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Product Information
Peres, Ensemble Organum From Chant to Polyphony (Von Bingen, etc.)
 
Artist: Peres, Ensemble Organum
Item number: AF016
Category: Other Western
Chant Type: Various
Language: Latin
Label: Harmonia Mundi
Period: Medieval
Length: 3'12'23
Release date: 1996
Read a description or review of this item.

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Track Listing
You may need RealPlayer or Windows Media Player to listen to the music samples below.
  1. De Machaut-Introit: Suscepimus Deus misericordiam tuam MP3  
  2. De Machaut-Kyrie MP3  
  3. De Machaut-Gloria MP3  
  4. De machaut-Graduel  
  5. De Machaut-Alleluia  
  6. De Machaut-Credo  
  7. De Machaut-Offertoire  
  8. De Machaut-Preface  
  9. De Machaut-Sanctus  
  10. De Machaut-Agnus Dei  
  11. De Machaut-Communion  
  12. Ide Machaut-te Missa est  
  13. Ockeghem-Introit  
  14. Ockeghem-Kyrie  
  15. Ockeghem-Epistola  
  16. Ockeghem-Graduale  
  17. Ockeghem-Tractus  
  18. Ockeghem-Evangellum  
  19. Ockeghem-Effertorium  
  20. Ockeghem-Praefatio  
  21. Ockeghem-Sanctus  
  22. Ockeghem-Agnus Dei  
  23. Ockeghem-Communio  
  24. Ockeghem-Repons  
  25. Hildegard von Bingen  
Description    
Marcel Peresıs 3 CD set of three master composers of the Middle ages shows the development of western music from the 12th through 15th centuries. Beginning with new melodies composed by Hildegard in much the style of Gregorian chant, it continues through the early polyphonic writing of Machaut and the mature polyphony of Ockeghem. The recording of Lauds (Morning service of the Roman Divine Office) for the feast of St. Ursula is an example of a liturgical celebration of Medieval invention. Hildegard von Bingen composed the antiphons, a hymn, and a responsory for this feast. This recording also includes the chanting of the entire psalms, the reading and responses to give a complete witness to this service of praise. It is sung convincingly by a choir of womenıs voices with Peresıs style of ornamentation and rhythmic interpretation of the melodies. The use of the deep chest voice and low register of the singers is particularly effective. The Machaut Mass of Our Lady is the earliest setting of the celebration of the Roman Eucharist in 4-voice polyphonic writing by a known composer. The grandeur and dignity of this setting makes it one of the most popular compositions of the Middle Ages. This recording is particularly valuable in that it combines the parts of the ordinary composed by Machaut with the Gregorian proper chants for the feast of the Purification of the Blessed Virgin. A Marian feast was chosen because Peresıs research indicates that the tenors of the Machaut Mass are taken from a Gregorian setting used on Marian feasts. This ensembleıs usual robust vocal performance and Peresıs characteristic ornamented style of singing chant are also used in the polyphonic movements of the Mass. Such interpretation makes this recording quite distinctive and interesting when compared with the more usual performances of Machaut which emphasize the suave movement of voices and ethereal vocal sounds.
ReviewBy: Joe Metzinger
The Requiem of Ockeghem is the earliest surviving polyphonic setting of the Mass for the Dead, possibly composed for the funeral of Charles VII in 1561. This setting incorporates the traditional Gregorian melodies in its rich counterpoint. Peres's restrained use of ornamentation and suave vocal style in this recording contrast greatly with his interpretation of Machaut in this same collection. Ockeghem did not provide settings for the Sanctus or Communion; in this recording, settings of these two movements are added by a later composer working in a similar style. Ockeghem uses the older texts from Psalms 23 and 42 for the chants between the readings; these are rarely heard since they were replaced by the more familiar Gradual and Tract after the Council of Trent. Again Peres includes all the readings and even the chant Preface to put the Sanctus in proper music context, so that the recording is a good witness of medieval liturgy. In all, this 3 CD collection provides a fine survey of medieval western music from post-Gregorian plain chant through late medieval polyphony. The excellent performances in complete liturgical context make this a valuable contribution to the recorded sacred music repertoire.
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