Choir of St. John's College, Cambridge & Andrew Nethsingha - Vierne, Poulenc, Langlais & Messiaen: French Sacred Choral Works (2015) [Hi-Res]
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BAND/ARTIST: Choir of St. John's College, Cambridge, Andrew Nethsingha
- Title: Vierne, Poulenc, Langlais & Messiaen: French Sacred Choral Works
- Year Of Release: 2015
- Label: Chandos
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +booklet
- Total Time: 01:04:23
- Total Size: 262 mb / 1 gb
- WebSite: Album Preview
Tracklist
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01. Messe solennelle, Op. 16: Kyrie eleison. Maestoso ma non troppo lento
02. Messe solennelle, Op. 16: Gloria in excelcis Deo. Allegro risoluto-Molto quasi doppio più lento-Tempo I
03. Messe solennelle, Op. 16: Sanctus. Maestoso ma non troppo lento
04. Messe solennelle, Op. 16: Benedictus. Poco più vivo
05. Messe solennelle, Op. 16: Agnus Dei. Andante
06. 4 Petites prières de Saint François d’Assise, FP 142: No. 1, Salut, dame Sainte. Modéré, mais sans lenteur
07. 4 Petites prières de Saint François d’Assise, FP 142: No. 2, Tout puissant, très saint. Majestueux et éclatant
08. 4 Petites prières de Saint François d’Assise, FP 142: No. 3, Seigneur, je vous en prie. Très expressif et fervent
09. 4 Petites prières de Saint François d’Assise, FP 142: No. 4, Ô mes très chers frères. Bien calme
10. O sacrum convivium!
11. 4 Motets pour un temps de pénitence, FP 97: No. 1, Timor et tremor. Largement
12. 4 Motets pour un temps de pénitence, FP 97: No. 2, Vinea mea electa. Tendrement et mélancoliquement lent
13. 4 Motets pour un temps de pénitence, FP 97: No. 3, Tenebrae factae sunt. Très lent
14. 4 Motets pour un temps de pénitence, FP 97: No. 4, Tristis est anima mea. Très calme-Vif et inquiet-Très calme-Tempo vif-Très calme
15. Messe solennelle: Kyrie. Andantino
16. Messe solennelle: Gloria. Moderato
17. Messe solennelle: Sanctus. Moderato
18. Messe solennelle: Benedictus. Lento
19. Messe solennelle: Agnus Dei. Moderato
This album with the Choir of St John's College, Cambridge under Andrew Nethsingha recording exclusively for Chandos pays homage to French sacred choral music of the early twentieth century. It features two Messes solennelles, by Louis Vierne and Jean Langlais, as well as short pieces by Francis Poulenc and Olivier Messiaen.
The two Messes solennelles in many ways emulate the Mass in F sharp minor, Op. 36 by Vierne's organ teacher, Charles-Marie Widor. Yet, Vierne and Langlais both blind from childhood, Paris Conservatoire students, and longstanding titular organists in main places of worship in Paris use a more modern, forward-looking chromatic harmonic language and colourful organ writing. The versions heard here employ one organ, rather than the two commonly available in Parisian churches.
Although it is his only published contribution to liturgical choral music, the motet O sacrum convivium! by Messiaen features two of his most characteristic musical traits: the use of chromatic harmonies within the much-favoured tonality of F sharp major, and the rhythmic augmentation of note values to liberate the music from the regular succession of beats.
As well as the Four Lenten Motets by Poulenc we hear his late four short prayers 'by St Francis of Assisi', composed for a male choir of tenors and yet showing a remarkable variety of colour, the number of parts ranging from three to six.
