1 Allegri - Miserere [Roy Goodman] 11:15
2 Palestrina - Stabat Mater 12:49
3 Palestrina - Hodie Beata Virgo 4:21
4 Palestrina - Senex puerum portabat 4:59
5 Palestrina - Magnificat à 8 6:12
6 Palestrina - Litaniae de BVM à 8 15:46

Roy Goodman (Boy Soprano)
Cambridge King's College Choir
Sir David Willcocks - conductor

I doubt if any recording made by the choir of King's College, Cambridge, in the fertile Willcocks era will prove more enduring than this celebrated performance of Allegri's Miserere. Admittedly there are more authentic versions in the catalogue, authentic not only in that they use the original Latin words where Willcocks opts for an English translation, but also in the sense that they search for a style less obviously redolent of choral evensong and the Anglican tradition. At the farthest extreme from King's, the Taverner Consort's EMI version strips Allegri's score of its various eighteenth- and nineteenth-century accretions—a nice piece of musical archaeology which, ironically, reveals the utter plainness of the Miserere when denied its familiar jewels, and sounds like an imposter when dressed up in even more garish baubles. For once, musicology seems doomed to failure; the richly communicative singing of King's remains for many an ideal impression of the piece, however far removed it may be from Allegri's intentions. On this new CD compilation the Miserere is accompanied by some classic Palestrina performances, still as fresh as when they were made a quarter of a century ago. Some tape hiss intrudes, but otherwise the sound is excellent. --- Gramophone [5/1989], arkivmusic.com

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire solidfiles zalivalka cloudmailru oboom

back

01. Alma redemptoris mater
02. Quam pulchri sunt gressus tui
03. Pulcrae sunt genae tuae
04. Tota pulchra es amica mea
05. Nigra sum, sed formosa
06. Regina coeli
07. Trahe me, post te
08. Veni, veni dilecte mi
09. Surge, propera amica mea
10. Descendi in hortum meum
11. Ave regina coelorum
12. Sicut lilium inter spinas
13. Osculetur me
14. Ecce tu pulcher es
15. Sicut lilium inter spinas
16. Salve Regina

The King's Singers:
David Hurley countertenor
Timothy Wayne-Wright countertenor
Julian Gregory tenor
Christopher Bruerton baritone
Christopher Gabbitas baritone
Jonathan Howard bass

The King’s Singers return with a new early-music recording that features 12 of Giovanni Pierluigi da Palestrina’s beautiful polyphonic choral settings of the ‘Canticum Canticorum’ – better known as ‘The Song of Songs’ or Canticles, a collection of poetry in the Hebrew Bible on the theme of the joy and ecstasy of human love. These settings are framed by four of Palestrina’s Marian motets, works in honour of the Virgin Mary which he composed throughout his life.

This recording is the first to feature performances from the group’s new tenor Julian Gregory. --- kingssingers.com

Giovanni Pierluigi da Palestrina is almost exclusively associated with sacred music. That is understandable as he was in the service of the church all his life. However, he also wrote madrigals: in 1555 he published a book with four-part madrigals, followed many years later by two books of madrigals for five and four voices respectively (1581, 1586). This part of his output receives little attention; the discography includes only one disc exclusively devoted to his madrigals. The motets on texts from the Song of Songs (Canticum Canticorum as they are called in the Vulgate, the Latin translation of the Bible) are pretty close to the madrigals as far as their stylistic features are concerned. The King's Singers have recorded a selection of eleven motets from the collection of 29 which he published as his fourth book of motets in 1584. One of the texts appears twice: the first setting performed here is from the first book of motets of 1569.

"Framing the twelve (sic) settings of Canticum Canticorum on this recording are four Marian motets by Palestrina", David Hurley writes in his liner-notes. These are the classical four Marian antiphons which have been set so often throughout history. Referring to the Salve Regina he states that "[the] fervour of this setting matches the passion of the settings of words from the Song of Songs." It is regrettable that he makes no attempt to connect the two categories represented here and also misses the point in regard to the meaning of the Song of Songs motets.

