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Track(s) taken from CDA68369

Rühmbt alle Werck deß Herren

5vv; contrafactum of Regnart's Vorrei saper da voi
author of text

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: 1 minutes 41 seconds

Cover artwork: Air (c1566). 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
Rühmbt alle Werck deß Herren (‘Praise all that the Lord has done’) and Wann ich nur dich hab (‘When I have only you’) help us hear what made Regnart so popular in the first place. Both are re-textings of light Italian love songs he wrote in the 1570s, the new devotional texts furnished by people who recognized how well suited the music was for amateur performance—not overly taxing for schoolboys, or for pious men and women looking for unobjectionable music to sing at home. As the organist and choir director Erasmus Widmann put it—a bit defensively—in the preface to his 1622 edition: ‘Even though the songs are old, they are so lovely and so skilfully composed that they can in no way be improved.’ The wordsmiths who grafted the new texts onto Regnart’s music went beyond merely ensuring that the correct syllables were stressed, additionally retaining expressive moments with sensitivity. The repeated question ‘Warumb?’ (‘Why?’) in Rühmbt alle Werck was originally, in Regnart’s Italian canzonetta Vorrei saper da voi, a tentative ‘per che …’.

from notes by Erika Supria Honisch © 2021

Rühmbt alle Werck deß Herren («Louez toutes les œuvres du Seigneur») et Wann ich nur dich hab («Quand je n’ai que toi») nous permettent de comprendre ce qui, avant toute chose, rendit Regnart si populaire. Les deux sont des réécritures de chansons d’amour légères italiennes qu’il composa dans les années 1570, les nouveaux textes de prière étant dus à des personnes qui étaient conscientes que cette musique convenait bien aux amateurs—pas trop ardue pour des écoliers ou pour des hommes et des femmes pieux cherchant une musique susceptible d’être chantée à la maison. Comme l’exprima l’organiste et chef de chœur Erasmus Widmann—de manière un peu défensive—dans la préface de son édition de 1622: «Même si les chants sont anciens, ils sont si beaux et si habilement composés qu’on ne peut en aucune manière les améliorer.» Les manieurs de mots qui greffèrent les nouveaux textes sur la musique de Regnart ne se contentèrent pas d’assurer l’accentuation des bonnes syllabes, mais conservèrent en outre les moments expressifs avec sensibilité. La question répétée «Warumb?» («Pourquoi?») dans Rühmbt alle Werck était à l’origine, dans la canzonetta italienne de Regnart Vorrei saper da voi, un timide «per che …».

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

In Rühmbt alle Werck deß Herren und Wann ich nur dich hab wird deutlich, weshalb Regnart so beliebt war. Beide sind Neutextierungen leichter italienischer Liebeslieder, die er in den 1570er Jahren schrieb, wobei die neuen frommen Texte von Menschen stammten, die erkannten, wie gut sich die Musik für die Laien eignete. Sie war nicht übermäßig anspruchsvoll für Schuljungen, beziehungsweise fromme Männer und Frauen, die gerne zu Hause unbedenkliche Musik sangen. Der Organist und Chorleiter Erasmus Widmann äußerte sich im Vorwort zu seiner Ausgabe von 1622 ein wenig defensiv dazu: „Ob sie wol alt dannoch sehr schön unnd so künstlich componirt, daß nichts daran zu verbessern.“ Die Dichter, die Regnarts Musik mit den neuen Texten versahen, achteten nicht nur darauf, dass die richtigen Silben betont, sondern auch, dass expressive Momente mit Feingefühl beibehalten wurden. Die wiederholte Frage „Warumb?“ in Rühmbt alle Werck war ursprünglich in Regnarts italienischer Canzonetta Vorrei saper da voi, ein zaghaftes „per che …“ gewesen.

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

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