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Track(s) taken from CDGIM047

Ave Maria … virgo serena

author of text

The Tallis Scholars, Peter Phillips (conductor)
Studio Master FLAC & ALAC downloads available
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Recording details: Unknown
Merton College Chapel, Oxford, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Philip Hobbs
Release date: October 2012
Total duration: 9 minutes 33 seconds

Cover artwork: Resting lamb and head of a lamb by Hans Holbein the Younger (c1497-1543)
Kunstmuseum, Basel / AKG-Images, London

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)


'The Apollonian art of the Tallis Scholars seems to have found in Mouton's balanced and masterly counterpoint a language which exactly suits them. As in the past with Palestrina—and perhaps even more with Josquin—their singing thrills; and makes thrilling the rediscovery of a master of masters' (Diapason, France)» More

'The Tallis Scholars and their perfect phrasing have caused a forgotten composer from the Renaissance, Jean Mouton, to be born again' (Classica, France)» More
The ability to move from undemonstrative imitative writing to chords is on display in the last section of the substantial setting of Ave Maria … virgo serena, the chords coming where the name ‘Maria’ is invoked. Mouton underlines the gentleness of this idea by using a slow triple-time for Mary, immediately returning to duple for the remainder of the text.

from notes by Peter Phillips © 2012

Cette aptitude à passer d’une écriture imitative toute en retenue à des accords se fait jour dans la dernière section du substantiel Ave Maria … virgo serena, où les accords surviennent à l’invocation de «Maria». Afin de souligner la douceur de cette idée, Mouton utilise une lente mesure ternaire pour Marie et reprend incontinent le binaire pour le reste du texte.

extrait des notes rédigées par Peter Phillips © 2012
Français: Gimell

Die Fähigkeit, von einem unauf­dring­lichen imitativen Stil zu Akkorden zu wechseln, zeigt sich in dem Schlussteil seiner umfangreichen Vertonung von Ave Maria … virgo serena, in der die Akkorde erklingen, wenn der Name „Maria“ angerufen wird. Mouton unterstreicht die Sanftheit, die sie verkörpert, indem er für Maria einen langsamen Dreiertakt verwendet, sonst allerdings sofort zu einem Zweiertakt zurückkehrt.

aus dem Begleittext von Peter Phillips © 2012
Deutsch: Viola Scheffel

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