The connection between them is the veneration of the Virgin Mary. Since ancient times the love poetry of the Song of Songs has been given a spiritual interpretation. In his notes to Pro Cantione Antiqua's recording (Hyperion, 1994) Bruno Turner writes: "But the Songs must be seen, and the music heard, in the context of an age of Roman Catholic Counter-Reformation fervour, an age devoted by Roman authority to the triumph of the Virgin as well as her tenderness. The Spouse of the allegory is not only the Church or the individual soul but the bride who is represented by Our Lady the Mediator and by the Queen of Heaven, the One arrayed for battle, even the woman of the Apocalypse; certainly to Palestrina's contemporaries, the Virgin who won the Battle of Lepanto (1571) and for whom the Papacy instituted the Feast of Our Lady of Victory." This also explains that Palestrina dedicated this collection to Pope Gregory XIII. "[This] particular Pope was a worldly man", Hurley writes. That may be true but in respect to these motets his previous mention of Gregory's active support of the Counter Reformation is far more relevant. After all, the status of the Virgin Mary was one of the main points of difference between Protestants and Catholics.

From that angle the mixture of motets on texts from the Song of Songs and the four Marian antiphons makes much sense. They are certainly connected in the passion with which they are set - as far as one can expect that from Palestrina who certainly is not the most 'passionate' of composers - but more significantly they emphasize the importance of the Virgin Mary in the Roman Catholic doctrine. They represent two sides of the church, as it were. The antiphons were part of the liturgy: they are a fixed part of the Liturgy of the Hours. The Song of Songs motets, on the other hand, are not suitable for liturgical use but were rather written for domestic performance. The fact that no fewer than eleven editions of this collection are known attests to their popularity.

These differences should also be reflected in the performances and maybe even the venues where they are recorded. The acoustic is pretty intimate and that suites the motets rather well. The same goes for the 'madrigalistic' approach of The King's Singers. As a result the texts are clearly audible, despite the largely polyphonic texture of these motets. There is not much text expression here and the performers don't try to underline some elements in the text. However, there are some traces of contrast between the motets, for instance the jubilant nature of Tota pulchra es - "All fair thou art" which inspired to this disc's title - and the ensuing Nigra sum: "I am black but beautiful" which is dominated by dark colours.

I would have liked a little more reverberation in the Marian antiphons. Their liturgical character doesn't come off that well; I also think that this kind of music requires a slightly larger ensemble than one-to-a-part as we have here. I also would prefer a more 'liturgical' style of singing where the words would get more weight.

I just wonder which audiences a disc like this aims at. Those who want to have a recording of the complete Song of Songs motets can choose from several interpretations, for instance Pro Cantione Antiqua but also the Hilliard Ensemble (Virgin Classics), Magnificat (Linn Records), the Ensemble William Byrd (Jade) and the Capella Dvcale Venetia (CPO). There are probably more. This disc may appeal mainly to admirers of The King's Singers. They will certainly not be disappointed. ---Johan van Veen, musicweb-international.com

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

1. Deh, or foss'io, madrigal for 4 voices 	
2. S'il disse mai, madrigal for 4 voices 	
3. Queste saranno bene, madrigal for 4 voices 	
4. Che non fia che giammai, madrigal for 4 voices 	
5. Rime, dai sospir miei, madrigal for 4 voices 	
6. Lontan della mia diva, madrigal for 4 voices 	
7. Nessun visse giammai, madrigal for 4 voices 	
8. Là ver l'aurora, madrigal for 4 voices 	
9. Chiaro, sì chiaro, madrigal for 4 voices 	
10. Chi estingueràra il mio foco, madrigal for 4 voices 	
11. Donna, vostra mercede, madrigal for 4 voices 	
12. Già fu chi m'ebbe cara, madrigal for 4 voices 	
13. Che debbo far, madrigal for 4 voices 	
14. Ovver de'sensi è priva, madrigal for 4 voices 	
15. Amor, fortuna, madrigal for 4 voices 	
16. Work(s): Ne spero i dolci dì tornin'indietro 	
17. Gitene liete rime, madrigal for 4 voices 	
18. Mentre a le dolce, madrigal for 4 voices 	
19. Amor, che meco, madrigal for 4 voices 	
20. Ecc'ove giunse, madrigal for 4 voices 	
21. Vaghi pensier, madrigal for 4 voices 	
22. Mentre ch'al mar, madrigal for 4 voices 	
23. Quai rime fur si chiari, madrigal for 4 voices 	
24. Ecc'oscurati i chiari raggi, madrigal for 4 voices: Sestina. Ecc'oscurati i chiari raggi al Sole 	
25. Ecc'oscurati i chiari raggi, madrigal for 4 voices: Sestina. Rara beltà non mai più vista in terra 
26. Ecc'oscurati i chiari raggi, madrigal for 4 voices: Sestina. Questo doglioso stil colmo di pianto 
27. Ecc'oscurati i chiari raggi, madrigal for 4 voices: Sestina. Mai fu più crud'o spietata morte 
28. Ecc'oscurati i chiari raggi, madrigal for 4 voices: Sestina. Privo fi fed'oltra l'usato corso 
29. Ecc'oscurati i chiari raggi, madrigal for 4 voices: Sestina. Ma voi fioriti e honorati colli

