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Orlando di Lasso (c.1530-1594): Magnificat / Johannes Euler, Daniel Schreiber, Henning Jensen, Michael Mantaj, Christian Schmidt

Album Summary

>Rore, Cipriano de : Da le belle contrade d'oriente, madrigal
>Lassus, Orlando de : Dalle belle contrade (sexti toni), magnificat for 5 voices, H. xvi/120
>Berchem, Jacquet de : O s'io potessi donna dir quel che nel mirar (I), madrigal for 4 voices
>Lassus, Orlando de : O s'io potessi (secundi toni), magnificat for 4 voices, H. xv/3
>Desprez, Josquin : Praeter rerum seriem, motet for 6 parts
>Lassus, Orlando de : Magnificat "Praeter rerum seriem"
>Sermisy, Claudin de : Il est jour dit l'alouette
>Lassus, Orlando de : Il est jour (secundi toni), magnificat for 4 voices, H. xiv/133
>de Reulx, Anselmo : S'io credessi per morte essere scarco, madrigal for 4 voices
>Lassus, Orlando de : S'io credessi per morte (tertii toni), magnificat for 4 voices, H. xvi/221
>Verdelot, Phillippe : Ultimi mei sospiri, madrigal for 6 voices
>Lassus, Orlando de : Ultimi miei sospiri (secundi toni), magnificat for 6 voices, H. xv/58
Ensemble Composers

Notes & Reviews:

Here, the polyphonic segments of the selected Magnificat compositions are based not on monophonic models but on preexistent compositions. Accordingly, here we have to do with parody works in which a procedure widespread in Masses is applied to the Magnificat. Forty of Lasso's 101 Magnificat compositions are to be assigned to this type. These imitation Magnificats in no way involve a simple retextualization of preexistent works. At the beginning Lasso mostly rather precisely draws on his particular model, but then he quickly departs from it. In the Magnificat on Rore's Da le belle contrade the beginning corresponds to the original, but soon thereafter it departs from it; the textual passage in Deo salutari is completely freely set. This procedure thus is somewhat similar to collage technique: the possibilities range from the use of whole passages to the relayering of blocks, paraphrasing, quotations of individual voices, free continuation, and so on. The result may safely be termed a new creation on the basis of a preexistent work. The sound developed by the Singphoniker may be described as cathedral and no less directly immediate.

Gramophone Magazine, March 2016
Die Singphoniker perform the secular madrigals with a joyful energy that broadens in the related Magnificat while retaining essential glimmers of mischief... overall the album is delightful.

Notes & Reviews:

Recording information: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014).



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Works Details

>Rore, Cipriano de : Da le belle contrade d'oriente, madrigal
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 3 min. 22 sec.
  • Period Time: Renaissance

>Lassus, Orlando de : Dalle belle contrade (sexti toni), magnificat for 5 voices, H. xvi/120
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 7 min. 45 sec.
  • Period Time: Renaissance

>Berchem, Jacquet de : O s'io potessi donna dir quel che nel mirar (I), madrigal for 4 voices
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 2 min. 25 sec.
  • Period Time: Renaissance
  • Written: 1538

>Lassus, Orlando de : O s'io potessi (secundi toni), magnificat for 4 voices, H. xv/3
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 5 min. 32 sec.
  • Period Time: Renaissance

>Desprez, Josquin : Praeter rerum seriem, motet for 6 parts
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 6 min. 56 sec.
  • Period Time: Renaissance

>Lassus, Orlando de : Magnificat "Praeter rerum seriem"
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 11 min. 25 sec.
  • Period Time: Renaissance

>Sermisy, Claudin de : Il est jour dit l'alouette
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 1 min. 5 sec.
  • Period Time: Renaissance

>Lassus, Orlando de : Il est jour (secundi toni), magnificat for 4 voices, H. xiv/133
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 6 min. 23 sec.
  • Period Time: Renaissance

>de Reulx, Anselmo : S'io credessi per morte essere scarco, madrigal for 4 voices
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 2 min. 24 sec.
  • Period Time: Renaissance
  • Form: Choral

>Lassus, Orlando de : S'io credessi per morte (tertii toni), magnificat for 4 voices, H. xvi/221
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 6 min. 30 sec.
  • Period Time: Renaissance

>Verdelot, Phillippe : Ultimi mei sospiri, madrigal for 6 voices
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 2 min. 48 sec.
  • Period Time: Renaissance

>Lassus, Orlando de : Ultimi miei sospiri (secundi toni), magnificat for 6 voices, H. xv/58
  • Ensemble: Die Singphoniker
  • Notes: Himmelfahrtskirche, München-Sendling (11/03/2014-11/05/2014)
  • Running Time: 7 min. 35 sec.
  • Period Time: Renaissance