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Lassus - Choral Music | Australian Eloquence ELQ4828566

Lassus - Choral Music

Label: Australian Eloquence

Cat No: ELQ4828566

Barcode: 0028948285662

Format: CD

Number of Discs: 3

Genre: Vocal/Choral

Release Date: 15th March 2019

This product has now been deleted. Information is for reference only.

Contents

Works

Lasso, Orlando di

Alma Redemptoris Mater
Missa Bell' amfritit' altera
Missa ad imitationem Vinum Bonum 'Good Wine Mass'
Missa super Quand'io pens'al martire
Missa super Triste depart
Omnes de Saba venient
Penitenial Psalms (7)
» no.5: Psalm 102 - Domine exaudi orationem meam et clamor meus ad te veniat
» no.7: Psalm 143 - Domine exaudi orationem meam auribus percipe obsecrationem meam
Salve Regina
Tui sunt coeli
Vinum bonum a 8

Artists

Choir of Christ Church Cathedral, Oxford
Choir of King’s College, Cambridge

Conductors

Simon Preston
Stephen Cleobury

Works

Lasso, Orlando di

Alma Redemptoris Mater
Missa Bell' amfritit' altera
Missa ad imitationem Vinum Bonum 'Good Wine Mass'
Missa super Quand'io pens'al martire
Missa super Triste depart
Omnes de Saba venient
Penitenial Psalms (7)
» no.5: Psalm 102 - Domine exaudi orationem meam et clamor meus ad te veniat
» no.7: Psalm 143 - Domine exaudi orationem meam auribus percipe obsecrationem meam
Salve Regina
Tui sunt coeli
Vinum bonum a 8

Artists

Choir of Christ Church Cathedral, Oxford
Choir of King’s College, Cambridge

Conductors

Simon Preston
Stephen Cleobury

About

Three original Argo and Decca albums compiled together for the first time: Lassus with an English accent. In 1970 Simon Preston became Organist and Choirmaster at the Cathedral of Christ Church Oxford, and the Argo recordings that resulted pay eloquent testament to his gifts as a choir trainer. A pair of them featured music by the most fluent of the Low Countries polyphonists, Orlando Lassus.

The first was made in 1973, and widely recognised as a landmark album for its clarity of inner-part voicing and vivid sensitivity to Lassus’s word-painting. A sequel followed two years later, pairing the fifth of the Penitential Psalms with some of the motets for which the composer is best known such as the splendid Omnes de Saba venient and Alma Redemptoris Mater with its soaring top line ideally suited to an English cathedral treble line. A Decca album of three Masses made two decades later enables instructive comparisons to be made between the pointed attack of Preston’s Christ Church Choir in this music with the much smoother euphony of King’s College, Cambridge.

Commentators habitually rank Lassus’s Masses well below his motets, but nothing in the Masses heard here discloses Lassus at anything less than the height of his powers. Both Missa Bell’ Amfitrit Altera and Missa Vinum Bonum are conceived for double choir – each choir being in SATB formation – and they accordingly show a greater opulence than most of their companions.

New booklet notes introduce Lassus’s life and work, written by the renowned scholar of Renaissance polyphony, R.J. Stove.

‘[Preston] can achieve brilliant effects from a choir; the sonorities in his performance of Omnes de saba venient are hair-raising, and his reading of the splendiferous Tui sunt coeli is no less superb.’ – High Fidelity, March 1978

‘A sensitive and powerful account of the highest technical accomplishment, one of the most exciting records of early choral music to appear for some time. Recording quality is high.’ – Musical Times, January 1977 (Christ Church, Oxford)

‘These are fine performances, typical of the English treble tradition at its best.’ – Gramophone, July 1996 (King’s College, Cambridge)

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