Gloria Banditelli - mezzo-soprano
Claudio Cavina – alto
Sandro Naglia – alto
Giuseppe Maletto – tenor
Daniele Carnovich - bass

Concerto Italiano
Rinaldo Alessandrini – conductor

The First Book of madrigals for four voices was, chronologically speaking, the second work Giovanni Pierluigi da Palestrina published. It was printed in 1555 in Rome by the publishers and printers Valerio and Luigi Dorico. On the title page the composer refers to himself as “Cantore nella Capella di N[ostro] S[ignore]”, a title which in Rome at that time represented the highest position to which a musician might aspire. Pierluigi’s appointment as cantore pontificio officially took place on 13 January 1555 following the explicit wishes of Pope Giulio III, his benefactor. “absque ulo [sic] examine […] et absque consensus cantorum…”: the pontiff had thus imposed this decisions upon the Collegio dei cantor, disregarding the rules set down by the constitutions of the chapel and overriding the norms which he himself had established in the Motu proprio of 5 August 1553. The precise date of publication of this work is unknown, but the information on the title page, as well as a series of events which took place in the first half of that year, alow us to restrict the period.

On 30 July 1555, Palestrina was fired from the papal chapel on orders from Paul IV, ex-Cardinal Giovanni Pietro Garafa, who had become pope on 23 May following the deaths of Giulio III and his short-lived successor Marcello II Cervini. The pontiff, in a series of inspections aimed at correcting tic practices of the clergy and the institutions, disapproved of the presence of married singers in the chapel, since it broke the fundamental rule of celibacy which was a requirement of their participating legitimately in the liturgical rites even as readers of sacred texts. Paul IV, determined to apply rigorously the regulations of the papal chapel, issued at that time a Motu proprio by means of which be ordered the dismissal from the chapel of all cantor “uxorati”. The brief duration of Palestrina’s appointment as cantor pontificio thus allows us to limit the date of publication of his primo Libro di Madrigali to between 13 January and 30 July 1555. Nonetheless, we cannot establish whether Pierluigi was able to publish the madrigals in this period, or if the collection was instead issued later, after his dismissal. --- Giuliana Gialdroni , musicologicus.blogspot.com

download: uploaded yandex mediafire 4shared mega filecloudio nornar download

back

Mass For Pentecost 
1 	Kyrie 	5:08
2 	Gloria 	6:50
3 	Credo 	9:23
4 	Sanctus 	4:06
5 	Benedictus 	2:35
6 	Agnus Dei I 	2:41
7 	Agnus Dei II 	2:57
Motets
8 	Super Flumina Babylonis 	4:32
9 	Exsultate Deo 	2:32
10 	Sicut Cervus 	3:23
11 	O Bone Jesu, Exaudi Me 	3:43
12 	Dum Complerentur Dies Pentecostes 	6:41

Christ Church Cathedral Choir:
Alto Vocals – Andrew Olleson, Peter Gritton, Stephen Carter, Stephen Taylor
Bass Vocals – David Guest, David Le Monnier, Edward Wickham, Patrick Ardagh-Walter,
 Paul Martin, Tim Bennett
Tenor Vocals – Andrew Carwood, Ciaran O'Keefe, Edwin Simpson, Matthew Vine
Treble Vocals [Chorister] – Angus McCarey, Benjamin Fitzgerald, Benjamin Hughes,
 George Godsal, Gulliver Ralston, James Gorick, James Ridgeway, James Weeks,
 Kieron Maiklem, Martin Illingworth, Michael Forbes, Michael Speight, Peter Weir,
 Ranjeet Guptara, Thomas Morris, William Smith

Stephen Darlington -  director

Recorded November 16 & 17, 1987 at Dorchester Abbey, Oxfordshire.

