Schola Cantorum & Tone Bianca Sparre Dahl - Hymn to the Virgin (2013) [Hi-Res]
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BAND/ARTIST: Schola Cantorum, Tone Bianca Sparre Dahl
- Title: Hymn to the Virgin
- Year Of Release: 2013
- Label: 2L
- Genre: Classical, Choral
- Quality: flac lossless / flac 24bits - 192.0kHz +Booklet
- Total Time: 01:02:21
- Total Size: 263 mb / 2.14 gb
- WebSite: Album Preview
Tracklist
01. Benjamin Britten: A Hymn to the Virgin
02. Francis Poulenc: Salve Regina
03. Maurice Duruflé: Ubi caritas
04. Eric Whitacre: Lux aurumque
05. Morten Lauridsen: O nata lux
06. Martin Ødegaard: Komm
07. Kjell Mørk Karlsen: O Magnum Mysterium
08. Anton Bruckner: Ave Maria
09. Sergei Rachmaninoff: Bogoróditse Dévo
10. Arvo Pärt: Bogoróditse Dévo
11. Ola Gjeilo: Tota pulchra es
12. Andrew Smith: Pulchra es tu Maria
13. Andrew Smith: Stabat Mater
14. Trond Kverno: Stabat Mater Dolorosa
Thomas Aquinas writes in the Summa Theologica: “Music is the exaltation of the mind derived from things eternal, bursting forth in sound.” The quotation most aptly describes the repertoire on the chamber choir Schola Cantorum’s recording of hymns to Mary, the Mother of God, in which tranquillity, eternity and ‘bursting forth into sound’ are encountered in many different guises. The composers represented here have often chosen to allow their music to evolve in stable structures and remain within static harmonic spaces even when the music becomes expressive and dramatic.
The recording opens with British composer Benjamin Britten’s (1913–1976) A Hymn to the Virgin. The words, of unknown origin, are a mixture of English and Latin; Britten’s setting calls for two choirs, thus emphasizing the dual structure of the text. The verses in Latin are sung by a solo quartet as responses to the full choir. Both languages are crucial to the meaning of the poem as a whole, as is illustrated in the following example that deals with the Fall of Man and God’s mercy:
All this world was forlorn, Eva peccatrice Till our Lord was yborn, De te genetrice
A Hymn to the Virgin is one of Britten’s earliest works, dating from 1930 when he was still a student at the Royal College of Music, and his characteristically lucid, open harmonic style is already in evidence. In the course of the piece the opening divisions between question and response gradually develop into a through-composed work.
The music remains true to the words, organic and radiant. The offices of the Roman Catholic liturgy contain four Marian antiphons. Antiphons were originally sung as responses to biblical psalms, and gradually evolved into independent pieces. Francis Poulenc (1899–1963) set the antiphon Salve Regina in his distinctive mix of neoclassical effortlessness and sincerity. Unlike the ironic distance that might be said to characterize the music of many of the composers who moved in the same 1920s’ Parisian circles, there is invariably a more earnest undertone to Poulenc’s work. It is densely woven yet lucid, and Poulenc’s harmonic fingerprint is instantly recognizable. Salve Regina was composed after the Quatre Motets pour un temps de pénitence and before Figure humaine – Poulenc’s cantata for unaccompanied double choir to words by the surrealist poet Paul Éluard.
The composers represented here have often chosen to allow their music to evolve in stable structures and remain within static harmonic spaces even when the music becomes expressive and dramatic: Benjamin Britten, Francis Poulenc, Maurice Duruflé, Eric Whitacre, Morten Lauridsen, Martin Ødegaard, Kjell Mørk Karlsen, Anton Bruckner, Sergei Rachmaninoff, Arvo Pärt, Ola Gjeilo, Andrew Smith and Trond Kverno.
01. Benjamin Britten: A Hymn to the Virgin
02. Francis Poulenc: Salve Regina
03. Maurice Duruflé: Ubi caritas
04. Eric Whitacre: Lux aurumque
05. Morten Lauridsen: O nata lux
06. Martin Ødegaard: Komm
07. Kjell Mørk Karlsen: O Magnum Mysterium
08. Anton Bruckner: Ave Maria
09. Sergei Rachmaninoff: Bogoróditse Dévo
10. Arvo Pärt: Bogoróditse Dévo
11. Ola Gjeilo: Tota pulchra es
12. Andrew Smith: Pulchra es tu Maria
13. Andrew Smith: Stabat Mater
14. Trond Kverno: Stabat Mater Dolorosa
Thomas Aquinas writes in the Summa Theologica: “Music is the exaltation of the mind derived from things eternal, bursting forth in sound.” The quotation most aptly describes the repertoire on the chamber choir Schola Cantorum’s recording of hymns to Mary, the Mother of God, in which tranquillity, eternity and ‘bursting forth into sound’ are encountered in many different guises. The composers represented here have often chosen to allow their music to evolve in stable structures and remain within static harmonic spaces even when the music becomes expressive and dramatic.
The recording opens with British composer Benjamin Britten’s (1913–1976) A Hymn to the Virgin. The words, of unknown origin, are a mixture of English and Latin; Britten’s setting calls for two choirs, thus emphasizing the dual structure of the text. The verses in Latin are sung by a solo quartet as responses to the full choir. Both languages are crucial to the meaning of the poem as a whole, as is illustrated in the following example that deals with the Fall of Man and God’s mercy:
All this world was forlorn, Eva peccatrice Till our Lord was yborn, De te genetrice
A Hymn to the Virgin is one of Britten’s earliest works, dating from 1930 when he was still a student at the Royal College of Music, and his characteristically lucid, open harmonic style is already in evidence. In the course of the piece the opening divisions between question and response gradually develop into a through-composed work.
The music remains true to the words, organic and radiant. The offices of the Roman Catholic liturgy contain four Marian antiphons. Antiphons were originally sung as responses to biblical psalms, and gradually evolved into independent pieces. Francis Poulenc (1899–1963) set the antiphon Salve Regina in his distinctive mix of neoclassical effortlessness and sincerity. Unlike the ironic distance that might be said to characterize the music of many of the composers who moved in the same 1920s’ Parisian circles, there is invariably a more earnest undertone to Poulenc’s work. It is densely woven yet lucid, and Poulenc’s harmonic fingerprint is instantly recognizable. Salve Regina was composed after the Quatre Motets pour un temps de pénitence and before Figure humaine – Poulenc’s cantata for unaccompanied double choir to words by the surrealist poet Paul Éluard.
The composers represented here have often chosen to allow their music to evolve in stable structures and remain within static harmonic spaces even when the music becomes expressive and dramatic: Benjamin Britten, Francis Poulenc, Maurice Duruflé, Eric Whitacre, Morten Lauridsen, Martin Ødegaard, Kjell Mørk Karlsen, Anton Bruckner, Sergei Rachmaninoff, Arvo Pärt, Ola Gjeilo, Andrew Smith and Trond Kverno.
Classical | FLAC / APE | HD & Vinyl
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