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CHAN 0779
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CHAN 0779

Le Divin Arcadelt: Candlemas in Renaissance Rome

The Classical Shop
release date: May 2011

Originally recorded in 2010

Artists:

Simon Ravens


Musica Contexta


The English Cornett and Sackbut Ensemble



Venue:

St Jude-on-the-Hill, Hampstead Garden Suburb, London



Producer:

Rachel Smith



Engineer:

Jonathan Cooper


Paul Quilter

(Assistant)

Record Label
Chaconne

Genre:

Early Music


Choir

Total Time - 68:02
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JACQUES ARCADELT

(c. 1507-1568)
premiere recording
1 

Pater noster

6:01
  Motet  
2 

Hodie beata virgo Maria

3:23
  Motet  
 

CHANT

premiere recording
3 

Suscepimus, Deus

3:16
  Introitus  
 

JACQUES ARCADELT

premiere recording
4 

Kyrie from Missa 'Ave, Regina caelorum'

4:21
5 

Gloria from Missa 'Ave, Regina caelorum'

5:24
   
 

CHANT

premiere recording
6 

Suscepimus, Deus

1:09
  Graduale  
 

GIOVANNI PIERLUIGI DA PALESTRINA

(c. 1525-1594)
7 

Senex peurum portabat

7:31
  Motet  
 

JACQUES ARCADELT

premiere recording
8 

Credo from Missa 'Ave, Regina caelorum'

9:18
   
 

GIOVANNI PIERLUIGI DA PALESTRINA

9 

Diffusa est gratia

2:42
  Offertory  
 

CHANT

premiere recording
10 

Nunc dimittis

2:11
  Tractus  
 

JACQUES ARCADELT

premiere recording
11 

Sanctus from Missa 'Ave, Regina caelorum'

5:41
   
 

CHANT

premiere recording
12 

Responsum accepit Simeon

0:55
  Communio  
 

ANDREAS DE SILVA

(c. 1475/80-c. 1530)
premiere recording
13 

Inviolata, integra et casta es Maria

5:29
  Motet  
 

JACQUES ARCADELT

premiere recording
14 

Agnus Dei from Missa 'Ave, Regina caelorum'

4:57
   
 

ANDREAS DE SILVA

premiere recording
15 

Ave, Regina caelorum

5:44
  Motet  


Through the works of Arcadelt, de Silva, and Palestrina, the vocal ensemble Musica Contexta, with The English Cornett and Sackbut Ensemble, takes us on a journey of musical Rome on a February day at the end of the sixteenth century. Imagine walking through the streets of the city at Candlemas, the Day of Purification - in the Catholic Church, this day celebrates the Purification of Mary and the official presentation of Christ at the Temple forty days after his birth - and at each church we come to we stop and listen to a piece of music. In one church we might find a single falsetto voice accompanied by sackbuts, in the next an unaccompanied choir, and elsewhere a full choir with wind instruments.

The reason for this diversity was that Rome, despite being the main exporter of religious customs, was musically very open to external influences. In a melting-pot of national styles, one of the strongest of these influences came from Iberian musicians such as Andreas de Silva. For a period of two years, de Silva held the position of ‘cantor et compositor’ of the Cappella Sistina in Rome, and it is here, in the Sistine Chapel, that his motet Ave Regina caelorum (recorded here) survives today.

The other great influence on Italian Renaissance music came from Northern France and the Low Countries. Between 1539 and 1551, Jacques Arcadelt was a member of the Cappella Sistina, where he would have come across de Silva’s motet, which he used as the basis for his Ave Regina caelorum mass (also recorded here). A case of plagiarism in today’s eyes, perhaps, but in the Renaissance, Arcadelt’s gesture would have been seen as paying de Silva the highest compliment. Truth be told, there are clear differences between the two: de Silva’s work is more tonally focused, and Arcadelt made several changes to the texture and word-setting. Also on this album are two of Arcadelt’s motets, the sumptuous Pater noster and the emotionally charged Hodie beata virgo Maria.

In the year that Arcadelt left Rome to return to France, Palestrina arrived in the city. Part of a growing wave of native Italian musical talent, Palestrina enhanced the religious music scene in Rome with hundreds of compositions, including 105 masses, sixty-eight offertories, including Diffusa est gratia, at least 140 madrigals, and more than 300 motets, among them Senex puerum portabat.

 "Under the baton of Simon Ravens, vocal group Musica Contexta and the accompanying English Cornett and Sackbut Ensemble achieve a tone of profound beauty and warmth. Plainsong-influenced, sacred vocal music of the renaissance is presented with majesty... Much to their credit, Musica Contexta’s voices are superbly matched. Not only this, but they sing each line dynamically and with direction: truly bringing this music to life. These are collegiate-style voices of such splendor, such class."

 
Musica Antiqua  - April 2013

“…The performances, repertoire choices and sequencing are first-rate, the contrasting textures animate the music, and the spirit is uplifting.”

Catherine Moore – American Record Guide – September/October 2011


                           **** Excellent

Lorenzo Tozzi – Musica magazine (Italy) – September 2011
 


“I recommend this disc wholeheartedly…”

Marc Rochester -  International Record Review – July/August 2011


"The great madrigalist dons his sacred vestments to good effect."

Fabrice Fitch - Gramophone - August 2011




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