Besides the fine performance of the Mass for Pentecost (Missa Dum complerentur) offered on this disc, listeners will find four of Palestrina's most popular and beloved motets: Super flumina Babylonis, Exsultate Deo, Sicut cervis, and O bone Jesu, exaudi me. If you're looking for an introduction to this great Italian Renaissance master, this recording serves the purpose very well, not in the least because it provides an interesting look at the common practice called "parody." This technique involved the composition of a work such as a Mass using thematic material from another source, in this case a motet--Dum Complerentur which is also included at the end of the program. The men and boys of Christ Church Cathedral Choir really have their hearts in these pieces, but the Super flumina Babylonis and Sicut cervis are exemplary--and exceptionally lovely. --David Vernier, amazon.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire cloudmailru uplea ge.tt

back

01. Ensemble Organum, Introitus - Viri Galilaei
02. La Chapelle Royale, Missa Viri Galilaei - Kyrie
03. La Chapelle Royale, Missa Viri Galilaei - Gloria
04. Ensemble Organum, Alleluja - Ascendit Deus in jubilatione, Dominus in Sina in sancto
05. La Chapelle Royale, Missa Viri Galilaei - Credo
06. Ensemble Organum, Offertorium - Ascendit Deus in jubilatione
07. Ensemble Organum, Praefatio - Vere dignum et justum est
08. La Chapelle Royale, Missa Viri Galilaei - Sanctus
09. La Chapelle Royale, Missa Viri Galilaei - Benedictus
10. La Chapelle Royale, Missa Viri Galilaei - Agnus Dei I
11. La Chapelle Royale, Missa Viri Galilaei - Agnus Dei II
12. Ensemble Organum, Communio - Psallite Domino
----
13. La Chapelle Royale, Viri Galilaei - motet
14. Magnificat primi toni

Ensemble Organum:
Tenors: Patrick Aubailly, Michel Gauvain, Frédéric Richard
Baritones: Malcolm Bothwell, Marcel Pérès
Basses: Christian Barrier, Antoine Sicot.

Ensemble Vocal Europeén de la Chapelle Royale:
Sopranos: Delphine Collot, Monika Frimmer, Elisabeth Rave, Dominique Verkinderen
Altos: Paul Gerhardt Adam, Pascal Bertin, Betty Van Den Berghe, Martin Van Der Zeijs.
Tenors: Dantes Diwiak, Andreas Schulist, Harry Van Berne, Nicholas Hadleigh Wilson
Basses: Kees Jan De Koning, Peter Kooy, Adrian Peacock.

Philippe Herreweghe, director.

This gorgeous Mass is based on Palestrina's Ascension Day motet Viri Galilei (included on the disc). The Mass uses standard "parody" technique: passages and motifs from the model (notably the swirling scales in the two soprano parts) are extended and repeated in the Mass; the opening measures of the motet begin each movement, scored differently in each instance. Philippe Herreweghe doesn't reconstruct an entire Ascension Day service, but he does have the chant specialists of Ensemble Organum provide the major chant items proper to the feast. (They sing with more concern for sounding "beautiful" than they have before or since.) The disc closes with a glorious Magnificat, verses alternating between plainchant (done by Ensemble Organum in parallel fifths) and soaring polyphony. ---Matthew Westphal, amazon.com

This is a really wonderful disc of one of Palestrina's great mass settings plus the motet on which he based it, and a Magnificat. I have loved this recording ever since I first heard it on Radio 3 in the early 1990s and I am delighted that it's available as a budget reissue.

La Chapelle Royale under Phillippe Herreweghe sing superbly. They pitch somewhat lower than, say, the Tallis Scholars and record in a very resonant acoustic. Although they therefore aren't quite as pure and precise as the Tallis Scholars, they have a very rich, warm sound which is wholly beguiling, and their blend, fluency and continuity of line do this beautiful music proud.

