Musik Ekklesia: The Vanishing Nordic Chorale

Dorian Sono Luminus: DSL92128

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Musik Ekklesia: The Vanishing Nordic Chorale

Awards:

Gramophone Magazine

Editor's Choice - November 2011

Catalogue No:

DSL92128

Discs:

1

Release date:

28th March 2011

Barcode:

0053479212825

Length:

61 minutes

Medium:

CD (download also available)
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Musik Ekklesia: The Vanishing Nordic Chorale


1. Bach/Pachelbel: Du er, opstandne sejershelt (Was Gott tut) 4:33

2. Crüger: Hvorledes skal jeg møde (Wie soll ich dich empfangen) 2:19

3. Praetorius: Lovsjung Krist (Psallite) 1:19

4. Bach: Lover den Herre (Lobe den Herren) 3:06

5. Trad. Norwegian, arr. Spray:

Mitt hjerte alltid vanker (My Heart Always Wanders) 4:00

6. Grieg, arr. Spray: Den store hvide flok (A Great White Host) 3:56

7. Trad. Swedish, arr. Spray:

Der mange skal komme (Many Shall Come) 2:19

8. Charpentier/du Caurroy:

Från Gud vill jag ej vika (Von Gott will ich nicht lassen) 3:04

9. Scheidt: På dig jag hoppas (In dich hab’ ich gehoffet, Herr) 2:32

10. Bach: O Jesus så søt, O Jesus så mild

(O Jesulein süß, O Jesulein mild) 2:44

11. Mendelssohn: Forlen os freden, Herre, nu

(Verleih uns Frieden gnädiglich) 3:59

12. Neumark/Bach, arr. Spray:

Min själ, låt Gud i allt få råda (Wer nur den lieben Gott) 4:06

13. Nielsen: Denne er dagen, som Herren har gjort

(This is the Day the Lord Has Made) 3:02

14. Hassler: Sänd, Herre, dina änglar ut (Herzlich lieb) 2:53

15. Nielsen: Prelude VI (1929)-

Bach: Var hälsad, sköna morgonstund

(Wie schön leuchtet der Morgenstern) 2:16

16. Nielsen: Prelude I (1930)

Nielsen: Der er en Vej (There is a Way) 3:05

17. Buxtehude: Ein feste Burg ist unser Gott

(A Mighty Fortress Is Our God) 3:50

18. Nielsen: Prelude XXIII (1929) Pedersøn: Vor Gud han er så fast en borg

(Ein feste Burg ist unser Gott) 3:19

19. Karosi: Improvisation on Prelude XXIII & Ein feste Burg 2:37

20. Buxtehude: Klag-Lied (Lament) 2:31


Musik Ekklesia

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Sono Luminus presents nothing less than a revelation of the Scandinavian musical soul: chorale settings by Northern Europe’s greatest composers performed by some of America’s finest period performers. In The Vanishing Nordic Chorale, Musik Ekklesia brilliantly refracts the nordic chorale tradition through the prism of history, yielding a kaleidoscope of nuanced color and florid display.

Four hundred years ago, individuals traveled — if they traveled at all — only by the strained effort of foot and beast, wind and sail. Communication beyond the sound of their voices required hand-writing and hand-delivering. Even so, across Northern Europe, something unlikely was occurring. The musical memory of the Nordic people was becoming embodied with an identical opus of melodies. Average people, from Trondheim to Leipzig, participated weekly in the performance of the same tunes, each sung in their own language. These were ‘chorales’ (or hymn tunes) which formed the basis of congregational worship in the state-run churches beginning during the Nordic Golden Age of the Reformation.

The Vanishing Nordic Chorale presents 14 of these melodies sung in Nordic languages: the lilt of Swedish, the angled turn of Norwegian, and the gentle kneeding of Danish offer listeners a music all their own. In this collection, simple eight-bar chorale tunes have not been doggedly repeated merely to span their many verses. Instead, Musik Ekklesia director Philip Spray has exploited a variety of techniques to feature these tunes in situ as it were, either by selecting whole works of composers that incorporated the tunes — as in Bach’s alto aria from Cantata 137, Mendelssohn’s Forlen os freden, and Nielsen’s Denne er daget — or by taking one composer’s work on a short chorale verse, such as Pachelbel’s organ arrangement of Du er, opstandne sejerhelt, here arranged for various groups of baroque instruments, and setting it against a ritornello (i.e., Bach’s orchestral prelude to Cantata 99), or du Caurroy’s verses, similarly set alongside a well-known Noël by Charpentier as their ritornello. Spray has also borrowed chorale tunes from the Danish, Swedish or Norwegian Chorale Books and arranged them for voices and various consorts of instruments.

Musik Ekklesia is a baroque period-instrument ensemble based in Indianapolis that draws leading players from around the United States and abroad. In this recording, old instruments are used not solely for historical recreation, but for their unique, timeless timbre and appropriateness to the folk-like character of some of the musical material. This album is sure to delight classical and early music lovers, as well as light the fire and spirit of the far north in the listeners.

