Perotin

Editorial Reviews
Amazon.com essential recording
It would be impossible to adequately describe the inherent haunting beauty of Perotin's music, or to fully detail its far-reaching influence in latter-12th-century France. The opening "Viderunt omnes" is a perfect illustration of the surprising vitality and highly charged sense of forward motion that can be obtained with relatively simple rhythmic impulses and harmonic devices. The male voices of the Hilliard Ensemble generate an electrifying resonance that vibrates everything in the room that's not solid or nailed down. You can literally feel this music, ringing with natural harmonics and set to body-moving rhythms. Yes, it's religious music, intended for lofty cathedral spaces; but it moves, and it's moving, and this recording gives it to you full blast. --David Vernier --This text refers to the Audio CD edition.

Tracks:

Viderunt omnes
Veni creator spiritus
Alleluia posui adiutorium
O Maria virginei
Dum sigillum
Isaias cecinit
Alleluia nativitas
Beata viscera
Siderunt principes

Amazon.com essential recording

It would be impossible to adequately describe the inherent haunting beauty of Perotin's music, or to fully detail its far-reaching influence in latter-12th-century France. The opening "Viderunt omnes" is a perfect illustration of the surprising vitality and highly charged sense of forward motion that can be obtained with relatively simple rhythmic impulses and harmonic devices. The male voices of the Hilliard Ensemble generate an electrifying resonance that vibrates everything in the room that's not solid or nailed down. You can literally feel this music, ringing with natural harmonics and set to body-moving rhythms. Yes, it's religious music, intended for lofty cathedral spaces; but it moves, and it's moving, and this recording gives it to you full blast. --David Vernier

Customer Reviews:

Absolutely stunning!.......2005-06-24

I am a musical novice. I was brought up listening to Pink Floyd, Santana, Joni Mitchell, and so on. I could not read music to save my life. Then someone introduced me to some Josquin Des Pres Rennaissance Polyphony - Missa L'homme arme sexti toni, Agnus Dei, to be specific - and I was totally hooked.

A few years later, someone introduced me to this CD, and I was even more taken. For some reason, I really like the Perotin-composed pieces - tracks 1, 3, 5, 7, 8 and 9. The Beata viscera (track 8) is other-worldly, and quite possibly one of the most beautiful things I've ever heard in my entire life!

You don't have to be a musical scholar to enjoy this - it's simply beautiful!

The Best Perotin Recording........2005-06-16

Perotin was a 12th century composer in Paris at the Cathedral of Notre Dame. We know almost nothing about him. Perotin (which is a diminutive of Peter) is described by a mid-thirteenth century student identified today as Anonymous IV who states that Perotin was the greatest composer of discant and better than another composer, Leonin, who came before him (it's not even 100% clear that they were at the Cathedral of Notre Dame). Now you know literally everything there is to know about Perotin.

Perotin composed organum--multi-voice compositions which move quickly over the traditional Gregorian chant which has been stretched out so that each note is very long. How long are they stretched out? Well, to give an example, the first track is over 11 minutes long!

The great thing about this music is that it takes you to another world--it is not supposed to be "emotive" or self-expressive. It represents pure, solemn, inspiration.

The Hilliard Ensemble has done a tremendous job in this recording. They make medieval music come to life, and their precision is fantastic.

Before organum, European music was essentially Gregorian chant--one melodic line with no rhythm or harmony. But with multiple voice parts, rhythm is necessary to keep the parts together. This also led to the creation of harmony. One can only imagine the wonder as the common medieval man wandered into the enormous Cathedral at Notre Dame, marveled at the stained glass, and heard this music. It must truly have been an inspiring occasion. This recording helps us partially reconnect with the wonder of this early music.

Magnificent.......2005-01-28

This is a great recording. Anyone who has the least interest in serious music should be familiar with Perotin's works, just as they would with all the "greatest" composers. This music is profound, sublime and truly beautiful. And, I might add, diametrically opposed and far superior to much of the "minimalist" music of today with which it is sometimes compared. The Hilliard Ensemble is incomparable.

the Perotin cd.......2003-04-10

I think tihs is simply the best Perotin cd you can have. The vocal quality is much more fluid (& knowledgeably middle-agey) than any other Perotin recordings I've heard.

An imaginative, sensitive recording........2002-10-18

Smooth, expressive, at times exquisite singing illuminates the music's richness and diversity. Music which is vast, erie, mysterious and yet pulsates with vigor and life, even lust for life. Such a marraige between the cosmic and the earthly is typical of the medeival artist and Perotin is one of the greatest. While the three anonymous works naturally show a less drastic and comprehensive spirit, they do reveal a few treasures of the great artistry of Notre Dame.

