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BRUMEL, A.: Missa pro defunctis / CRECQUILLON, T.: Lamentationes Jeremiae (endBeginning) (New York Polyphony)

BRUMEL, A.: Missa pro defunctis / CRECQUILLON, T.: Lamentationes Jeremiae (endBeginning) (New York Polyphony)

The Classical Shop
release date: March 2012

Recorded in 24 Bit / 96Khz
album available as a Studio File

Artists:

New York Polyphony

Ensemble

New York Polyphony



Record Label
BIS

Genre:

Choir


Classical

Total Time - 66:37
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BRUMEL, A.: Missa pro defunctis / CRECQUILLON, T.: Lamentationes Jeremiae (endBeginning) (New York Polyphony)

     
Select Complete Single Disc for
     
 

FELIX MASS TEXT

 

Missa pro defunctis

 
1 Introit 5:57
     
2 Kyrie 3:16
     
3 Sequence 13:15
     
 

ANTOINE BRUMEL

4 Sanctus 1:53
     
 

FELIX MASS TEXT

5 Agnus Dei 1:34
     
 

ANTOINE BRUMEL

6 Communio 2:55
     
 

FELIX MASS TEXT

7 Libera me, Domine 4:22
     
 

THOMAS CRECQUILLON

 

Lamentationes Jeremiae

 
8 Vau 2:31
     
9 Zain 3:30
     
10 Lamed 2:28
     
11 Mem 5:02
     
 

JACOBUS CLEMENS NON PAPA

12 

Tristitia obsedit me / Infelix ego

8:52
     
 

JOSQUIN DES PREZ

13 

Absalon, fili mi

3:53
     
14 

Missa pro defunctis

1:15
     
 

JACKSON HILL

15 

Ma fin est mon commencement

5:54
     
 New York Polyphony Ensemble


’My end is my beginning, and my beginning my end’ - with those words the four members of New York Polyphony end a programme which explores the themes of grief, loss and mortality. Apart from the closing paraphrase by Jackson Hill (b.1942) on Guillaume de Machaut’s famous 14th century rondeau Ma fin. and two examples of plainsong, all works included on endBeginning, the ensemble’s first disc on BIS, were composed by masters of the Franco-Flemish school of polyphony active in the first half of the 16th century. The music was partly used liturgically, for instance Brumel’s Mass for the Dead, which incorporates the first known polyphonic setting of the text Dies iræ, ’Day of Wrath’ as its extensive centre piece. Similarly the Lamentations by Crecquillon, a setting which is possibly appearing on disc for the first time, would have been used in churches during Holy Week, with the destruction of Jerusalem as mourned by the prophet Jeremiah standing as a symbol of the Passion of Christ. The two Gregorian chants Libera me and In paradisum both form part of the Roman Catholic burial service, the first a prayer for the soul’s delivery from eternal death and the second an evocation of the hereafter. Of a more subjective nature, the two texts Absalon fili mi (’Absalom, my son’) and Tristitia obsedit me - Infelix ego (’Sadness has besieged me - Alas, wretch that I am’) have moved their respective composers to settings of rare intensity. Formed in 2006, New York Polyphony is establishing a reputation as an exceptionally fine vocal chamber ensemble, and has been praised for a ’rich, natural sound that’s larger and more complex than the sum of its parts’ (National Public Radio, USA). For this album the four members have sought out the 14th-century church of Länna, Sweden, and its superb acoustics.
 

                      *** Good    ****(Sound) Exceptional

Guillaume Bunel - Classica magazine - June 2012


"...This is a beautifully conceived, performed and produced release, and I heartily recommend it to all comers...

Dominy Clements - MusicWeb-International.com - 25 May 2012


             Artistic Quality 10        Sound Quality 10
"...in the last few years the ensemble has developed even more refined soft singing and–if it’s possible–a more vibrant resonance when they want to emphasize a particularly rich harmonic moment or passage. The fact is, however closely you want to analyze the sound and the performance, you’ll find nothing but reasons to keep listening–and plenty to support an argument for New York Polyphony’s preeminence among today’s male vocal ensembles... This superb BIS production, ideally recorded in a Swedish church, bodes well for what looks like the beginning of a beautiful relationship."

David Vernier - ClassicsToday.com - March 2012




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