The mass is performed with plainchant Propers between Palestrina's polyphonic settings. The plainchant is sung by Ensemble Organum, who are simply fantastic. They have a restrained but muscular sound (very striking as they open the disc with the word "Viri") which goes brilliantly with the polyphony and works real magic in the Magnificat primi toni. This is, as was usual, an "alternatim" setting in which alternate verses are sung to plainchant and polyphony, and the constant interchange between the two beautiful and contrasting sounds makes it something really special.

At this price the disc is a colossal bargain for one of the finest Palestrina recordings I know. Recommended in the highest terms. --- sidsclassicalreviews.blogspot.com

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire rockfile zalivalka cloudmailru oboom uplea

back

1 - Alma Redemptoris mater, motet (unspecified of 4)
2 - Canite tuba, motet for 5 voices (from Motets Book II for 5, 6, & 8 voices)
3 - Deus tu conversus, offertory for 5 voices (from Complete Offertories)
4 - Hodie Christus natus est, for 4 voices
5 - Missa Hodie Christus natus est, for 8 voices - Kyrie
6 - Missa Hodie Christus natus est, for 8 voices - Gloria
7 - Missa Hodie Christus natus est, for 8 voices - Credo
8 - Missa Hodie Christus natus est, for 8 voices - Sanctus
9 - Missa Hodie Christus natus est, for 8 voices - Bendictus
10 - Missa Hodie Christus natus est, for 8 voices - Agnus Dei
11 - O magnum mysterium, motet for 6 voices (from Motets Book I)
12 - Tui sunt caeli, offertory for 5 voices
13 - O admirabile commercium, motet for 8 voices
14 - Christe redemptor omnium, hymn for 6 voices
15 - Magnificat, Tone 1, (even) for 5 voices (undated, H XXVII 147)

Westminster Cathedral Choir
Martin Baker (conductor)

Although the "big work" here is the Christmas mass Hodie Christus natus est, the biggest musical thrills (if such a word can be used in this context!) come from the various motets, particularly O magnum mysterium, Tui sunt coeli, O admirabile commercium, and Christe, redemptor omnium. These motets show Palestrina at his most refined and concise, artfully spinning and expertly weaving lines of polyphony as sublime as anyone has ever conceived. The Choir of Westminster Cathedral is as well versed in this music as any modern choir could be, and the performances are not only accurate and musically sound but are charged with an enthusiasm that we don't often hear in today's renditions of ancient church music. Some listeners will object to the extremely bright sound quality, which at times borders on harshness, but this is typical of recordings made in this venue and seems to be a reflection of the space rather than any engineering decision. Palestrina and Christmas choral music fans will glean hours of pleasurable listening from this generously timed (78-minute) program, whose repertoire fills yet another gap in the ever-growing recorded catalog focusing on this great and timeless Renaissance master. -----David Vernier, ClassicsToday.com

Martin Baker’s first disc of Palestrina with Westminster Cathedral Choir (CDA67353, released in January of this year) was highly praised across the world [my favourite quote being ‘Palestrina’s mellifluous counterpoint resonates like whipped cream in the cathedral acoustics ... Delicious’ (The Scotsman)]. Here follows another delicious disc of Palestrina, this time dedicated to Christmas, the main work being the stunning Missa Hodie Christus natus est—one of Palestrina’s most popular works.

What better way to encapsulate the spirit of Christmas than with works of such devotional beauty, all sung with Westminster Cathedral Choir’s customary finesse and atmospheric reverence. --- hyperion-records.co.uk

download: uploaded filecloudio anonfiles yandex 4shared solidfiles mediafire mega binge

back

1. Osculetur me osculo oris sui
2. Trahe me post te
3. Nigra sum sed formosa
4. Vineam meam non custodivi
5. Si ignoras te, o pulchra
6. Pulchrae sunt genae tuae
7. Fasciculus myrrhae dilectus meus
8. Ecce tu pulcher es
9. Tota pulchra es, amica mea				play
10. Vulnerasti cor meum
11. Sicuit lilium inter spinas
12. Introduxit me rex in cellam
13. Laeva eius sub capite meo
14. Vox dilecti mei
15. Surge, propera, amica mea
16. Surge amica mea, speciosa mea
17. Dilectus meus mihi
18. Surgam et circuibo civitatem
19. Adiuro vos, filiae Hierusalem
20. Caput eius aurum optimum
21. Dilectus meus descendit					play
22. Pulchra es amica mea
23. Quae est ista quae progreditur
24. Descendi in hortum meum
25. Quam pulchri sunt gressus tui
26. Duo ubera tua
27. Quam pulchra es, et quam decora
28. Guttur tuum sicut vinum optimum
29. Veni, dilecte mi