Leonin, Perotin: Sacred Music from Notre-Dame Cathedral

Average customer rating:

Nice
A Resounding Success
A Voice Feast from the Middle Ages

Leonin, Perotin: Sacred Music from Notre-Dame Cathedral

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009SQC8W
Release Date: 2005-07-19

Tracks:

Beata Viscera
Viderunt Omnes
Viderunt Omnes
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Organum) ... Notum Fecit ...
... Dominus ...
... Salutare Suum Ante Conspectum ...
(Plainchant) ... Justitiam Suam
(2-Part Organum) ...Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Organum) ... Notum Fecit ...
... Dominus ...
(Plainchant) ... Justitiam Suam
(2-Part Organum) ...Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Motet): Factum Est Salutare/
(4-Part Organum): Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(4-Part Organum): Notum Fecit ...
... Dominus ...
.... Salutare Suum Ante Conspectum ...
(Plainchant) ... Justitiam Suam
(Plainchant): Viderunt Omnes ...
(Organum After 9th-Century Scolica Enchiriadis)...
(4-Part Organum): Sederunt Principes
(4-Part Conductus): Vetus Abit Littera

Customer Reviews:

Nice.......2006-11-04

This is a very good example of Polyphony as practiced in Notre Dame .....

A Resounding Success .......2005-12-27

If one read the album notes but failed to read the fine print on the rear of the jacket, one would likely assume that this recording was made in Notre Dame Cathedral, which it was not. It was recorded at Chancelade Abbey, Dordogne, France. (http://chapaq.free.fr/Congregations/Chancelade.htm)

The notes mention the fact that both Leonin and Perotin worked at Notre Dame and were both responsible for the Organum. Organum is Polyphony used in liturgical music from the late 9th century to c. 1250.

I bring this up because few people, even musicologists, understand the vital roles that acoustics and harmonics(overtones)played in the composition of sacred music until about the Seventeenth Century.

The musicologist, Thurston Dart, summarizes the influence that reverberation has on composers:

"But even a superficial study shows that early composers were very aware of the effect on their music of the surroundings in which it was to be performed, and that they deliberately shaped their music accordingly. Musical acoustics can be roughly divided into resonant, room and outdoor. Plainsong is resonant music; so is the harmonic style of Leonin and Perotin .. Perotin's music, in fact, is perfectly adapted to the acoustics of the highly resonant cathedral (Notre Dame Paris) for which it was written...."
(Thurston Dart, musicologist, "The interpretation of Music",Hutchinson, London pp56-57 (1954).

I think, like most 'moderns', Mr. Dart has got it backwards -- these composers were mostly aware of the effect of the surroundings upon their music. Composers like Leonin and Perotin and others, notably Allegri (composer of the famous "Miserere"), were more interested on the effect that the music, augmented by the acoustics, had on the congregation, in terms of literally uplifting their spirits and assisting them in participating directly in what was called the "Communion of Saints".

E. Power Biggs said: "An organist will take al the reverberation time he is given, and then ask for a bit more.... Many of Bach's organ works are designed .... to explore reverberation. Consider the pause that follows the ornamented proclamation that opens the famous Toccata in D minor. Obviously this is for the enjoyment of the notes as they remain suspended in the air". Church music sounds wrong when performed in a small non-reverberant space with a lot of acoustic absorbent such as curtains and carpets."
(http://www.acoustics.salford.ac.uk/acoustics_world/concert_hall_acoustics/acoustics_music.html)

E. Power Biggs and the pundits at Salford University, assume that Bach and his predecessors valued acoustics and resonance primarily from the standpoint of aesthetics. In other words, they chose reverberant halls because their music sounded better when performed in them. I believe that they too are missing the point. Acoustic Archeologists, like John Reid and Paul Devereux are beginning to discover that ancient holy places, such as Stonehenge and also the Gothic Cathedrals, like Notre Dame de Paris, were actually tuned to resonate certain specific pitches or sound frequencies. They are or contain what are called "resonant chambers".

A resonant chamber essentially reflects and amplifies or "empowers" certain specific frequencies, particularly when they are sung by a chorus (or congregation) of "pure voices" in unison. These frequencies and the harmonies reproduced by the reverberations elicited certain specific emotional responses, such as awe and reverence, from the assembly. I'm sure that Leonin and Perotin were well aware of the marvelous acoustics of Notre Dame and structured their music to take full advantage of it.

After the invention of the printing press, increasingly more emphasis was placed on the written and spoken word. Music was no longer spontaneously created or improvised and less and more reverberant acoustics only served to muddle the words of the preacher or celebrant.

