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Track(s) taken from CDA67836

Congratulamini mihi

author of text
Responsory in Paschal Time, after John 20: 13, 15, 18

The Cardinall's Musick, Andrew Carwood (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2009
Fitzalan Chapel, Arundel Castle, United Kingdom
Produced by Jonathan Freeman-Attwood
Engineered by Martin Haskell & Iestyn Rees
Release date: August 2010
Total duration: 6 minutes 57 seconds

Cover artwork: The Penitent Magdalen by Sir Anthony van Dyck (1599-1641)
Private Collection / © Agnew's, London / Bridgeman Art Library, London


'This latest addition to Guerrero's discography is especially to be welcomed for his fine Mass on a motet by Thomas Crecquillon, in which one hears echoes of the style of Guerrero's near-direct contemporary, Palestrina. Like its model it is a joyful, extrovert piece, to which Andrew Carwood's singers respond with an equal measure of buoyancy and vigour' (Gramophone)

'This Mass, beautifully sung by The Cardinall's Musick, reflects Guerrero's soaring style' (The Independent)

'Since 1989, Andrew Carwood has nurtured the group to its current status as a leading exponent of Renaissance music, retaining the essential quality of individual vocal timbres that contribute to a refined, characterful mix and with a polish that is second to none … this entire disc is captivating in its fluency and expressive power' (The Daily Telegraph)

'This is one of the finest Guerrero discs … Carwood has given us a program of the highest distinction … it is beyond excellent' (Fanfare, USA)
The exuberance and joy of Easter are clear to see in Thomas Crecquillon’s setting of Mary Magdalene’s encounter with the risen Christ Congratulamini mihi. So total is the composer’s sense of joy that even the words ‘et dum flerem’ (‘and while I was weeping’) receive only scant attention—a quick semiquaver figure in one voice part gives the merest suggestion of a tear. The secunda pars is more sombre, as the confused Magdalene attempts to make sense of the empty tomb. Crecquillon uses a common device of Renaissance motet composition and repeats the music from the end of the first section in order to complete the second, and thus the sense of joy is recaptured.

from notes by Andrew Carwood © 2010

L’exubérance et la joie du temps de Pâques sont clairement perceptibles dans le Congratulamini mihi de Thomas Crecquillon, qui met en scène la rencontre de Marie Madeleine avec le Christ ressuscité. Le compositeur a un sentiment de joie si total que même les mots «et dum flerem» («et alors que je pleurais») retiennent à peine son attention—une rapide figure en double croche, dans une partie à une voix, suggère on ne peut plus simplement une larme. La secunda pars est plus sombre: Madeleine, déroutée, tente de donner un sens au tombeau vide. Usant d’un procédé courant dans les motets renaissants, Crecquillon achève la seconde section en répétant la fin de la première, faisant par là même revivre le sentiment de joie.

extrait des notes rédigées par Andrew Carwood © 2010
Français: Hypérion

Die Überschwänglichkeit und Freude werden in Thomas Crecquillons Vertonung von Maria Magdalenas Begegnung mit dem auferstandenen Christus, Congratulamini mihi, deutlich. Die Empfindung der Freude ist für den Komponisten so stark, dass selbst die Worte „et dum flerem“ („und während ich weinte“) kaum Beachtung finden: eine schnelle Sechzehntelfigur in einer Stimme deutet flüchtig eine Träne an. Die secunda pars ist melancholischer angelegt—die verwirrte Maria Magdalena versucht, sich das leere Grab zu erklären. Crecquillon bedient sich eines verbreiteten Stilmittels der Renaissancemotette und wiederholt die Musik vom Ende des ersten Teils um den zweiten Teil abzuschließen und stellt damit die freudvolle Atmosphäre wieder her.

aus dem Begleittext von Andrew Carwood © 2010
Deutsch: Viola Scheffel

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