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Track(s) taken from CDA68369

Missa Christ ist erstanden

5vv; based on the Innsbruck 1588 melody
author of text
Ordinary of the Mass

Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: July 2020
Kartause Mauerbach, Vienna, Austria
Produced by Colin Mason
Engineered by Markus Wallner
Release date: October 2021
Total duration: 26 minutes 9 seconds

Cover artwork: Air (c1566) by Giuseppe Arcimboldo (1527-1593)
Private Collection / Photo © Fine Art Images / Bridgeman Images


‘Regular readers will know that I hold Cinquecento in especially high regard so it will come as no surprise if I open by saying that this new album, their third to feature works by Jacob Regnart (c1540/45-1599), maintains their exquisitely high quality of both performance and programme … Cinquecento are clearly in their comfort zone and immediately find a sweet spot for optimal polyphonic momentum that also allows the phrases room to expand. The balance is wonderfully clear’ (Gramophone)

‘The five voices of Cinquecento are as immaculate as ever, their full sound and flawless intonation leaving a hint of almost organ-like harmonic richness at times, and the spaciousness of the recording suits them and the music really well. It’s fourteen years since they last brought us music by this under-appreciated Renaissance composer—after all, if Lassus rated him he was probably pretty good—and this is beautiful music’ (BBC Record Review)

‘They do make such a beautiful sound … the secret is five wonderful musicians and singers (from five different countries—Austria, Belgium, England, Germany and Switzerland) in the right acoustic, and that really works for this music. They place the microphones exactly right so that we can ‘get’ the building, and the singers can feel the support of that, but we can hear all the detail. That’s what I love about these single-voice recordings, in that actually you can hear the detail of all the parts, and you can with Cinquecento’ (BBC Record Review)

‘I doubt that Regnart could have better advocates than Cinquecento, or ever will. To return to my opening words, the claim that they are ideally suited to this music is fully borne out by the performances, and the recording, especially in 24-bit format, and the presentation could hardly be bettered. As usual with Hyperion, the booklet, which comes with the download is an important factor in my recommendation—a few select labels match them in this, but others, contemptuous of those who buy their music, don’t think it important to include the booklet, even for music with unfamiliar texts. Lovers of the music of this period need not hesitate, especially those who have already chosen one or more of Cinqucento’s earlier recordings’ (MusicWeb International)» More

‘As with all of their recordings, Cinquecento Renaissance Vokal sound fabulous in this music. Recorded in a suitably resonant acoustic, the balance is perfect, and the unified sonority and superb intonation and articulation from this vocal quintet gives the impression of something grander than such compact forces might lead you to expect. This release joins their recording of Regnart’s Missa Super Oeniades Nymphae, and should be snapped up without delay’ (MusicWeb International)» More

‘Vocal balance, an essential feature, is Cinquecento’s forte, aided here by a wonderfully clear recording. It took place in a beautiful former Carthusian monastery on the outskirts of Vienna. The venue has an ideal acoustic, spacious and intimate, and it allows for clear diction. Erika Supria Honisch’s excellent booklet essay is accompanied by all the texts’ (MusicWeb International)» More
Each movement opens with the first phrase of the source hymn. Sometimes this ‘motto’ passes from voice to voice in imitation (as in the opening of the Kyrie); at other times it is set in relief, sounding for long durations in one voice while the others move fluidly around it. Beloved by music scholars on the prowl for unifying musical structures, such compositional devices reminded Regnart’s long-ago listeners of Easter’s significance: inviting them to listen carefully for melodies they had sung themselves, but also calling to mind—in familiar terms—the hope offered by Christ’s resurrection.

The simplicity of the source material—a tune rather than a multi-voice composition—means that the relationship between the model and Regnart’s polyphonic re-working is easily heard in each Mass movement. Regnart ingeniously refracts the hymn tune through the texture and across the span of the whole Mass, sometimes fragmenting the melody, sometimes stating it faithfully. There is no mistaking the hymn tune in the Kyrie: heard originally in the tenor, it is reiterated first below then above, so that it saturates the texture. In the more varied texts of the Gloria and Credo, the hymn recedes to the background, as Regnart uses sound to clarify the structure and meaning of specific passages. So, for example, the parallelism of the exuberant expressions of adoration ‘Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.’ (‘We praise you. We bless you. We worship you. We glorify you.’) is reinforced by the sequential movement of the lowest voices in the Gloria. Equally striking is the musical repetition in the ensuing Credo on the lines ‘Deum de Deo, lumen de lumine’ (‘God from God, light from light’).