I'm guessing that the reason why the producer, Jeremy Summerly, chose not to record this music in its original home is because it now uses a P.A. or electronic audio system, which is more appropriate for the modern mostly-spoken Mass. Masses are undoubtedly still sung there but the voices are likely amplified and filtered by electronics. The addition of modern furnishings can also affect the acoustics.

Speaking of electronics -- it is now possible to accurately reproduce the acoustics of a particular space, like Notre Dame Cathedral, electronically. The acoustics of Notre Dame have already been captured and digitally reproduced, I believe, by the Japanese Yamaha Company. Unfortunately, I did not have that particular software program ("algorhythm") but, using other software, I was able to create my own semi-cavernous cathedral space.

What an awesome experience!

Even without the virtual cathedral enhancement, the sound is marvelous and the performance is excellent.

One more technical consideration -- this recording was recorded and edited at 24-bit resolution. Unlike recordings made at a lower bit-rate, the sound, particularly in the higher registers, is smooth and clean. I wish that Jeremy Summerly would record Allegri's "Miserere" in a space that is acoustically similar to the Sistine Chapel, using the same technology. I haven't heard a recording of this work where the vital higher harmonics are not badly distorted.

Tim O'Hanlon

A Voice Feast from the Middle Ages.......2005-07-23

Recorded and edited in 24 bit resolution, this Naxos recording is a joy to the ears. The performing voices are solid and the direction of Antony Pitts has a sometimes dramatic, majestic, tempo. The only reason I did not concede full 5 stars is because in the Middle Ages female voices for Lithurgy were almost unknown, and in this record there are two sopranos and an Alto. If you enjoy Early Music you will need this record, if you are a beginner this is an intelligent way to introduce you to Polyphony, a cornerstone of Western music.

Average customer rating:

Early Vocal Music at its Best
Superb Singing
Seeds Sown in Medieval Times Flower with a Contemporary Work

Stella Maris
Trio Mediaeval , Anonymous Notre Dame School , English Anonymous , Sungji Hong , Perotin , and English Polyphony
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AGK7HU
Release Date: 2005-10-10

Tracks:

Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Medieval Pieces Of The English And French Vocal Styles From The 13th And 14th Centuries
Missa Lumen De Lumine
Missa Lumen De Lumine
Missa Lumen De Lumine
Missa Lumen De Lumine
Missa Lumen De Lumine

Customer Reviews:

Early Vocal Music at its Best.......2007-05-14

Trio Mediaeval can easily claim the title of the best early music female group worldwide.

This is simply great and moving music and while there is a prevailing sense of somber piety throughout, there is enough variety in each selection to keep the listener thoroughly engaged. Trio Mediaeval's deeply expressive singing and virtuoso technique are up to the highest standards and you have to consider that some of the pieces make rather pressing demands on the Scandinavian singers.

ECM proved once more that, even in early music works (if not particuraly in this genre), provides unprecedented quality of performance in every sense.

Superb Singing.......2007-05-13

Trio Mediaeval makes glorious, soul-stirring music and this recording majestically brings their unique sound home: you'll feel their voices reaching inside you.

Seeds Sown in Medieval Times Flower with a Contemporary Work.......2005-09-29

The Trio Mediaeval continues its fine reputation and tradition as an exemplary group capable of capturing the essence of the Gregorian chant while encouraging contemporary composers to emulate this classic form of music with new compositions. For this their third recoding the Trio continues to survey early music for a cappela voices and this time adds the tenor voice of John Potter as the ethereal leader in 'O Maria, stella maris, conductus'. The result is incandescent music making.

In addition to the medieval works for which they are well known, this album present the premiere recording of 'Missa Lumen de Lumine' by contemporary Korean composer Sunji Hong. While the twenty-five minute Mass incorporates the fundamental structure of the original chants, Hong suffuses the writing with subtle contemporary moods and passages that are astonishingly appropriate. The work is divided into Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The performance is impeccable contributing to the fact that Hong has amazing gifts as a composer. Highly Recommended. Grady Harp

Officium - Jan Gabarek & The Hilliard Ensemble

Average customer rating:

Original, Brilliant, but Flawed
Great vocals but saxophone has to go!
I Wish I Could be More Positive, but...
((saxophonist) + (chant + polyphony + motets)) = Officium
Absolutely Gorgeous!

