal strongly to all lovers of imaginative choral music, but others—I am sure—will find much to relish' (MusicWeb International)

'Soaring melodies, folklike tunes, drones with religious gravity, and stylized speech are all encompassed by these works, the biggest among them being Uģis Prauliņš' Missa Rigensis—one of the most original and personal settings of the Mass text imaginable. Best of all, this is a disc to live with: There's much to enjoy on first hearing, but all the pieces have dramatic new revelations on subsequent encounters' (The Philadelphia Inquirer, USA)
Exultation of a flamboyant kind is the subject of Laudibus in sanctis. Specially written for and dedicated to Stephen Layton, it is an example of Ugis Praulinš’s undoctrinaire approach to composition, where ‘everything is possible and nothing is absolute’, an open-hearted attitude Praulinš attributes to his background in rock music. Also from rock music, surely, comes the insistent rhythmic drive of much of the music, while the filigree ornamentation is decidedly Baroque. Baroque, too, is the cast of this extended setting of Psalm 150 as a multi-sectional cantata, as are the sustained antiphonal writing and the solo/tutti exchanges. Yet for all its eclecticism of reference the piece has a compelling unity of purpose which reflects the unceasing joyfulness of the words. The sturdy opening pages are an exhaustive and exhilarating exploration of A minor; throughout the piece the chords are frequently of massive density, yet are never opaque, and for the final exhortation (‘Let everything in the world that feeds upon the air of heaven’) the composer summons up music of dazzling brilliance and abandon.

from notes by Gabriel Jackson © 2010

Une exultation d’un genre flamboyant est le sujet de Laudibus in sanctis. Dédié à Stephen Layton, c’est un exemple de l’approche peu doctrinaire de la composition qu’a Ugis Praulinš, où «tout est possible et rien n’est absolu», une attitude chaleureuse que Praulinš attribue à sa formation dans le domaine de la musique rock. L’élan rythmique insistant d’une grande partie de cette musique vient sans doute aussi de la musique rock, alors que l’ornementation en filigrane est nettement baroque. Baroque aussi le moule de cette longue mise en musique du Psaume 150 sous forme de cantate en plusieurs sections, de même que l’écriture antiphonale soutenue et les dialogues solo/tutti. Pourtant, malgré tout son éclectisme de référence, cette pièce possède une fascinante unité d’objectif qui reflète l’allégresse ininterrompue des paroles. Les solides premières pages sont une exploration exhaustive et grisante de la tonalité de la mineur; d’un bout à l’autre de l’œuvre, les accords ont souvent une grande densité (sans être jamais opaques) et pour l’exhortation finale «Que tout ce qui respire loue le Seigneur», le compositeur fait appel à une musique d’un éclat et d’un abandon éblouissants.

extrait des notes rédigées par Gabriel Jackson © 2010
Français: Marie-Stella Pâris

Laudibus in sanctis ist Stephen Layton gewidmet und ist ein Beispiel für Ugis Praulinš’ undoktrinären Kompositionsansatz, wo „alles möglich und nichts absolut“ ist—eine aufgeschlossende Einstellung, die Praulinš seinem Hintergrund in der Rockmusik zuschreibt. Ebenfalls von der Rockmusik stammt sicherlich der starke rhythmische Antrieb, der in vielen seiner Werke spürbar ist, während die filigranen Verzierungen deutlich barock sind. Barock ist ebenfalls diese ausgedehnte Vertonung von Psalm 150 als mehrteilige Kantate sowie der antiphonische Stil mit den Solo-Tutti-Dialogen. Doch trotz aller Eklektik verleiht die Zielsetzung des Stücks ihm eine Einheitlichkeit, was sich in der unaufhörlichen Freudigkeit des Texts widerspiegelt. Der robuste Anfang ist ein gründliches und anregendes Erforschen der Tonart a-Moll; die Akkorde in dem Stück sind häufig von einer enormen Dichte (jedoch nie undurchsichtig) und bei der allerletzten Ermunterung „Alles, was Odem hat, lobe den Herrn“ bietet der Komponist eine Musik schillernder Brillanz und einer gewissen Selbstvergessenheit auf.

aus dem Begleittext von Gabriel Jackson © 2010
Deutsch: Viola Scheffel

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