Stephen Roberts (Baritone),
James Griffett (Tenor), 
James Bowman (Countertenor), 
Andrew Carwood (Tenor), 
John Tyson (Countertenor), 
Ian Partridge (Tenor), 
Adrian Peacock (Bass), 
Charles Brett (Countertenor), 
Joseph Cornwell (Tenor), 
Michael George (Bass),
Adrian Peacock (Bass).

Pro Cantione Antiqua
Bruno Turner – conductor

Palestrina dedicated his Fourth Book of Motets, from which the Canticum Canticorum Salomonis is taken, to his patron, the reforming Pope Gregory XIII, who commissioned him to revise and reform the Roman chant books.

However, there's good reason to suppose these erotically spiritual motets, which are far too polyphonic and too artistic for use in the Pope's service, were in fact written to be sung in the devotional gatherings initiated by (Saint) Phlip Neri in Rome in the 1560s and 1570s. The singers would have been Palestrina's male colleagues from the Vatican choirs. Palestrina had an entrepreneurial side and issued these and other motets in printed form in 1584, for the use of confraternities of musical taste hither and yon. The texts in Latin, from the Song of Solomon, would have been comprehensible to such gentlemen singers, and would have required an allegorical interpretation.

Pro Cantione Antigua has staked a certain ownership to the works of Palestrina as their foremost repertoire. This is a richly-textured performance, and I feel guilty awarding it less than five stars. The performance of the same motets by the Hilliard Ensemble, however, is more to my taste. Pro Cantione has chosen to sing these intricate miniatures as a choir, two voices on a part; the result gets muddy at times and the flawless tuning of the Hilliards is not equaled by Pro Cantione. The tempi are somewhat too uniform and the dynamics tend to be limited to abrupt movements from mezzoforte to forte. On the plus side, the ten male singers match very nicely in vocal timbre, with individually luscious voices. Still, if you don't intend to own two CDs of these sumptuous devotional madrigals, the Hilliard Ensemble is the better choice.

download: uploaded yandex 4shared mediafire solidfiles mega filecloudio nornar ziddu

back

MISSA L'HOMME ARMÉ 5vv
1. Introitus: Ecce advenit dominator Dominus			play
2. Kyrie
3. Gloria
4. Graduale: Omnes de Saba venient
5. Credo
6. Offertorium: Reges Tharsis
7. Sanctus & Benedictus
8. Communio: Vidimus stellam
9. Agnus Dei

MISSA ASSUMPTA EST MARIA
10. Introitus: Gaudeamus omnes in Domino
11. Kyrie
12. Gloria
13. Graduale: Propter veritatem							play
14. Credo
15. Offertorium: Assumpta est Maria
16. Sanctus & Benedictus
17. Communio: Optimum partem
18. Agnus Dei

PRO CANTIONE ANTIQUA
Counter tenors: Charles Brett, Timothy Penrose, Ashley Stafford
Tenors: Wynford Evans, James Griffett, Ian Partridge
Basses: Michael George, Gordon Jones, Christopher Keyte, Stephen Roberts
Mark Brown, conductor

Recordings by the pioneering Pro Cantione Antiqua are increasingly becoming collector's items for the cognoscenti. These performances of Palestrina Masses form a superb set of reference recordings of this seminal composer of the Seconda Prattica - if I may use Monteverdi's term. They have a place in the library of anyone with a serious interest in 16th century Renaissance music.

As an early music all male choir the Pro Cantione Antiqua very often remain unsurpassed in the excellence of their interpretation of Renaissance polyphony. At times they even put the Tallis Scholars quite in the shade. The Missa Papae Marcello here is perhaps as good a performance I have yet to hear, and is definitely my reference recording. The blend and balance of voices and above all their phrasing seem perfectly suited to the exquisite refinement characteristic of the 'Palestrina style'.

