Paul Hillier/Fragments

Track Listings
1. Laudate novella (Anonymous)    
2. Venite a laudare    
3. Credo Deus Deorum (Antonio Zachara da Teramo)    
4. Ave sancta mundi salus/Agnus Dei (Matteo Da Perugia)    
5. Benedicamus    
6. Sanctus (Anonymous)    
7. Communion Hymn for Mid-Pentecost (John Plousiadenos)    
8. Canon for the Council of Florence (Ode 5)    
9. Enite ton Kychirion (Hymn) (Manuel Gazes)    
10. Dnes Hristos (Anonymous)    
11. Blazhen muzh    
12. Vozbrannoy voyevode    
13. Izhe heruvimi (The Cherubic Hymn)    
14. Worldes Blis ne Last No Throwe    
15. Beata viscera    
16. Salve sancta parens/Salve mater/Salve lux/Salve sine spina    
17. Salve virgo virginum    
18. Virgo Maria, patrem parit/O stella/Flos genuit/Virgo Maria, flos    
19. Sanctus    
20. Alleluya V Nativitas    
See all 21 tracks on this disc

Editorial Reviews
Amazon.com
On this fine new CD from Paul Hillier's Theatre of Voices, the group examines music beginning with the period during which the Christian Church became "fragmented" by schism; that is, when it became centered in Rome on the one side and Constantinople on the other (represented by Orthodox music from Russia and Greece). These are the two most dramatic examples, although England and France are covered as well.

One possible cavil: it's doubtful that the Eastern music was (or is) performed as it's done on this disc. The selections sound more Western than, say, the way I have heard Russian groups intone the same music and not as "authentic" as Marcel Peres's ravishing stab at Corsican chant. That said, this music, from the 12th century to the 17th century, is glorious to listen to under any circumstances. One would have to be either a rigid scholar of the period or a cleric with a point to prove not to enjoy it. The rich textures are artfully brought out by the six men's voices, and one is left with just the right (out of context) devotional impressions. Early music and chant aficionados will bathe comfortably in the sounds presented here. --Robert Levine

Paul Hillier/Fragments, Music, Theatre of Voices, Paul Hillier, Anonymous, Perotinus, Matteo Da Perugia, Antonio Zachara da Teramo, Manuel Gazes, John Plousiadenos, Choral, Choral Music, Classical, Classical Artists, Classical Music, Early Music / Chant, Early Polyphony, Medieval Mass, Miscellaneous, Miscellaneous Music, Sacred Choral Music, Vocal, Vocal Music
Monastic Chant: 12th & 13th C. European Sacred Music
Average customer rating: Not rated
    Monastic Chant: 12th & 13th C. European Sacred Music

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

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    ASIN: B0000APHOA
    Release Date: 2003-11-11
    Paul Hillier/Fragments
    Average customer rating: 4.5 out of 5 stars
    • Interesting concept, mostly enjoyable and very well recorded
    • Smishkewych has done it again!
    Paul Hillier/Fragments
    Theatre of Voices , Paul Hillier , Anonymous , Perotinus , Matteo Da Perugia , Antonio Zachara da Teramo , Manuel Gazes , and John Plousiadenos
    Manufacturer: Harmonia Mundi
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Early Music | Historical Periods | Classical | Styles | Music
    Vocal & SongVocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems
    GeneralGeneral | Sacred & Religious | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    OratoriosOratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
    ClassicalClassical | Imports | Stores | Music
    ASIN: B0000631BR
    Release Date: 2002-04-09

    Tracks:

    1. Laudate novella (Anonymous)
    2. Venite a laudare
    3. Credo Deus Deorum (Antonio Zachara da Teramo)
    4. Ave sancta mundi salus/Agnus Dei (Matteo Da Perugia)
    5. Benedicamus
    6. Sanctus (Anonymous)
    7. Communion Hymn for Mid-Pentecost (John Plousiadenos)
    8. Canon for the Council of Florence (Ode 5)
    9. Enite ton Kychirion (Hymn) (Manuel Gazes)
    10. Dnes Hristos (Anonymous)
    11. Blazhen muzh
    12. Vozbrannoy voyevode
    13. Izhe heruvimi (The Cherubic Hymn)
    14. Worldes Blis ne Last No Throwe
    15. Beata viscera
    16. Salve sancta parens/Salve mater/Salve lux/Salve sine spina
    17. Salve virgo virginum
    18. Virgo Maria, patrem parit/O stella/Flos genuit/Virgo Maria, flos
    19. Sanctus
    20. Alleluya V Nativitas
    21. Gradual: Viderunt omnes V Notum fecit Dominus (Perotinus)

