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Track(s) taken from CDA66910

Hei mihi, Domine

1582; second book of Masses; 6vv
author of text
Office of the Dead

Westminster Cathedral Choir, James O'Donnell (conductor)
Recording details: March 1997
Westminster Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: September 1997
Total duration: 4 minutes 40 seconds

Cover artwork: Stained glass window depicting the Annunciation in Seville Cathedral (1534) by Arnao de Vergara (?-?)

Other recordings available for download

The Tallis Scholars, Peter Phillips (conductor)
The Tallis Scholars, Peter Phillips (conductor) This recording is not available for download


'Exhilarating, full of variety, and spiritually uplifting. Westminster Cathedral Choir are on their very best form, incisive and thrilling. Very highly recommended' (Gramophone)

'The music and performances on this disc defy superlatives—just go out and buy it!' (Early Music Today)

'Spellbinding: a really magnificent achievement' (Goldberg)
Hei mihi, Domine must rank as one of the most powerful penitential motet of the period. Scored for SSATTB it was eventually published alongside Requiem Masses. In Hei mihi, Domine the imitation at the opening is architectural, though a chromaticism in the manuscript has led to the editorial addition of two further accidentals which greatly intensify the prevailing mood of desolation. Later on Guerrero allows himself a very brief moment of madrigalian word-painting, at ‘Ubi fugiam?’ (‘Where should I flee?’), before the music culminates, as in Usquequo, in simple block chords, here to underline the words ‘Miserere mei’ (‘Have mercy on me’).

from notes by Peter Phillips © 2005

Hei mihi, Domine compte parmi les motets pénitentiels les plus puissants de son temps. Écrit pour SSATTB, il parut finalement aux côtés des messes de requiem. Dans Hei mihi, Domine, l’imitation initiale est architecturale, même si la présence d’un chromatisme dans le manuscrit a conduit à l’ajout éditorial de deux autres accidents qui intensifient énormément l’atmosphère de désolation. Plus loin, Guerrero s’autorise un très bref moment de figuralisme madrigalesque, à «Ubi fugiam?» («Où vais-je fuir?»), avant que la musique ne culmine, comme dans Usquequo, en de simples blocs d’accords, pour souligner les mots «Miserere mei» («Prends pitié de moi»).

extrait des notes rédigées par Peter Phillips © 2005
Français: Gimell

Usquequo, Domine und Hei mihi, Domine müssen als zwei der ausdrucksvollsten Buß­motetten der Zeit verstanden werden. Sie sind beide für SSATTB angelegt und wurden schließ­lich zusammen mit den Requiemmessen heraus­gegeben. In Hei mihi, Domine ist die Imitation zu Beginn architektonisch konstruiert, doch hat eine chromatische Passage im Manuskript zu der editorialen Entscheidung geführt, zwei weitere Akzidentien hinzuzufügen, die die vorherrschende verzweifelte Stimmung noch um einiges intensivieren. Etwas später erlaubt sich Guerrero einen sehr kurzen Moment von madrigalesker Wortmalerei: bei „Ubi fugiam?“ („Wohin soll ich fliehen?“), bevor die Musik kulminiert, wie in Usquequo, erklingen schlichte Akkordblöcke, die hier die Worte „Miserere mei“ („Habe Mitleid mit mir“) unterstreichen.

aus dem Begleittext von Peter Phillips © 2005
Deutsch: Viola Scheffel

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