from notes by Erika Supria Honisch © 2021

Chaque mouvement commence par la première phrase de l’hymne source. Parfois, ce «motto» passe de voix en voix en imitation (comme dans le début du Kyrie); ailleurs, elle est mise en relief, restant longtemps à une voix tandis que les autres lui tournent autour avec fluidité. De tels procédés de composition, appréciés des spécialistes de la musique en quête d’uniformisation des structures musicales, rappelaient à ceux qui écoutaient fidèlement Regnart la signification de Pâques: une invitation à écouter soigneusement les mélodies qu’ils avaient eux-mêmes chantées, mais aussi une évocation—en termes familiers—de l’espoir offert par la résurrection du Christ.

La simplicité du matériel source—un air plutôt qu’une composition à plusieurs voix—permet de percevoir aisément dans chaque mouvement de messe les relations entre le modèle et le remaniement polyphonique de Regnart. Ce dernier réfracte ingénieusement la mélodie des hymnes à travers la texture et dans toute une messe, fragmentant parfois ces mélodies, les exposant parfois fidèlement. Il est impossible de ne pas reconnaître la musique de l’hymne dans le Kyrie: exposé au départ au ténor, il est répété au-dessous puis au-dessus, si bien qu’il sature la texture. Dans les textes plus variés du Gloria et du Credo, l’hymne passe au second plan, lorsque Regnart utilise la musique pour clarifier la structure et la signification de passages spécifiques. Par exemple, le parallélisme des expressions exubérantes d’adoration «Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.» («Nous te louons. Nous te bénissons. Nous t’adorons. Nous te glorifions.») est renforcé par le mouvement séquentiel des voix graves dans le Gloria. La répétition musicale, dans le Credo suivant, sur les versets «Deum de Deo, lumen de lumine» («Dieu, né de Dieu, lumière, née de la lumière») est tout aussi frappante.

extrait des notes rédigées par Erika Supria Honisch © 2021
Français: Marie-Stella Pâris

In beiden Messen beginnt jeder Satz mit der ersten Phrase des Kirchenlieds, welches der Messe zugrunde liegt. Manchmal wird dieses „Motto“ imitativ von Stimme zu Stimme gereicht (wie zu Beginn des Kyrie); zuweilen wird es hervorgehoben, indem es in einer Stimme in langen Noten erklingt, während die anderen Stimmen sich fließend darum herum bewegen. Musikwissenschaftler auf der Suche nach vereinheitlichenden musikalischen Strukturen lieben solche kompositorischen Mittel besonders und Regnarts frühere Hörer wurden an die Bedeutung des Osterfests erinnert: es erklangen Melodien, die sie selbst gesungen hatten, und gleichzeitig wurde—in vertrauten Worten—die Hoffnung, die die Auferstehung Christi bietet, ins Gedächtnis zurückgerufen.

Die Schlichtheit des Ausgangsmaterials—eher eine Melodie als eine mehrstimmige Komposition—bedeutet, dass die Beziehung zwischen der Vorlage und Regnarts polyphoner Neubearbeitung in jedem Messesatz leicht zu hören ist. Regnart arbeitet die Kirchenliedmelodien in genialer Weise in die Struktur der gesamten Messe ein, wobei er die Melodien manchmal fragmentiert, manchmal getreu wiedergibt. Die Kirchenliedmelodie im Kyrie ist unverkennbar: sie erklingt zunächst im Tenor und wird dann zuerst in tieferer, danach in höherer Lage wiederholt, so dass sie die gesamte Textur durchdringt. In den abwechslungsreicheren Texten des Gloria und Credo tritt das Lied in den Hintergrund, da Regnart den Klang dazu verwendet, die Struktur und Bedeutung bestimmter Passagen zu verdeutlichen. So wird zum Beispiel die Parallelität der überschwänglichen Verehrung, „Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.“ („Wir loben dich. Wir preisen dich. Wir beten dich an. Wir verherrlichen dich.“), durch die sequenzielle Bewegung der tiefsten Stimmen im Gloria verstärkt. Ebenso auffällig ist die musikalische Wiederholung in dem sich anschließenden Credo bei den Zeilen „Deum de Deo, lumen de lumine“ („Gott von Gott, Licht vom Lichte“).

aus dem Begleittext von Erika Supria Honisch © 2021
Deutsch: Viola Scheffel

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