    Amazon.com

    On this fine new CD from Paul Hillier's Theatre of Voices, the group examines music beginning with the period during which the Christian Church became "fragmented" by schism; that is, when it became centered in Rome on the one side and Constantinople on the other (represented by Orthodox music from Russia and Greece). These are the two most dramatic examples, although England and France are covered as well.

    One possible cavil: it's doubtful that the Eastern music was (or is) performed as it's done on this disc. The selections sound more Western than, say, the way I have heard Russian groups intone the same music and not as "authentic" as Marcel Peres's ravishing stab at Corsican chant. That said, this music, from the 12th century to the 17th century, is glorious to listen to under any circumstances. One would have to be either a rigid scholar of the period or a cleric with a point to prove not to enjoy it. The rich textures are artfully brought out by the six men's voices, and one is left with just the right (out of context) devotional impressions. Early music and chant aficionados will bathe comfortably in the sounds presented here. --Robert Levine

    Customer Reviews:

    4 out of 5 stars Interesting concept, mostly enjoyable and very well recorded.......2002-09-17

    About the title: Paul Hillier's note for this recording informs us that "the title [Fragments] refers to the fragmented survival of the distant musical past in manuscript collections which are often in incomplete or damaged condition, and to the fragmentation of Christianity into Eastern Orthodoxy and Western Catholicism." And David Vernier, in his lengthier essay, stresses that "while the title of this recording aptly refers to the music we hear as 'fragments,' the term does not mean that you will hear compositions chopped off in mid-sentence, so to speak. Rather, these are self-contained and aesthetically satisfying pieces that fully demonstrate the music's style and substance."

    The pieces themselves are samples of chant and polyphony from Italy (1-5), Greece (6-9), Russia (10-13), England (14-20) and France (21). Hillier, director of the Theatre of Voices, writes that the program was conceived of as an "abstract design" highlighting "certain elements of feeling and sonority" which the different musical traditions represented here have in common. This is certainly an interesting idea, but I am not sure it entirely succeeds. It sometimes seems that at least some of the commonalities we hear are forced on the music, and so are more a feature of the performances than of the music itself. The Greek chant in particular barely sounds Greek at all after you've listened to a group such as the excellent Greek Byzantine Choir. Furthermore, I can't quite lose the feeling that I'm listening to a kind of "greatest hits" programme. That said, this recording could definitely serve as a very nice introduction to the world of chant and early polyphony for a newcomer, or as an enjoyable traversal of different styles for someone more familiar with them (even if perhaps they don't sound as different as they should).

    The Theatre of Voices here consists of one countertenor, three tenors, and two baritones, including Hillier himself. The group has a very alluring sound, and the six men sound completely natural together. Questions of authenticity aside, the group sings each set of selections convincingly. The performances of Greek and Russian chant are enjoyable on their own terms, and it is particularly easy to lose oneself in the Italian and English selections. Perotin's polyphonic masterwork "Viderunt omnes," representing the French tradition, is well performed, though the music itself rather overshadows the other selections (which it actually antedates) in its sophistication. For Perotin, however, the competition is especially strong, and if one is considering this recording for "Viderunt Omnes," one would do better with the Hilliard Ensemble (also directed by Hillier), whose exquisite, liquid subtlety probably succeeds better than the Theatre of Voices' more driven performance.

    One certain reason to like "Fragments" is the excellent quality of the recording, which was made in the St. Osdag Church, Neustadt-Mandelsloh, Germany. I cannot think of any pure vocal recording I've heard with more natural and accurate balance and spatial definition, a feature which tends to make the group's cohesion all the more impressive.

    5 out of 5 stars Smishkewych has done it again!.......2002-04-15

    Wolodymyr Smishkewych is the newest force in early vocal music. His interpetations of medieval music have long been legendary at Indiana University but this latest recording with theatre of Voices should thrust him into the international spotlight where he rightly belongs....

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