Lamentations

Chandos: CHAN0763

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Lamentations

Label:

Chandos

Catalogue No:

CHAN0763

Series:

Chaconne

Discs:

1

Release date:

1st Sept 2009

Barcode:

0095115076323

Length:

68 minutes

Medium:

CD (download also available)
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Lamentations

Nordic Voices will donate a portion of the group’s royalties from all sales of this disc to UNICEF.


Gesualdo:

Responsorium II, Feria V in Coena Domini. Tristis est anima mea

Responsories feria 6, No. 5 Tenebrae factae sunt

Palestrina:

Lectio III, Feria V in Coena Domini. Iod – Manum suam misit hostis

Lectio III, Sabbato Sancto. Incipit oratio Jeremiæ Prophetæ

Victoria:

Lectio III, Sabbato Sancto. Incipit oratio Jeremiæ Prophetæ

Lectio III, Feria VI in Passione Domini. Aleph – Ego vir videns paupertatem meam

Lectio I, Sabbato Sancto. Heth – Misericordiæ Domini

Lectio III, Feria V in Coena Domini. Iod – Manum suam misit hostis

White, Robert:

Lectio I and II, Feria V in Coena Domini. Heth – Peccatum peccavit Jerusalem


Nordic Voices

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Nordic Voices is a six-voice a cappella group blending solo and ensemble qualities. They have received glowing commentary on their concert performances, and their inaugural release on Chandos (CHSA5050) received praise from all corners of the globe. Washington Post wrote, ‘Intonations? Impeccable. Ensemble? Unfailing precision in phrasing, dynamics, colour – everything finely tuned. A succession of works ever-changing and expressing in meaning.’ Gramophone noted ‘ringing, clear timbres and an impressive blend.’

This current collection, superbly sung by these Norwegians, draws attention to the idea of global conflict. An idea inspired by the Offices of Tenebrae. The offices of Tenebrae (on the last three days of Holy Week) have always been celebrated with a sense of the drama appropriate to their commemoration of Christ’s Passion. The texts are about conflict and are as relevant and moving today as they must have been to the composers of the sixteenth century. Most major composers active in Catholic Europe in the late sixteenth century wrote at least one set of Tenebrae lamentations and/or responsories, partly because of liturgical demand but also because their highly-charged texts provided an opportunity for expressive writing.

The four composers represented here present a fascinating contrast to approaches to text setting. Luis de Victoria was born in Avila but spent his formative years in Rome where he published his Officium Hebdomadae Sanctae in 1585, containing a complete set of music for Holy Week. The lessons sung here come from all three days and show Victoria’s careful setting of the text and his ability to control texture by a constant grouping and regrouping of different voices. Perhaps unexpectedly, a significant group of Latin lamentation settings was composed in the England of Elizabeth I. The lamentation texts, with their undertones of religious persecution, could speak to both Protestants and Catholics alike. Robert White worked at Ely and Chester Cathedrals before moving to Westminster Abbey as Master of the Choristers by 1570.

Tomas Luis de Victoria: Incipit oratio Jeremiae

Incipit oratio Jeremiae Prophetae

Tomas Luis de Victoria: Ego vir videns

Ego vir videns paupertatem meam

Tomas Luis de Victoria: Misericordiae Domini

Misericordiae Domini

Tomas Luis de Victoria: Manum suam

Manum suam misit hostis

Carlo Gesualdo: Tristis est anima mea

Tristis est anima mea

Robert White: Peccatum peccavit Jerusalem

Peccatum peccavit Jerusalem

Giovanni Pierluigi da Palestrina: Manum suam misit hostis

Manum suam misit hostis

Giovanni Pierluigi da Palestrina: Incipit oratio Jeremiae Prophetae

Incipit oratio Jeremiae Prophetae

Carlo Gesualdo: Tenebrae factae sunt

Tenebrae factae sunt

BBC Music Magazine

February 2010

****

“Victoria's wonderful settings first appeared in 1585. Nordic Voices take his precarious and adventurous lines in their strike, and they use dynamic shading to great effect. The big surprise on this disc is the astonishingly accomplished music by the English composer Robert White... Here musical architecture is everything. Nordic Voices wisely underplay the local false relations of the harmonies, but some superb passing details remain, such as the single dark, empty moment of desolate grief at 'dolor meus'.”

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