The works found on this 5 CD set are:

Missa Assumpta Est Maria
Missa Papae Marcelli
Miss Aeterna Christa Munera
Missa L'homme Armé (4 vocum)
Missa Brevis
Missa 'Lauda Sion'
Super Flumina Babylonis
Sicut Cervus
Lamentations of Jeremiah, Book IV

In due course I imagine that some of their recordings will emerge from the original record labels that made them, but that may take years. In the meantime small independent releases such as this of archive recordings are highly welcome. Regis seems to be another label issuing old Pro Cantione Antiqua recordings, so even if this issue from Brilliant becomes unavailable there is an alternative.

The sound quality here is also excellent and as acquiring the set doubled up on the recording of the Missa Papae Marcello, I can say that these transfers represent a substantial improvement on an old 1987 issue I have owned for many years. The soundstaging is wider, and the focus much cleaner, with successful removal of the gritty glassiness of many late first generation 1980's digital issues. Recording dates have unfortunately been omitted but I believe all of these recordings were recorded in the late 1980's and indeed all them are fully digital. I do know for certain that the Missa Papae Marcello here was recorded between January 31 to Feburary 1st, 1987 at St Alban's Church, London.

The only drawback on these issues is that liner notes are absent - except for the sung text of works - so you might want to find a good book on Palestrina's music to help fill in details to the background behind the compositions. I find really decent liner notes are a rarity in any case and so getting more in depth discussion elsewhere is always preferable.

All in all this is a remarkable bargain that anyone in-the-know about these recordings will snap up. If the Pro Cantione Antiqua are new to you and you have an interest in Palestrina then you are in for a quite a treat. ---Sator, amazon.com

download: uploaded yandex 4shared mediafire solidfiles mega filecloudio nornar ziddu

back

Lamentationes Jeremiae Prophetae

Feria V in coena Domini
1. Lectio I
2. Lectio II
3. Lectio III

Feria VI in Parasceve
4. Lectio I
5. Lectio II
6. Lectio III						play

Sabbato sancto
7. Lectio I
8. Lectio II
9. Lectio III

PRO CANTIONE ANTIQUA
Countertenors: Timothy Penrose, Ashley Stafford
Tenors: James Griffett, Neil Jenkins, Ian Partridge
Basses: Michael George, Christopher Keyte, Stephen Roberts
Bruno Turner, conductor

Palestrina is a composer who lives on in the minds of the general music-loving public, primarily through church services and community choral concerts, and of course, recordings by premiere touring star vocal ensembles. Usually, when we hear something of this composer live, it's as part of a larger mixed program, along with many other composers who wrote for this kind of setting.

So sometimes, poor Palestrina gets a bit lost in the mix, as one more Renaissance composer who specialized in vocal counterpoint, and wrote some lovely music for a Sunday afternoon service. That's easy to have happen, since that particular era was rife with brilliant choral music to go with such an occassion, and by so many great masters (Byrd, Lassus, Tallis, etc.). So what makes this guy so special within that kind of company?

To answer this, I would first paraphrase a writer I once came across (the name of whom, sadly, I cannot remember) who seemed to really put his finger on what Palestrina's style of vocal writing was about. He said, in effect: This particular composer was really reviving a form of sacred vocal music that was already quite old when he came along. That music was Gregorian Chant. While his brilliant and innovative contemporaries were composing vocal works of great harmonic and rhythmic complexity, and embracing so many of the colorful compositional techniques of the newer secular/instrumental movements going on at the time, Palestrina kept to a more singular type of vision. He took the basic style of Gregorian chant in all its simplicity of expression, and economy of means, and found a way to 'polyphonize' it without disturbing those very elements that made it work so well as a form of "unison" singing for so many centuries.

After I read this very interesting and seemingly insightful commentary, I pulled out my copy of the Pro Cantione Antiqua singing Palestrina's "Missa Aeterna Christa Numera", and gave it another listen. From the the opening lines of the Kyrie, I immediately got the same impression that the writer was trying to convey, and that was of a kind of unfettered purity, simplicity, and emotional directness that is unique to Gregorian Chant. In fact, the whole thing sounded to me like several monks starting their chants at different times, and singing in different registers, and making the whole thing sound almost IMPROVISED! Some of the more angular archaic church modes are done away with here, and the melodic and harmonic movement has a much more 'contemporary' ring to it, right down to the IV-V-I cadences, and liberal use of major 3rds, but the overall sense and 'flavour' of early European chant is completely intact, and comes through with real authenticity in these wonderful performances.