Officium - Jan Gabarek & The Hilliard Ensemble
Cristobal de Morales , Pierre de LaRue , Perotin , Guillaume Dufay , Gregorian Chant , Jan Garbarek , Rogers Covey-Crump , David James , Gordon Jones , and John Potter
Manufacturer: ECM Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000031YD
Release Date: 1994-09-13

Tracks:

Parce mihi domine
Primo tempore
Sanctus
Regnantem sempiterna
O salutaris hostia
Procedentem sponsum
Pulcherrima rosa
Parce mihi domine
Beata viscera
De spineto nata rosa
Credo
Ave maris stella
Virgo flagellatur
Oratio Ieremiae
Parce mihi domine

Amazon.com essential recording

"What is this music?" Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is placed into the world of early vocal music, which has elements of both improvisation and formal structure. In reality, it's an adventure in which the four male voices of the Hilliard Ensemble travel the 14th- and 15th-century territory of Morales and Dufay, visit the 12th century of Perotin, and roam even earlier ages of plainchant, accompanied by the always sensitive and tasteful, often astonishing, saxophone improvisations of jazz master Jan Garbarek. Sometimes, these new melodies simply accompany; sometimes they transform the common--a routine minor chord, for instance--into a sublime, indescribable moment. The answer to the above question is easy, but it's different for each listener. --David Vernier

Customer Reviews:

Original, Brilliant, but Flawed.......2007-03-24

I'm a big fan both of Garbarek and of "early music", so I bought this album with enthusiasm when it first came out a decade ago. I wasn't disappointed, but I do find it uneven. Garbarek was experimenting throughout the process of recording this work, and some of his ideas are better than others. I understand completely those who complain about the soprano sax not blending well with the vocals - there are tracks where it's just too up-front and edgy to fit into the mix. But the tracks where the sax is recorded from further away, particularly those where a tenor sax is used, are absolutely sublime. For those moments, it deserves more than 4 stars. For the moments where the soprano sax is too shrill, I'd take off a fraction of a point if I could, but if I've got to call it a "4" or a "5", I'd give it a 5.

Great vocals but saxophone has to go!.......2007-03-19

This cd has extremely beautiful vocals and chants that conjure up sublime images of baronial castles, knights in armore and ornately decorated fireplaces of old. This is until Jan's 20-21st century saxophone weaves its way into this otherwise heavenly image. The sound quietly fades in out of nowhere and eventually drowns out the vocals. It then seems to meander in and out thoughout the rest of the song. If you like John Dowland meets Kenny G., this is for you. Otherwise, if you're looking for "pure" early music, you might want to stick with other Hilliard Ensemble music sans Mr. Garbarek.

I Wish I Could be More Positive, but..........2007-01-06

...but I really hate the soprano sax played over these beautiful pieces. The singing is superb and the repertoire is rare (only one other recording of the Morales, for instance, and that is done quite differently, anent the sax).

I think I would have liked it better if Garbarak had played a lower horn, like an alto or tenor sax. These pieces are about something, and I don't feel that Gabarak really knew what the texts were about and what the composers were responding to in the texts.

I keep it for the exquisite "Parce mihi Domine" sung withoug the screeching sax.

((saxophonist) + (chant + polyphony + motets)) = Officium.......2004-04-22

I bought this album on a whim shortly after its release several years ago after never having listened to any of its tracks, and was completely surprised when I heard it being played as I entered the stave church model located in the Norway region of Disney's Epcot Center during my first visit to the park earlier this year, because I have never at any time heard any of its tracks played anywhere outside my home. The stave church is a strange place to play this secular work, but perhaps the layperson might discover the reasons for this if the liner notes included English translations of the Latin. In my opinion, this album is comprised of some of the best blends of music styles I have ever heard. Essentially, the blends consist of Latin lyrics from the pre-12th through 16th centuries set to jazz. According to the liner notes, the vocal quartet produces "chant, reaching back to its pre-literate forms; early polyphony, where the number of parts was a matter of experiment and the same piece could exist in many different versions; and Renaissance motets that were conceived chordally, and might provide structures over which a saxophone could improvise". The unity of these music forms were united in light of the fact that just as jazz had no name at the beginning of the 20th century, polyphony did not have a name when it began 1000 years ago. As the liner notes explain, "these two nameless historical moments were points of departure for two of the most fundamental ideas in Western music: improvisation and composition".

Absolutely Gorgeous!.......2002-01-10

This is one of the most innovative and sublime CDs in my expansive collection. I'll stay away from trying to explain what centuries the pieces were written in, blah, blah, blah. Bottom line: they were all written before the saxophone was invented. Therefore, Garbarek's "intrusions" should seem as such, interrupting the Hilliard Ensemble's vocalizing. Quite the contrary, though. Garbarek's first notes, although somewhat unexpected, seem quite appropriate and fitted. His "improvisations" around the traditional structure of the vocals are sometimes subtle, sometimes more upfront, but always in keeping with the spirit of the original pieces. He winds and weaves his way around and through the vocal arrangements like a fifth vocalist--no restraints or boundaries but with a keen ear for what will sound good where.

