Fragments for the End of Time / Bagby, Rodenkirchen, Sequentia, - Raum Klang -

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Album Summary

Plancha, Alejandro Enrique : Fortis atque amara (after a Frankish sequence, 9th century)

Bagby, Benjamin : ...sin tac piqueme, daz er touuan scal (after the "Muspilli" fragment, 9th century)

Rodenkirchen, Norbert : Unsar trohtin hat farsalt (after the "Freisinger Petruslied", Bavaria, late 9th century)

Bagby, Benjamin : Thes habet er ubar woroltring (after "De die Iudiciii" from the Gospel Book of Otfrid von Weissenbur

Rodenkirchen, Norbert : Adducentur (instrumental piece based on Frankish sequence melodies, 9th century)

Bagby, Benjamin : Geng imu tho the godes sunu (after the Old Saxon "Heiland", early 9th century)

Rodenkirchen, Norbert : Occidentana (instrumental piece based on a Frankish sequence melody, 9th century)

Barrett, Sam : Iudicii signum (after "The Prophecy of the Erythraean Sibyl", Aquitaine, 11th century)

Bagby, Benjamin : Scalam ad caelos (instrumental piece based on a Frankish sequence melody, 9th century)

Rodenkirchen, Norbert : Summi regis archangelo Michahel (after a sequence by Alcuin, early 9th century)

Ensemble

Sequentia (Early music ensemble)

Composers

Notes & Reviews:

From the time of Christianity's introduction into Central Europe until well after the end of the first millennium, medieval poets created a powerful body of sung poetry, often using obscure visionary images and language, to prepare listeners for the End of Days and the Last Judgement. Some of these images and words were borrowed from pre-Christian, Germanic sources. In this unique recording of largely unknown repertoires, Sequentia explores the musical world of these surprising and powerful apocalyptic texts - some of them surviving only as fragments - as they were heard by early medieval Christians in Aquitaine and in German-speaking lands.

"It's astonishing that such limited resources -- voice, flutes, and harps -- can so effectively convey the immensity of these visions of the world's end. This is a performance that should captivate any fan of very early music and one that could make converts of adventurous listeners new to this repertoire. WDR's sound is clear and nicely resonant, if a little close; listeners may need to bump down the volume a little to avoid being overwhelmed, but given the subject matter, being overwhelming may, after all, be the intent." -All Music Guide

Notes & Reviews:

Recording information: Kloster Walberberg bei Brühl (05/05/2008-05/07/2008).

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