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Vox in Rama

4vv; Liber secundus ecclesiasticarum cantionum quatuor vocum (Antwerp: Susato, 1553). RISM 1553/9
author of text
Matthew 2:18, citing Jeremiah 31:15

Vox in Rama uses expressive fourth leaps, sequences and homophony, but on a relatively small canvas, the whole piece lasting only seventy-two breves. The story of Rachel weeping for her lost children is perhaps the most harrowing of all the penitential texts. (It also provided the model for a setting by the Jacobean English composer George Kirbye, as shown by D Humphreys, Early Music 2008.)

from notes by Stephen Rice © 2010

Vox in Rama utilise des sauts de quarte expressifs, des séquences et de l’homophonie, mais sur une trame bien moindre, l’ensemble du morceau durant seulement soixante-douze brèves. L’histoire de Rachel pleurant ses enfants perdus est peut-être le plus déchirant de tous les textes pénitentiels. (Le compositeur jacobéen George Kirbye s’en inspira également, comme le montra D. Humphreys dans Early Music, 2008.)

extrait des notes rédigées par Stephen Rice © 2010
Français: Hypérion

In Vox in Rama kommen Quartsprünge, Sequenzen und Homophonie vor, jedoch in viel kleinem Ausmaß, da das gesamte Stück lediglich 72 Breven lang ist. Die Geschichte der Rahel, die ihre verlorenen Kinder beweint, ist vielleicht der erschütterndste aller Bußtexte. (Außerdem diente er als Vorbild für eine Vertonung des englischen Komponisten George Kirbye, der gegen Ende des 16. Jahrhunderts und zu Beginn des 17. Jahrhunderts wirkte, wie D. Humphreys in dem Magazin Early Music im Jahr 2008 aufgezeigt hat.)

aus dem Begleittext von Stephen Rice © 2010
Deutsch: Viola Scheffel


Clemens: Requiem & Penitential Motets


Track 12 on CDA67848 [4'16]

Track-specific metadata for CDA67848 track 12

Recording date
18 March 2010
Recording venue
Merton College Chapel, Oxford, United Kingdom
Recording producer
Antony Pitts
Recording engineer
Justin Lowe
Hyperion usage
  1. Clemens: Requiem & Penitential Motets (CDA67848)
    Disc 1 Track 12
    Release date: January 2011
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