Johann Sebastian Bach: Was Gott tut, das ist wohlgetan, BWV 99 (Sung in Danish)

Was Gott tut, das ist wohlgetan, BWV 99 (Sung in Danish)

Paul Gerhardt: Hvorledes skal jeg mode (Wie soll ich dich empfangen)

Hvorledes skal jeg mode (Wie soll ich dich empfangen)

Michael Praetorius: Lovsjung Krist (Psallite)

Lovsjung Krist (Psallite)

Johann Sebastian Bach: Lover den Herer (Lobe den Herren, den machtigen Konig der Ehren), BWV 137

Lover den Herer (Lobe den Herren, den machtigen Konig der Ehren), BWV 137

Traditional: Mitt hjerte alltid vanker (My Heart Always Wanders) (arr. P. Spray)

Mitt hjerte alltid vanker (My Heart Always Wanders) (arr. P. Spray)

Traditional: Album for Male Voices, Op. 30: No. 10. Den store, hvide flok (A Great White Host) (arr. Spray)

Album for Male Voices, Op. 30: No. 10. Den store, hvide flok (A Great White Host) (arr. Spray)

Traditional: Der mange skal komme (Many Shall Come) (arr. P. Spray)

Der mange skal komme (Many Shall Come) (arr. P. Spray)

Eustache Du Caurroy: Fran Gud vill jag ej vika (Von Gott will ich nicht lassen)

Fran Gud vill jag ej vika (Von Gott will ich nicht lassen)

Samuel Scheidt: Pa dig jag hoppas (In dich hab'ich gehoffet, Herr, SSWV 208)

Pa dig jag hoppas (In dich hab'ich gehoffet, Herr, SSWV 208)

Johann Sebastian Bach: O Jesus sa sot, O Jesus sa mild (O Jesulein suss, o Jesulein mild), BWV 493

O Jesus sa sot, O Jesus sa mild (O Jesulein suss, o Jesulein mild), BWV 493

Felix Mendelssohn: Forlen os freden, Herre, nu (Verleih' uns Frieden gnadiglich)

Forlen os freden, Herre, nu (Verleih' uns Frieden gnadiglich)

Johann Sebastian Bach: Min sjal, lat Gud i allt fa rada (Wer nun den lieben Gott lasst walten), BWV 691 (arr. P. Spray)

Min sjal, lat Gud i allt fa rada (Wer nun den lieben Gott lasst walten), BWV 691 (arr. P. Spray)

Jens Peter Jacobsen: 5 Digte (5 Songs), Op. 4, FS 12 (Sung in Norwegian)

5 Digte (5 Songs), Op. 4, FS 12: No. 5. Har dagen sanket al sin sorg

Hans Leo Hassler: Sand, Herre, dina anglar ut (Herzlich lieb)

Sand, Herre, dina anglar ut (Herzlich lieb)

Johann Sebastian Bach: 29 Small Preludes, Op. 51, FS 136: No. 6. — - Wie schon leuchtet der Morgenstern, BWV 1 (Sung in Swedish)

29 Small Preludes, Op. 51, FS 136: No. 6. — - Wie schon leuchtet der Morgenstern, BWV 1 (Sung in Swedish)

Carl Nielsen: 2 Preludes, FS 137: No. 2. — - Hymns and Sacred Songs, FS 83: No. 12. Der er en Vej (There Is a Path)

2 Preludes, FS 137: No. 2. — - Hymns and Sacred Songs, FS 83: No. 12. Der er en Vej (There Is a Path)

Dieterich Buxtehude: Ein feste Burg ist unser Gott, BuxWV 184

Ein feste Burg ist unser Gott, BuxWV 184

Carl Nielsen: 29 Small Preludes, Op. 51, FS 136: No. 23. — - Vor gud han er sa fast en borg?

29 Small Preludes, Op. 51, FS 136: No. 23. — - Vor gud han er sa fast en borg?

Balint Karosi: Improvisation on C. Nielsen's 29 Small Preludes, Op. 51, FS 136: No. 23. — - Ein feste Burg

Improvisation on C. Nielsen's 29 Small Preludes, Op. 51, FS 136: No. 23. — - Ein feste Burg

Dieterich Buxtehude: Fried- und Freudenreiche Hinfahrt, BuxWV 76

Fried- und Freudenreiche Hinfahrt, BuxWV 76: V. Klag-Lied

Gramophone Magazine

November 2011

“There is something enchanting about this disc that opens it up to a wider circle of listeners than those who just want to hear the aria 'Lobet den Herren' from Bach's Cantata No. 137 sung in Norwegian...[Spray] has resurrected a good many examples of cross-fertilisation that make for a thoroughly appealing sequence...The American soloists and chorus, drilled by diction coaches, sound like they're at ease with the languages and sing with fluency and clarity.”

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