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Dominique Phinot - Missa Si bona suscepimus, etc | Hyperion CDA67696

Dominique Phinot - Missa Si bona suscepimus, etc

£13.60

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Label: Hyperion

Cat No: CDA67696

Barcode: 0034571176963

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 27th July 2009

Contents

Works

Sermisy
Si bona suscepimus

Phinot
Pater peccavi

Phinot
Missa Si bona suscepimus

Phinot
Tanto tempore

Phinot
Iam non dicam vos servos

Phinot
O sacrum convivium

Phinot
Incipit oratio Jeremiae prophetae

Phinot
Magnificat octavi toni

Phinot
Confitebor tibi, Domine

Artists

Brabant Ensemble

Conductor

Stephen Rice

Works

Sermisy
Si bona suscepimus

Phinot
Pater peccavi

Phinot
Missa Si bona suscepimus

Phinot
Tanto tempore

Phinot
Iam non dicam vos servos

Phinot
O sacrum convivium

Phinot
Incipit oratio Jeremiae prophetae

Phinot
Magnificat octavi toni

Phinot
Confitebor tibi, Domine

Artists

Brabant Ensemble

Conductor

Stephen Rice

About

The young Oxford choir turns its immaculate ensemble, lucid diction and faultless tuning to an exciting find: a hugely neglected composer from the 16th century. Relatively little is known about Dominique Phinot’s life - there is a suggestion that he was executed for homosexual practices, cutting short a productive and impressive composing career. Phinot’s output consists of over a hundred motets, two Masses, and settings of Vesper Psalms and the Magnificat, as well as two books of French chansons and two Italian madrigals.

The acclaim with which his sacred compositions were received is evident both in the frequency of their publication as well as in the writings of his contemporaries. He was clearly renowned as a master of imitative polyphonic writing. The publication in Lyons during 1547/8 of two collections of Phinot’s motets secured his reputation for the rest of the century and beyond.

Not only do the five-voice motets in the Liber primus mutetarum confirm his outstanding polyphonic skills but the Liber secundus contains five eight-voice works which are of considerable historical importance. The latter are unique in the mid-sixteenth century in their treatment of double-choir dialogue, a technique in which two four-part ensembles normally alternate thematically related phrases of varying lengths. These works, of which four are included in this recording, are the antecedents of the resplendent Venetian polychoral tradition of the late sixteenth and early seventeenth centuries.

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