This CD is on my very short list of classical "desert island" discs and ranks right up there with Bobby McFerrin and Yo-Yo Ma's HUSH for improvisational yet traditional music, with ingenious wrinkles thrown in. It's hard to call it straight classical, but it isn't exactly jazz, either. The styles are merged beautifully. The best metaphor I can think of would be a braid: separate entities intertwined and working together for a common goal and a common effect.

Anyone who claims to be a fan of good music--jazz, classical, or whatever--should check out this CD. It is a bit on the mellow side, so don't expect a Keith Jarrett improvisational explosion or a thunderous symphonic event. In the vein of the works of Anonymous 4, another spectacular classical vocal group, this CD is a meditative, almost spiritual experience. It will not disappoint!!

Music of the Gothic Era
Average customer rating:

Unique

A classic performance

Music of the Gothic Era
Geoffrey Shaw , David James , David Munrow , and Early Music Consort of London
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006L3IE
Release Date: 2002-10-08

Tracks:

Viderunt Omnes - David Munrow
Alleluya Pascha Nostrum - Martyn Hill
Gaude Maria Virgo - David Munrow
Locus Iste - Charles Brett
viderunt Omnes - Martyn Hill
Sederunt Principes - David Munrow
Alle, Psallite Cum Luya, 3 Voc. - Martyn Hill
Amor Potest, 3 Voc. - Martyn Hill
S'on Me Regarde, 3 Voc. - Martyn Hill
In Mari Miserie, 3 Voc. - Martyn Hill
On Parole De Batre, 3 Voc. - James Bowman
En Mai Quant Rosier Sont Flouri, 3. Voc. - Martyn Hill
Dominator Domine, 3 Voc. - Martyn Hill
El Mois De Mai, 3 Voc. - Martyn Hill
O Mitissima, 3 Voc. - James Bowman

Tracks:

Hoquetus I-VII, 3 Voc. Neuma-Virgo-In Seculum Longum-In Seculum Viellatoris In Seculum Breve-Seculum D'Amiens Longum-In Seculum - David Munrow
Aucun Ont Trouve, 3 Voc. - David Munrow
De Ma Dame Vient, 3 Voc. - Martyn Hill
J'os Bien A M'amie Parler, 3 Voc. - James Bowman
La Mesnie Fauveline, 3 Voc. - David Munrow
Quant Je Le Voi, 3 Voc. - Martyn Hill
Zelus Familie, 3 Voc. - Martyn Hill
Quasi Non Ministerium, 4 Voc. - David Munrow
Impudenter Circumivi, 4 Voc. - David Munrow
Cum Statua, 3 Voc. - James Bowman
Pantheon Abluitur, 5 Voc. - James Bowman
Clap, Clap, Par Un Matin, 3 Voc. - Martyn Hill
Ida capillorum, 4 Voc. - James Bowman
Rachel Plorat Filios, 3 Voc. - Martyn Hill
Les I'ormel A La Turelle, 3 Voc. - Martyn Hill
O Philippe, Franci Qui Generis, 3 Voc. - James Bowman
Febus Mundo Oriens, 3 Voc. - Martyn Hill
Lasse! Comment Oublieray, 3 Voc. - Martyn Hill
Qui Es Promesses, 3 Voc. - James Bowman
Hoquetus David, 3 Voc. - David Munrow
Christe, Qui Lux Es, 4 Voc. - James Bowman
Degentis Vita, 4 Voc. - Martyn Hill
Inter Densas Deserti Meditans, 3 Voc. - Martyn Hill
Rex Karole, Johannis Genite, 5 Voc. - James Bowman

Customer Reviews:

Unique.......2006-02-07

This is early vocal music very much in the style currently heard in groups like the Hilliard Ensemble and Tallis Scholars. It is very spacious-sounding and solemn, which makes sense- most of the music that we have preserved from hundreds of years ago was written for use in the church. Fortunately, the gravity of the works never stops this set from being thoroughly enjoyable, too. Archiv's sound is, as always, very good.

A classic performance.......2003-02-28

This recording remains a classic, even if (as Daniel Leech-Wilkinson points out in his accompanying notes) some of Munrow's performance practices may be disputed today. This is, quite simply, a wonderful performance and a terrific sounding recording (even after nearly 30 years)--and a wonderful way to develop an ear for the music of the 13th and 14th centuries.

