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Track(s) taken from CKD417

Lamentations a 5

author of text
Lamentations 1: 8-13

Magnificat, Philip Cave (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: January 2012
St George's Church, Chesterton, Cambridge, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: November 2012
Total duration: 22 minutes 48 seconds

Cover artwork: Second woodcut of the 1550 Rosarium philosophorum.

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)


'Sonic splendour abounds in the Magnificat choir's performance of this repertory. Byrd's eight-part Quomodo cantabimus unfurls majestically, ravishing the ear. In White's enormous five-part Lamentations, the choir lingers at just the right places. The subtle hues of the choir, an elite corps from Winchester and Westminster cathedrals, are particularly impressive in Byrd's Lamentation, a piece in which voicing gives the music its momentum' (BBC Music Magazine)» More

'The sober packaging of this disc gives little indication of the pleasure within. Pass it over at your peril. The small vocal group Magnificat, and its founder/director Philip Cave, explore Latin music from Tudor England mainly from the 1560s and 70s by Parsons, White and Byrd found in the Dow collection of manuscripts in the library of Christ Church, Oxford. An excellent booklet essay guides us through the changing fortunes of Latin texts in newly Protestant England, as well as questions of performance practice and pitch. But the long lines of intertwining and unfolding polyphony, performed with warmth and purity, is the reason to buy this inspirational CD' (The Observer)

'Compiled by the singer/musicologist Sally Dunkley and conducted by tenor Philip Cave, Magnificat's latest disc traces the survival of the Latin motet in the 1560s and 1570s. Byrd, Parsons and White were contemporaries, and the influence of Thomas Tallis, Byrd's teacher, can be felt in the purity of each composer's word-setting. From the aching lines of White's Lamentations to the deep groan of Byrd's Domine, the blend is beautifully relaxed and natural' (The Independent)

'What a way to open a CD! The spare beauty of Byrd's hymn Christe qui lux es et dies is quite devastating: no fancy part-writing, just simple block chords in which the hymn tune, sung in its unembellished form at the beginning and end weaves through the harmony leaving the other parts forlorn and angular. Performed with measured solemnity, this epitomises Philip Cave's style … Magnificat's recorded sound is spacious and rich, underpinned by a strong bass department, but with all the parts clear and some marvellous chording and part-crossing; false relations are met with discretion, and the phrasing is heart-rending … very highly recommended' (Early Music Review)» More
The five-part Lamentations (two separate laments customarily sung together) are consummate pieces of vocal architecture, the emotion carefully channelled in both halves towards the concluding phrase ‘Ierusalem, Ierusalem, convertere ad Dominum Deum tuum’. The power of White’s setting of these famous words has been apparent to those who have heard it almost since the day it was written: the scribe of the unique source of the work added (in Latin) at the end of his transcription: ‘Not even the words of the gloomy prophet sound so sad as the sad music of my composer.’

from notes by Peter Phillips © 1995

Les Lamentations à cinq voix (deux morceaux différents chantés d’ordinaire ensemble) font preuve d’un art consommé de l’architecture vocale, l’émotion étant soigneusement canalisée dans les deux moitiés vers la phrase finale «Ierusalem, Ierusalem, convertere ad Dominum Deum tuum». La puissance de la mise en musique par White de ces mots célèbres est apparue pratiquement dès son origine à ceux qui l’ont entendue; le scribe de la seule source de l’oeuvre ajouta (en latin) à la fin de sa transcription: «Même les mots du sombre prophète ne résonnent pas de la même tristesse que la triste musique de mon compositeur.»

extrait des notes rédigées par Peter Phillips © 1995
Français: Myrna F Denis/Gimell

Die fünfstimmigen Lamentationen (jeweils zwei werden üblicherweise zusammenhängend aufgeführt) sind vollendete Beispiele kompositorischer Dramaturgie innerhalb der Vokalmusik, wobei die emotionelle Bewegung in beiden Teilen mit Bedacht auf die Schlußphrase gelenkt wird: “Ierusalem, Ierusalem, convertere ad Dominum Deum tuum”. Den außerordentlich tiefen Eindruck, den die Vertonung dieser berühmten Worte durch White von Anfang an hinterließ, beweist der lateinische Kommentar, mit dem der Kopist der einzig überlieferten Quelle seine Abschrift versah: “Nicht einmal die Worte des düsteren Propheten haben eine so ergreifende Wirkung wie die traurige Musik meines Komponisten.”

aus dem Begleittext von Peter Phillips © 1995
Deutsch: Gerd Hüttenhofer

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