Mass Text

Barbara Frittoli

Olga Borodina

Mario Zeffiri

Verdi: Messa da Requiem

Messa da Requiem: Requiem: Requiem aeternam

Messa da Requiem: Dies irae: Dies irae, dies illa

Messa da Requiem: Dies irae: Tuba mirum

Messa da Requiem: Dies irae: Mors stupebit

Messa da Requiem: Dies irae: Liber scriptus

Messa da Requiem: Dies irae: Quid sum miser

Messa da Requiem: Dies irae: Rex tremendae

Messa da Requiem: Dies irae: Recordare

Messa da Requiem: Dies irae: Ingemisco

Messa da Requiem: Dies irae: Confutatis

Messa da Requiem: Dies irae: Lacrymosa

Messa da Requiem: Offertorio

Messa da Requiem: Sanctus

Messa da Requiem: Agnus Dei

Messa da Requiem: Lux aeterna

Messa da Requiem: Libera me

Exercise

Dancing with a Shadow

Cardiff University Contemporary Music Group

Robert Fokkens

Eloise Nancie Gynn

Only Breath

Bonifantes Boys Choir

Czech Soloist Consort

Jan Misek

Jan Jirásek: When the Soul Speaks

Bible

Nadia Ortega

Gerardo Chávez

Le siècle d'or à la cathédrale de Mexico

Eric Lebrun

Vosges Vocal Ensemble

Marie Ange Leurent

Litaize: Missa solemnior

Choir of New College Oxford

Christopher Borrett

Edward Higginbottom

The main attraction is the six-voice Missa Benedicta et Venerabilis, which (like other English Renaissance masses) lacks a Kyrie and is sung with appropriate office chants between the polyphonic choral movements. What is most startling is the sheer expressivity of a good deal of the music. The Incarnatus, Crucifixus, and the almost abrupt, exuberant Et Resurrexit and conclusion of the Credo (track 6) are good places to start. Ludford reduces the texture to three or four voices and seems to focus on specific passages of text in a way that brings to mind no one as much as Josquin; this in a compositional world thought to be dominated by monumental, abstract polyphony. The music employs rhythmic shifts and some striking vertical sonorities, all again seemingly linked with the text, and the text-setting has some really outlandish details: Ludford likes, for instance, to kick off a cadential drive with the last syllable of the penultimate phrase of text rather than with the final phrase or "Amen." Oddly enough, the two votive anthems surrounding the mass are more conventional in style. The venerable New College Choir Oxford (men and boys), which was around when this music was composed, delivers a strong reading, with the boy trebles getting into the meaty spirit of the work and more than making up for occasional slips to the flat side of the tone in what is certainly quite difficult music to sing, and the recording ambiance of a church in the northeastern French town of Sarrebourg is ideal.

Ludford: Missa Benedicta & Antiennes Votives

https://image.joox.com/JOOXcover/0/7e689d3b03a98561/300

Verdi: Messa da Requiem

歌曲列表

更多 Mass Text