Average customer rating:

I Wish I Could be More Positive...
Perfect for "Old Souls"
Mixed feelings about mixed genres
Wow.
What Coltrane hears in heaven

Officium
Anonymous , Czech Anonymous , Guillaume Dufay , Pierre de La Rue , Cristobal de Morales , Perotin , Sarum Chant , Hilliard Ensemble , and Jan Garbarek
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

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ASIN: B000025IL0
Release Date: 1999-11-16

Tracks:

Parce mihi domine
Primo tempore
Sanctus
Regnantem sempiterna
O salutaris hostia
Procedentem sponsum
Pulcherrima rosa
Parce mihi domine
Beata viscera
De spineto nata rosa
Credo
Ave maris stella
Virgo flagellatur
Oratio Ieremiae
Parce mihi domine

Tracks:

Parce mihi domine
Primo tempore
Sanctus
Regnantem sempiterna
O salutaris hostia
Procedentem sponsum
Pulcherrima rosa
Parce mihi domine
Beata viscera
De spineto nata rosa
Credo
Ave maris stella
Virgo flagellatur
Oratio Ieremiae
Parce mihi domine

Amazon.com

What is this music? Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is placed into the world of early vocal music--which has elements of both improvisation and formal structure. In reality, it's an adventure in which the four male voices of the Hilliard Ensemble travel the 14th- and 15th-century territory of Morales and Dufay, visit the 12th century of Perotin, and roam even earlier ages of plainchant, accompanied by the always sensitive and tasteful--and often astonishing--saxophone improvisations of jazz master Jan Garbarek. Sometimes, these new melodies simply accompany; sometimes they transform the common--a routine minor chord, for instance--into a sublime, indescribable moment. The answer to the above question is easy--but it's different for each listener. --David Vernier

Customer Reviews:

I Wish I Could be More Positive..........2007-01-06

Perfect for "Old Souls".......2006-12-15

I'll never forget hearing this music for the first time, in 1993 or 1994 at a sampling station at Borders. I have to admit I was intrigued by the cover photograph likely taken at a cemetery, of a spider web-draped angel statute. That was when CDs were still new, and my first thought was "This is the perfect sound for CDs: clear, quiet, ethereal." I bought the handsome 2-CD package then and there, and my interest in this unique musical project has gradually matured in the past decade. Most recently, following a significant family death in 2002, I've started a personal tradition of spending New Year's Eve alone at home, with only candles burning after 7:00 p.m., listing to recordings of great requiems (Mozart, Durufle, Rutter and Verdi) and The Hilliard Ensemble's Officium (translated to sense of duty, respect, service and allegiance). Spending the last day of the year this way is comforting, and allows me to continue to grieve appropriately. Officium transports me to another place and time, quasi-religious, celestial, meditative. The solo saxophone calls out as if speaking, questioning, affirming. It's not for everyone. This recording will never climb the charts, especially in today's shallow world of noise and self-importance. I would say if you're an "old soul," try listening to this gift of creativity and inspiration. It just might become one of the most valuable recordings you own - as it has for me ...

Mixed feelings about mixed genres.......2006-01-18

Although I enjoy listening to these recordings for their serenity and sense of magical wonder, I tend to sympathise with some of the less glowing reviewers. My favourite passages are, without a shadow of a doubt, those in which the eminent Mr Garbarek's sax is 'tacit' or, at least, 'pianissimo'. Indeed, from time to time I struggle with an impulse to shout out: "Oh shut up, Jan, and let me listen to those wonderful singers!" That said, the voices and the sax do sometimes synergise, though I get the distinct impression that Mr Garbarek was simply overdubbing an existing recording by the Hilliard Ensemble: he seems to be reacting to them, but not vice versa. And with more rehearsal, his notes might have been more appropriate. FINAL VERDICT: an interesting oddity, not an unmitigated success.

Wow........2005-10-12

Gregorian chant is one form of music. If you must have it in the pure form, go elsewhere.

Jazz sax is another form of music. If you are offended by restraining the sax to a gentle, wistful, melodious exploration, go elsewhere.

Otherwise, consider a rope: consisting of several smaller strands, a rope is a strong, limber, powerful thing which can achieve a great deal more than the strands from which it is woven. This music is a rope. The saxophone entwines itself inextricably through, above and around the unearthly vocals of the Hilliard ensemble. Neither the highly disciplined music of the singers, nor the restrained music of the saxophone makes a deeply powerful statement in its own right -- but together, they become something above and beyond, something that completely transcends either genre.

This is an astonishing work. If you have the ability to listen, you will be rewarded beyond your hopes.

What Coltrane hears in heaven.......2005-07-16

If you haven't heard any of these tracks before, then almost nothing can prepare you for them. I do feel sorry for those listeners whose sensibilities have been outraged, and who believe that these songs are set in stone, and that no kind of improvisation is legal. The effect must be like seeing (as Prince Charles remarked of a modern building in London) a carbuncle on the face of a loved old friend.