That improvisational sense I spoke of informs the sounds heard on this recording, and definitely gives me the feeling of a music so direct and 'unstylized', that I would almost hesitate to even catigorize it as a "Classical Album". It belongs with the chants and liturgical musics that predate any contemporary notions of style, and as such, could take its place beside any beautifully sung devotional music from any place or time. --- Michael Paull "musicscribbler"

download: uploaded yandex 4shared mediafire solidfiles mega filecloudio nornar ziddu

back

MISSA BREVIS
1. Introitus: Puer natus est nobis
2. Kyrie
3. Gloria
4. Graduale: Viderunt omnes
5. Credo
6. Offertorium: Tui sunt coeli
7. Sanctus								play
8. Benedictus
9. Communio: Viderunt omnes
10. Agnus Dei

MISSA LAUDA SION
11. Introitus: Cibavit eos
12. Kyrie
13. Gloria
14. Graduale: Oculi omnium
15. Credo
16. Offertorium: Sacerdotes Domini
17. Sanctus
18. Benedictus							play
19. Communio: Quotiescumque manducabitis
20. Agnus Dei

21. SUPER FLUMINA BABYLONIS

22. SICUT CERVUS

PRO CANTIONE ANTIQUA
Countertenors: Michael Chance, Timothy Penrose
Tenors: James Griffett, Ian Partridge
Basses: Michael George, Gordon Jones, Stephen Roberts
Mark Brown, conductor

PALESTRINA=PURITY OF COMPOSITION WHILE PRO CANTIONE ANTIQUA=PURITY OF SOUND!!!

This 5 disc set is a treasure trove of some of the lovliest music of Palestrina that you will ever hear in one Box Set!! CD 1: Missa L'Homme Arme - Missa Assumpta Est Maria.CD2: Lamentations fo Jeremiah the Prophet. CD3: Missa Brevis-Missa Lauda Sion-Super Flumina Babylonis-Sicut Cervus.CD4: Missa Aeterna Christi Munera-Missa L'Homme Arme,4vv. CD5: Missa Papae Marcelli-Stabat Mater.

It is interesting to note that Palestrina wrote in the dedication of his "First Book of Motets" what he considered to be the function of music in the Church: "The function of music in the Church is the seasoning of devotion by the added delight of sweetness of song and variety of harmony." Thus he describes for us all how we should perceive his music. Therefore, the qualities are: purity, clarity,comparative brevity and simplicity, polyphony used with judicious reserve and the banishing of secular elements from his music. And I believe that these five discs all speak to Palestrina's dedication.

Pro Cantione Antiqua of London was founded in the 1960's by tenor James Griffett, countertenor Paul Esswood and conductor/producer Mark Brown. From the beginning they have been closely associated with conductor and musicologist Bruno Turner. The are probably the leading British performing group in a cappella music, especially Early Music, prior to the Tallis Scholars. Though principally an all-male group, they have occasionally supplemented with female voices when appropriate (example: 1978 recording under Phillip Ledger to accompany 'The Oxford Book of English Madrigals).

Pro Cantione Antiqua perform in a strong straightforward style with not too much overpointing. Their delivery is accurate and efficient, always musical and shapely. They are here recorded in suitable acoustic; not too closely miked and the acoustic is not overwhelming but the recording remains atmospheric, giving something of the feel of the church

It is unfortunate that no liner notes are included in this package, but there is a booklet that includes the contents of each, that is the Latin Text and the performers which vary slightly from disc to disc. Mark Brown conducts four of the five discs and Bruno Turner the remaining one. There is an assortment of sixteen singers total, and the number vary from five to to nine per disc. The performers are: C. Brett, T. Penrose, A.Stafford, M. Chance (countertenors) -W. Evans, J.Griffett,I.Partridge,N.Jenkins, Lewington (tenors)- M.George, G.Jones, C. Keyte, S.Roberts, B.Etheridge, A. Peacock, D.Beavan (basses). The sound, however, remained solid and strong and clear, so the slight adjustments in personnel were not detrimental to the overall excellence. --- George Peabody "Ariel"

download: uploaded yandex 4shared mediafire solidfiles mega filecloudio nornar ziddu

back