"It's the motets that stand out here. Particularly the Petites Prieres, where the men of the choir put their woody blend to good use." (Gramophone)
"The stirring organ roar at the start of Vierne’s Messe solonnelle bodes well and the Choir of St John’s College, with organists Edward Picton-Tubervill and Joseph Wicks under Andrew Nethsinga, give a most impressive performance of a work fist performed in 1900 with Vierne and Widor on the two organs the accuracy, tonal warmth and rhythmic attack of the St John’s Choir all contribute to a version that makes a striking impact, especially as it has been very well recorded too The recorded sound is splendid it’s the combination of strong impact and a sense of space that make the technical aspect of this recording so impressive.” (Nigel Simeone, International Record Review)
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01. Messe solennelle, Op. 16: Kyrie eleison. Maestoso ma non troppo lento
02. Messe solennelle, Op. 16: Gloria in excelcis Deo. Allegro risoluto-Molto quasi doppio più lento-Tempo I
03. Messe solennelle, Op. 16: Sanctus. Maestoso ma non troppo lento
04. Messe solennelle, Op. 16: Benedictus. Poco più vivo
05. Messe solennelle, Op. 16: Agnus Dei. Andante
06. 4 Petites prières de Saint François d’Assise, FP 142: No. 1, Salut, dame Sainte. Modéré, mais sans lenteur
07. 4 Petites prières de Saint François d’Assise, FP 142: No. 2, Tout puissant, très saint. Majestueux et éclatant
08. 4 Petites prières de Saint François d’Assise, FP 142: No. 3, Seigneur, je vous en prie. Très expressif et fervent
09. 4 Petites prières de Saint François d’Assise, FP 142: No. 4, Ô mes très chers frères. Bien calme
10. O sacrum convivium!
11. 4 Motets pour un temps de pénitence, FP 97: No. 1, Timor et tremor. Largement
12. 4 Motets pour un temps de pénitence, FP 97: No. 2, Vinea mea electa. Tendrement et mélancoliquement lent
13. 4 Motets pour un temps de pénitence, FP 97: No. 3, Tenebrae factae sunt. Très lent
14. 4 Motets pour un temps de pénitence, FP 97: No. 4, Tristis est anima mea. Très calme-Vif et inquiet-Très calme-Tempo vif-Très calme
15. Messe solennelle: Kyrie. Andantino
16. Messe solennelle: Gloria. Moderato
17. Messe solennelle: Sanctus. Moderato
18. Messe solennelle: Benedictus. Lento
19. Messe solennelle: Agnus Dei. Moderato
This album with the Choir of St John's College, Cambridge under Andrew Nethsingha recording exclusively for Chandos pays homage to French sacred choral music of the early twentieth century. It features two Messes solennelles, by Louis Vierne and Jean Langlais, as well as short pieces by Francis Poulenc and Olivier Messiaen.
The two Messes solennelles in many ways emulate the Mass in F sharp minor, Op. 36 by Vierne's organ teacher, Charles-Marie Widor. Yet, Vierne and Langlais both blind from childhood, Paris Conservatoire students, and longstanding titular organists in main places of worship in Paris use a more modern, forward-looking chromatic harmonic language and colourful organ writing. The versions heard here employ one organ, rather than the two commonly available in Parisian churches.
Although it is his only published contribution to liturgical choral music, the motet O sacrum convivium! by Messiaen features two of his most characteristic musical traits: the use of chromatic harmonies within the much-favoured tonality of F sharp major, and the rhythmic augmentation of note values to liberate the music from the regular succession of beats.
As well as the Four Lenten Motets by Poulenc we hear his late four short prayers 'by St Francis of Assisi', composed for a male choir of tenors and yet showing a remarkable variety of colour, the number of parts ranging from three to six.
"It's the motets that stand out here. Particularly the Petites Prieres, where the men of the choir put their woody blend to good use." (Gramophone)
"The stirring organ roar at the start of Vierne’s Messe solonnelle bodes well and the Choir of St John’s College, with organists Edward Picton-Tubervill and Joseph Wicks under Andrew Nethsinga, give a most impressive performance of a work fist performed in 1900 with Vierne and Widor on the two organs the accuracy, tonal warmth and rhythmic attack of the St John’s Choir all contribute to a version that makes a striking impact, especially as it has been very well recorded too The recorded sound is splendid it’s the combination of strong impact and a sense of space that make the technical aspect of this recording so impressive.” (Nigel Simeone, International Record Review)
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