Par HARVEY JONATHAN. Predominantly hushed and serene, Plainsongs for Peace and Light proved to be Jonathan Harvey’s final work. It sees Harvey re-examining the very fundamentals of his craft – superimposing lines of plainsong, relishing the simple clash of note againstnote and creating rich, otherworldly sonorities through an elaborate use of canon. Harvey was a composer who always embraced and so…

Kantate Zum 1. Advent. Par BACH JOHANN SEBASTIAN. The opening chorus uses the first verse of the old plainsong hymn 'Veni redemptor gentium', which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an…

Kantate Zum 1. Advent. Par BACH JOHANN SEBASTIAN. The opening chorus uses the first verse of the old plainsong hymn 'Veni redemptor gentium', which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an…

Kantate Zum 1. Advent. Par BACH JOHANN SEBASTIAN. The opening chorus uses the first verse of the old plainsong hymn 'Veni redemptor gentium', which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an…

Kantate Zum 1. Advent. Par BACH JOHANN SEBASTIAN. The opening chorus uses the first verse of the old plainsong hymn 'Veni redemptor gentium', which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an…

Par NOURSE NANCY. Psalm 126 is a reading heard most frequently at the time of harvest. It is also particularly appropriate for the second Sunday of Advent or the fifth Sunday of Lent. The vocal line is reminiscent of mediaeval plainsong and is sung nonmetrically, with the flute often serving as both the accompaniment, as well as providing refrains at the ends of phrases. Psalm 126 is a reading hea…

Par SCULTHORPE PETER. Sculthorpe uses the Plainsong Requiem Mass as the source material for this work for Solo Cello, using the music to reflect the words of the Latin text. This is a most interesting concept, particularly so as the timbral and expressive qualities of the cello seem appropriate for this type of work (or influenced-type of work, at least). The cello has a very rich and warm tonal q…

Kantate Zum 1. Advent. Par BACH JOHANN SEBASTIAN. The opening chorus uses the first verse of the old plainsong hymn 'Veni redemptor gentium', which in the paraphrase by Martin Luther has become the most important Advent hymn of the Protestant Church. Bach introduces the traditional plainsong melody in the form of a French overture, here symbolizing the entry of the King of Heaven, thus creating an…

Aus: Selva Morale et Spirituale. Par MONTEVERDI CLAUDIO. The four-part 'Magnificat' presented in this edition is an alternatim setting - i. e. polyphony alternating with plainsong - and as such represents the conservative side of Monteverdi's output. / Hymnes et chorals / Répertoire / Choeur SATB (SAABar) et (Basse Continue)

Par MARTIN MATTHEW. This powerful work takes a well-known hymn tune from the Mainz Gesangbuch of 1661 (Stabat Mater) as its musical starting point, interweaving it through different textures and variations alongside the plainsong solemn tone Salve Regina. The work, which was written specially for The Sixteen, is through-composed but divided into three sections: Silence, Love; Grief, Patience; Pass…

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Par SHEPPARD JOHN. Edited by Nicholas Sandon Taverner and Tye are the predominant influences in these works. The 6-part Mass Cantate is taken from the Oxford partbooks. The source for The Western Wind Mass, The Frences Mass, the Mass Be not afraid, and the Plainsong Mass for a Mean, all in four parts, is the so-called 'Gyffard' partbooks (British Library Add. MSS 17802-5), which are now known to h…

Par FAURE GABRIEL. An a cappella setting for SATB of Gabriel Fauré’s famous Pie Jesu, taken from his Requiem. In Barnaby Smith’s arrangement the famous melody is framed at the start and end by atmospheric plainsong. As recorded by VOCES8./ Répertoire / Choeur SATB

Par CONSTAS ROBERT. This collection of various style chants and reflections for duet recorder is designed for church performance and other occasions requiring solemnity and quiet joy. Most arrangements are for alto and tenor, or soprano and tenor. They are all original compositions, except for two plainsong chants. The classic chants O Come, O Come Emmanuel and Of the Father's Love Begotten are es…