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Vau. Et egressus est a filia Sion
composer
SSAATB; Livro de varios motetes, officio da semana santa e outras cousas, 1648; Lectio 2 from Lamentations for Maundy Thursday 'Feria quinta in Coena Domini'
author of text
Lamentations 1: 6-7; Second Lesson at Matins on Maundy Thursday
Cardoso’s compositions for the Maundy Thursday service of Tenebrae are perhaps the most expressive and dramatic pieces in this programme. The declamatory, almost entirely homophonic word-setting and introspective monodic verses of the two Responsories, In monte Oliveti and Tristis est anima mea, create a solemn, stripped-back atmosphere to reflect upon the serene anguish of Christ accepting his fate. Coming between the two Responsories within the Tenebrae service, and even more dramatic and mournful, is the Lamentation. This monumental six-voice setting of the second lesson at Matins on Maundy Thursday elaborates upon the Hebrew letters which precede each verse of the Lamentations of Jeremiah (Vau and Zain, the sixth and seventh letters of the Hebrew alphabet). These prefatory passages are perhaps intended to evoke the grandeur of Jerusalem before its destruction, while Cardoso’s sensitive text-setting comes to the fore in the verses, as they describe the distress, despair and anguish at the city’s fall.
from notes by Luís Toscano © 2019
English: José Gabriel Flores
Les compositions de Cardoso pour le service des Ténèbres du Jeudi Saint sont peut-être les pièces les plus expressives et dramatiques de ce programme. La mise en musique des mots, déclamatoire et presque entièrement homophonique, et les versets monodiques introspectifs des deux Répons, In monte Oliveti et Tristis est anima mea, créent une atmosphère solennelle et dépouillée qui souligne l’angoisse sereine du Christ acceptant son destin. La Lamentation se situe entre les deux répons au sein de l’office des Ténèbres; elle est encore plus dramatique et mélancolique. Cette monumentale musique à six voix de la deuxième leçon des Matines du Jeudi Saint s’étend sur les lettres en hébreu qui précèdent chaque verset des Lamentations de Jérémie (Vau et Zain, la sixième et la septième lettre de l’alphabet hébraïque). Ces passages préliminaires sont peut-être destinés à évoquer la grandeur de Jérusalem avant sa destruction, tandis que la sensibilité de la mise en musique du texte de Cardoso ressort dans les versets, quand ils décrivent la détresse, le désespoir et l’angoisse à la chute de la ville.
extrait des notes rédigées par Luís Toscano © 2019
Français: Marie-Stella Pâris
Die vielleicht ausdrucksstärksten und dramatischsten Sätze dieser Einspielung sind Cardosos Kompositionen für die Tenebrae-Andacht des Gründonnerstags. Die deklamierenden, fast zur Gänze homophon Setzung und die introvertiert-monodischen Verse der beiden Responsorien In monte Oliveti und Tristis est anima mea erzeugen eine feierliche, aufs Wesentliche konzentrierte Atmosphäre, die den abgeklärten Schmerz widerspiegelt, mit dem Jesus seinen Leidensweg annimmt. Zwischen den beiden Responsorien der Tenebrae-Andacht erklingen die Lamentationen, die eine weitere Steigerung von Dramatik und Klageton bedeuten. Diese gewaltigen sechsstimmigen Sätze der zweiten Lesung in der Gründonnerstags-Matutin haben die hebräischen Buchstaben zum Inhalt, die jedem Vers der Klagelieder Jeremiae vorangestellt sind (hier Vau und Zain, der sechste und siebte Buchstabe des hebräischen Alphabets)—Einleitungen, die vielleicht an die Pracht Jerusalems vor seiner Zerstörung gemahnen sollen. Cardosos Kunst der Textdeutung kommt in den Versen zur Geltung, die Schmerz und Verzweiflung über den Untergang der Stadt schildern.
aus dem Begleittext von Luís Toscano © 2019
Deutsch: Friedrich Sprondel
Concebidos igualmente para a Semana Santa, neste caso para o Ofício de Trevas de Quinta-feira Santa, os dois responsórios In monte Oliveti e Tristis est anima mea constituem dois dos momentos mais expressivos deste alinhamento. Com efeito, o ambiente despojadamente hierático decorrente do estilo declamatório e das suaves progressões harmónicas de ambos os responsórios, sublimados nos introspectivos versos monódicos, põe em destaque a profunda mas serena angústia de Cristo ao acolher o seu destino. Integradas, em termos de enquadramento litúrgico, entre estes dois responsórios, as Lamentações a seis vozes aqui interpretadas, correspondentes à segunda Lição de Quinta-feira Santa, será porventura uma das obras de Manuel Cardoso com uma carga dramática mais pungente. Recorrendo a uma textura a seis partes, a monumentalidade subjacente a esta obra, exuberantemente explorada na sexta e sétima letras do alfabeto hebraico—Vau e Zain—que antecedem cada um dos versículos, poderá estar vinculada a uma ilustração da grandiosidade de Jerusalém antes da sua destruição. Emoções aqui presentes como a aflição, o desespero e a angústia são objecto de um tratamento musical verdadeiramente pictórico.
Luís Toscano © 2019
Recordings
 Amarae mortiStudio Master: CDA68279Studio Master FLAC & ALAC downloads available  From darkness to light: Peter Phillips’ journey enlists some of the greatest names from across Renaissance Europe.» More |
 Cardoso: Requiem, Lamentations, Magnificat & motetsStudio Master: CDA68252Studio Master FLAC & ALAC downloads available Music from one of the undisputed masters of seventeenth-century Portuguese polyphony.» More |
 Masterpieces of Portuguese PolyphonyCDH55229Archive Service ‘Delectable though this music is, it needs performers who can do it justice, and James O'Donnell and his choir do that and then some. Whether depictin ... ‘Although this music is likely to be unknown to most collectors it will prove, as it has to me, a welcome and important discovery’ (The Tablet)» More |
Details
Part 1: Vau. Et egressus est
Part 2: Zain. Recordata est Jerusalem
Part 3: Jerusalem, Jerusalem, convertere ad Dominum Deum tuum
