Peter Philips: Motetten
Motetten
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
Peter Philips ist der einzige erstrangige Komponist der elisabethanischen Zeit, der selbst unter Fachleuten heute noch relativ unbekannt ist. Sein Ruf in der Neuzeit hat unter jener Art von Patriotismus zu leiden gehabt, die Emigranten schon immer in Nachteil geraten ließ. Da er England schon in jungen Jahren auf immer verließ, schenkten ihm englische Musikwissenschaftler wenig Beachtung. Gleichzeitig blieb er aber auch für deren Kollegen in seiner Wahlheimat, den Spanischen Niederlanden (dem heutigen Belgien), immer nur ein Ausländer. Infolgedessen wurden in diesem Jahrhundert nur wenige seiner Kompositionen veröffentlicht und noch weniger ausgenommen. Dabei kann Philips Musik es mühelos mit den größten Werken dieser so schaffensfreudigen Ära aufnehmen. Seine Kompositionen für Tasteninstrumente laden zum Vergleich mit denen von Byrd ein, seine Consort-Musik mit der von Dowland, und seine Motetten und Madrigale können dem Vergleich mit denen von Gibbons und Weelkes mühelos standhalten – oder vielleicht sollte man sie eher mit denen von Lassus und Marenzio vergleichen, denn gerade seine Vokalmusik steht in der kosmopolitischen, europäischen Tradition.
Peter Philips is the one first-rate Elizabethan composer who remains largely unknown today, even to specialists. His modern reputation has suffered from a form of musical chauvinism that works to the disadvantage of émigrés: he left England at an early age, never to return, so he has been ignored by English musicologists, and equally he has been treated as a foreigner by their colleagues in his adopted country, the Spanish Netherlands (now Belgium). As a result, only a small amount of Philips’s music has found its way into print in this century, and less of it has been recorded. Yet it is equal in quality to the best work of that richly productive period. His keyboard music invites comparison with Byrd, his consort music with Dowland, his motets and madrigals with Gibbons and Weelkes – or rather with Lassus and Marenzio, because his vocal music in particular belongs to the cosmopolitan European tradition.
'This is a revelation! This wonderful programme helps to draw him from the limbo of nearly 400 years of near-oblivion... a programme of astonishingly rich diversity, vibrantly performed. This record is a must for any lover of choral music of the period' (Organists' Review)
'It may be a while before you hear anything as glorious as this... tremendous stuff, and will instantly reward the investigative listener' (CDReview)
'14 instances of the most sheerly glorious sound you are likely to come across in years' (Fanfare, USA)
Product-Information:
Peter Philips is the one first-rate Elizabethan composer who remains largely unknown today, even to specialists. His modern reputation has suffered from a form of musical chauvinism that works to the disadvantage of émigrés: he left England at an early age, never to return, so he has been ignored by English musicologists, and equally he has been treated as a foreigner by their colleagues in his adopted country, the Spanish Netherlands (now Belgium). As a result, only a small amount of Philips’s music has found its way into print in this century, and less of it has been recorded. Yet it is equal in quality to the best work of that richly productive period. His keyboard music invites comparison with Byrd, his consort music with Dowland, his motets and madrigals with Gibbons and Weelkes – or rather with Lassus and Marenzio, because his vocal music in particular belongs to the cosmopolitan European tradition.
Rezensionen
'This is a revelation! This wonderful programme helps to draw him from the limbo of nearly 400 years of near-oblivion... a programme of astonishingly rich diversity, vibrantly performed. This record is a must for any lover of choral music of the period' (Organists' Review)
'It may be a while before you hear anything as glorious as this... tremendous stuff, and will instantly reward the investigative listener' (CDReview)
'14 instances of the most sheerly glorious sound you are likely to come across in years' (Fanfare, USA)
Rezensionen
M. Hengelbrock in FonoForum 12/93: "Relativ junge Knabenstimmen entwerfen hier ein helles, leuchtkräftiges Klangbild, das in seiner Unmittelbarkeit überzeugt und den re- präsentativen Charakter dieser Musik sehr gut trifft."- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Ecce vicit Leo (Motette)
- 2 O quam suavis est 2 (Motette)
- 3 Tristitia vestra (Motette)
- 4 Tibi laus, tibi gloria (Motette)
- 5 Ave Iesu Christe (Motette)
- 6 Tu es Petrus (Motette)
- 7 O crux splendidior (Motette)
- 8 Christus resurgens (Motette)
- 9 Salve regina (Motette)
- 10 Cantantibus organis Cecilia (Motette)
- 11 Ascendit Deus (Motette)
- 12 O quam suavis est 1(Motette)
- 13 Hodie concepta est (Motette)
- 14 Litania duodecima (Motette)