Horrified reactions are, however, in the minority, since this album has sold in immense quantities -- and the reason is the ravishing beauty of the music, which is accessible to anyone with musical ears.

As with several Garbarek recordings, the sax occasionally seems louder than necessary, but then Garbarek must be a difficult performer to record, since his tonal range is so huge.

The natural melodies that flow from Garbarek's three horns have always had an air of belonging half a millennium away from the present; and his genius as a performer enables him to add a fifth voice to these ancient compositions that I am certain the original composers would have found far less shocking than the modern listeners who think them sacrilegious.

This music is heavenly and indescribable, but I urge anyone on this page to listen to the samples (bearing in mind that the sound is ravishing on a proper stereo) and make up your own mind.

Music is nobody's loved old friend, but a great city that needs to keep growing for ever, and this is a wonderful new building to dwell in and perceive beauty.

La Bele Marie: Songs to the Virgin from 13th-Century France

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Another masterpiece from Anonymous 4
The bewitching variety of Anonymous 4

La Bele Marie: Songs to the Virgin from 13th-Century France
Anonymous 4
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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1000: A Mass for the End of Time / Anonymous 4
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Legends of St. Nicholas: Medieval Chant & Polyphony
An English Ladymass: Medieval Chant and Polyphony
The Lily and the Lamb: Chant and Polyphony from Medieval England

ASIN: B00006ALAG
Release Date: 2002-08-13

Tracks:

O maria o felix puerpera
Pia mater gratie
De la mere au sauveor
O maria virginei
Verbum bonum et suave
Ave salus hominum
Mainte changon au fait
Ave maria gracia plena
Perotin: Beata viscera
Mundum renovavit
Je te pri de cuer par amors
Salve sancta parens
Serena virginum
De la tres douce Marie
Ave virgo Virginum
Mater patris et filia
Ave nobilis venerabilis

Amazon.com

The arrival of a new Anonymous 4 album has become as much a fall ritual as the turning of the leaves. However, there's nothing rote about their 12th album for Harmonia Mundi. All 17 selections are in honor of the Virgin Mary, ground familiar to fans of the ensemble's breakthrough first album, An English Ladymass (as well as 1998's Lammas Ladymass). Drawing upon both the Latin liturgy and chansons adapted from the French trouvère tradition of secular love songs, the combination of sources powerfully illustrates how strong devotion to Mary was in medieval France. But even more immediately striking is the New York-based vocal quartet's near-magical ability to enrapture their listeners. Whether they are coursing through a simply elegant monophonic chant such as "O maria o felix puerpera," a dazzlingly florid work like "Mater patris et filia," or the ethereal harmonies of "Mundum renovavit," their perfect intonation and pure tone are sublime. There's a special treat here, too--each of the ladies performs one piece solo. It's a chance to hear each singer's unique contribution to the group's inimitable sound: Marsha Genensky's exquisite smoothness, Susan Hellauer's dark-hued loveliness, Jacqueline Horner's creamy lightness, and Johanna Maria Rose's radiant resonance. It's a record that will transport you to another world, and yet one more star to add to Anonymous 4's constellation of celestially beautiful recordings. --Anastasia Tsioulcas

Customer Reviews:

Another masterpiece from Anonymous 4.......2003-02-16

For me what sets apart an Anonymous 4 recording, besides the wongerful singing is the presentation of a coherent program that only enhances the listening enjoyment. This disc contains anonymous chansons and conducti--with the exception of the "Beata viscera" of Perotin. These enchanting hymns and songs to the virgin Mary are vividly brought to life by the ensemble. I highly recommend this recording.

The bewitching variety of Anonymous 4.......2002-10-23

The child-like simplicity beguiles the music's endless array of intricacies
and subtleties. The crisp phrasing, exquisite nuances, poingnant details of haunting beauty is heard throughout the disc. Perotin and Notre Dame over all, were lyrics of the first water.

Let My Prayer Arise: Orthodox Church Music

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Let My Prayer Arise: Orthodox Church Music

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Handel: Agrippina
Vladimir Godar: Mater

ASIN: B000IONJCE
Release Date: 2006-11-14

Tracks:

Laude Novella - Paul Hillier
Venite A Laudare - Paul Hillier
Credo Deus Deorum - Paul Hillier
Ave Sancta Mundi Salus/Agnus Dei - Paul Hillier
Benedicamus - Paul Hillier
Sanctus - Paul Hillier
Communion Hymn For Mid-Pentecost - Paul Hillier
Canon For The Council Of Florence - Paul Hillier
Enite Ton Kychirion - Paul Hillier
Dnes Hristos - Paul Hillier
Blazhen Muzh - Paul Hillier
Vozbrannoy Voyevode - Paul Hillier
Izhe Heruvimi - Paul Hillier
Worldes Blis Ne Last No Throwe - Paul Hillier
Beata Viscera - Paul Hillier
Salve Sancta Parens/Salve Mater/Salve Lux/Salve Sine Spina - Paul Hillier
Salve Virgo Virginum - Paul Hillier
Virgo Maria, Patrem Parit/O Stella/Flos Genuit/Virgo Maria, Flos - Paul Hillier
Sanctus - Paul Hillier
Alleluya V. Nativitas - Paul Hillier
Viderunt Omnes - Paul Hillier

Tracks:

Let My Prayer Arise (No.2) - Estonian Philharmonic Chamber Choir
Now The Powers Of Heaven - Estonian Philharmonic Chamber Choir
The Cherubic Hymn (No.7) - Estonian Philharmonic Chamber Choir
O Most Holy Maiden Mary - Estonian Philharmonic Chamber Choir
Glory/Only-Begotten Son - Estonian Philharmonic Chamber Choir
In The Flesh Thou Didst Fall Asleep - Estonian Philharmonic Chamber Choir
I Lift Up My Eyes To The Mountain - Estonian Philharmonic Chamber Choir
Praise The Name Of The Lord - Estonian Philharmonic Chamber Choir
With My Voice I Cried Out To The Lord - Estonian Philharmonic Chamber Choir
By The Rivers Of Babylon - Estonian Philharmonic Chamber Choir
Lord, Make Me To Know My End - Estonian Philharmonic Chamber Choir

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Praise The Lord, O My Soul - Estonian Philharmonic Chamber Choir
Blessed Is The Man - Estonian Philharmonic Chamber Choir
O Gentle Light - Estonian Philharmonic Chamber Choir
Lord, Now Lettest Thou - Estonian Philharmonic Chamber Choir
Rejoice, O Virgin - Estonian Philharmonic Chamber Choir
The Six Psalms - Estonian Philharmonic Chamber Choir
Praise The Name Of The Lord - Estonian Philharmonic Chamber Choir
Blessed Art Thou, O Lord - Estonian Philharmonic Chamber Choir
Having Beheld The Resurrection - Estonian Philharmonic Chamber Choir
My Soul Magnifies The Lord - Estonian Philharmonic Chamber Choir
The Great Doxology - Estonian Philharmonic Chamber Choir
Troparion: Today Salvation Is Come - Estonian Philharmonic Chamber Choir
Troparion: Thou Didst Rise From The Tomb - Estonian Philharmonic Chamber Choir
O Queen Victorious - Estonian Philharmonic Chamber Choir

Bartok: Sonata For Two Pianos & Percussion; Suite For Two Pianos

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Bartok: Sonata For Two Pianos & Percussion; Suite For Two Pianos
Heisser , Pludermacher , Cipriani , and Perotin
Manufacturer: Apex
ProductGroup: Music
Binding: Audio CD

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Bartok: The Piano Concertos

ASIN: B000088DST
Release Date: 2006-05-29

Tracks:

Sonata For 2 Pianos & Percussion (1937)
Suite For 2 Pianos Op.4b (1941)

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The Road to Compostela

ProductGroup: Music
Binding: Audio CD

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ASIN: B00007FPJX
Release Date: 2002-11-01

Tracks:

Beata Viscera (Perotin)
Jacobus et Johannes (Codex Calixtinus)
Vocavit Jhesus (Codex Calixtinus)
Gratulantes celebremus (Codex Calixtinus)
Laudent Deum (Victor Zupanc)
Congaudeant Catholici (Codex Calixtinus)
Jocundetur et letetur (Codex Calixtinus)
Gratulemur et letemur (Victor Zupanc)
Vox nostra resonet (Codex Calixtinus)
Dum Pater familias (Victor Zupanc)
Gratulantes celebremus (Victor Zupanc)
O lux et decus hyspanie (Codex Calixtinus)
Annua gaudia (Codex Calixtinus)
Ad superni (Codex Calixtinus)
Jabobum Dei famulem (Victor Zupanc)
Audi pontus (Codex Las Huelgas)
O adiutor (Codex Calixtinus)
Annua Gaudia (J. David Moore)
Rex immense (Codex Calixtinus)
Exultet celi curia (Codex Calixtinus)

Album Description

Vocal Music for the Pilgrimage to the Ancient City of Santiago de Compostela. Includes many monophonic and polyphonic chants and motets from the Codex Calixtinus, a 12th-century Spanish manuscript. Also includes new music by Minnesota composers Victor Zupanc and J. David Moore.

Track Listings:

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