Christophorus | CORAL (1 CD)

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16,95 €

Música vocal del tiempo de las catedrales

REF.: CHR 77420
EAN 13: 4010072774200
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el martes 01/12/2020

Extendiéndose a lo largo y ancho de toda Europa desde el siglo XII en adelante, los espacios impregnados de luz y misticismo que ofrecen las vastas catedrales góticas han sido fuente de inspiración para los grandes compositores. El Ensemble VocaMe reproduce este vínculo ancestral con los espacios sacros en este disco que combina melodías folclóricas con otras más arquetípicas del Codex Calixtinus.


Ernst Schwindl, dirección

Recording: March 2018, München (Germany)
Recording producer & digital editing: Michael Popp, Johann Bengen
Mastering: Peter Hecker
Executive producer & booklet editor: Joachim Berenbold
Cover painting: Mike Keilbach (www.mikekeilbach.de)

Música vocal del tiempo de las grandes catedrales

I. Tota pulchra es
Anonym (trad. korsisch, Text altchristlich ca. 4. Jh.)    3:25

II. Ave gloriosa
Anonym (Cividale 14. Jh.)    2:24
(Le polifonie primitive di cividale, Cod. LVI)

III. Sol sub nube latuit
Gautier de Châtillon (Notre-Dame-Schule, 13. Jh.)    4:03
Conductus zu Weihnachten (Florence Manuscript)

IV. Kyrie
Messe de Tournai (14. Jh.)    2:05

V . O Maria, ste lla maris
Adam de Saint-Victor (1112-1146)    4:08

VI. Benedicamus
Anonym (Codex Las Huelgas, 13. Jh. /    3:43 Codex Calixtinus, 12. Jh.)

VII. Baculi sollemnia
Anonym (Notre-Dame-Schule, 13. Jh.)    1:19
Conductus zum Fest der Beschneidung Christi (Manuscript F)

VIII. Gloria
Messe de Tournai (14. Jh.)    4:26

IX. Cuncti potens
Tuotilo von St. Gallen (9. Jh.)    3:05

X. Deus Pacis
Anonym (Notre-Dame-Schule, 13. Jh.)    2:29
Conductus Segensspruch (Manuscript F)

XI. Sanctus
Messe de Tournai (14. Jh.)    1:24

XII. Salve mater salvatoris
Gace Brulé / Adam de Saint-Victor (Text)    4:05

XIII. Orbis factor
Anonym (Graduale der Aliénor de Bretagne, 13. Jh.)    5:02

XIV. Benedictus
Messe de Tournai (13./14. Jh.)    1:32

XV. Audi pontus
Anonym (Codex Las Huelgas, 13. Jh.)    2:50

XVI. Agn us Dei
Messe de Tournai (14. Jh.)    1:57

XVII. Congaudeant catholici
Anonym (Codex Calixtinus, 12. Jh.)    5:31

XVIII. Circa mundi vesperam
Anonym (Notre-Dame-Schule, 13. Jh.)    1:39
Conductus zur Karwoche (Florence Manuscript)

XIX. Ite missa est
Messe de Tournai (14. Jh.)    2:13   

1 CD - DDD - 57:30

RESEÑA (La Quinta de Mahler)

Spreading throughout Europe from the 12th century onwards, the vast Gothic church spaces, like wonders of stone suffused with light, inspired the Ensemble VocaMe to produce this CD. The cathedrals, with their harmony of proportions and the perceived weightlessness of their architecture, were a lively hub of all paths and cultures, estates or social classes in the Middle Ages – a symbol of a divine abode and a unity of sound, light and space. 

Four singers with an enchanting fusion in unison and large spectra in polyphonic singing, along with the tonal colours of multi-instrumentalist Michael Popp, represent the musical extension and interpretation of the church space. 

The program consists of sacred music that evolved up to the Gothic period. At its centre is the Tournai Fair held in the 14th century. It is regarded as the earliest testimony of a mass which was entirely set to music, as evidenced by medieval manuscripts. The composer who wrote them remains unknown – but it is likely a compilation of pieces written by different composers: the composition techniques of individual movements are up-to-date and modern in some cases, while others use old techniques from earlier times, suggesting both different times and regions of origin.  

Sigrid Hausen, one of the singers: “Like the pillars of the cathedral, we picture the various movements of the famous mass of Tournai, and between these pillars, other spiritual songs from France, Spain and Germany resound, oscillating between popular piety and absorption, invocation and high spirituality...” 

During the Gothic period, Paris and its cathedral were one of the most important cultural centres from whence the new Gothic spirit spread throughout Europe. The intellectual elite of this period gathered around its large cathedral and many new compositions of the 13th century emanated from this environment, the so-called “Notre Dame School”. The compositions, like the Tournai Mass, are part of a high culture of music – music that could probably only be heard in the great cathedrals. VocaMe combines this with more folk-like or modest melodies from the Codex Calixtinus (book of Saint James) and the Las Huelgas Codex, among others. Thus, a Gothic soundscape emerges, ranging from simple monophony to the splendour of medieval polyphony. 

The focus is on the power of the human voice. The variable timbres of the singers and the instruments are like a musical interpretation of the colourful Gothic glass and rose windows. As in a laboratory, one disassembles, examines and purges, as restorers would do; the colours are refreshed, the exposed musical frameworks are experimented upon, the individual melody – sung solo or in unison – is arranged, accompanying structures are worked out, right up to the polyphonic unfurling of vocal magnificence, supplemented by instrumental comments and accents... The music permeates musicians and listeners, whereby resonances are created. 

The cathedral acts as a reflection of divine truth, its balance, harmony of proportions, weightlessness, light and colour... much like its music! 
We call beautiful such things that have bright colours. 
(Thomas Aquinas)

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