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Lux-messe De Sainte Lucie: Hoefener / Ensemble Kantika

基本情報

ジャンル
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カタログNo
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KANT01
組み枚数
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1
レーベル
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Europe
フォーマット
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CD
その他
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輸入盤

商品説明

St Lucy's Mass - Gregorian chants and polyphonies from mediaeval manuscripts from the Apt Cathedral (11th - 14th c.) The city of Apt in Southern France was founded between 45 and 30 BC and an archbishopric since the 3rd c. Until today, in the cathedral's vault are kept several mediaeval liturgical manuscripts, which contain among many others the Mass in Honour of St Lucy recorded on this CD. Since 2005, photographs of these manuscripts have been on public view in the cathedral. Churches, cathedrals and monasteries were religious and intellectual centres during the Middle Ages. Christianity played an important role in a mediaeval society. Plain chant tries, either as an inner experience or accompanying praying, to imitate celestial music on earth. The offices are sung by clerics, monks and nuns, but everybody can take part in the singing of hymns. Women were not excluded from liturgical singing and they celebrated the daily offices in their convents as well. Women sing conveniently the psalm; these sweet chants may be sung by all ages and both sexes (St Ambrose, 4th century). The music was then handed down almost exclusively orally and the singers of the Schola Cantorum had to learn the whole liturgical repertory of the year by heart. So, the transmission happened by singing and repetition. Since the 9th century, plain chant has been notated in handwritten chant books. The process was initiated by Pippin the Younger (715-768) and Charlemagne (747-814) when they reformed the liturgy in their empire. An important number of books had to be written and a musical notation to be invented in order to standardize the plain chant. Thanks to these efforts, teaching music became simpler and faster and the transmission of music was not based solely on memory anymore. The cathedral of Apt possesses almost forty mediaeval manuscripts, including some liturgical books from the 11th to the 14th century. Their different musical notations allow us to follow the evolution of musical writing in the Middle Ages. Troper from the 11th c. - Apt, Trsor de la Cathdrale ms. n17 A troper is a collection of liturgical chants, so-called tropes, additions to mass chants for main feasts. The first manuscripts known with tropes can be dated from the beginning of the 10th century; this tradition continued until the 13th century. The above-mentioned manuscript has an Aquitanian notation and following musicologist Charles Atkinson it could have been written in Apt. For our recording we used ordinary chants and tropes from this manuscript being one of the oldest books in the cathedral: a Kyrie eleison (D mode) with it's trope Caelestis terrestrisque vite rector; a Gloria (E mode) with the trope Quem cuncta laudant ut bona valde, a highly original composition with a melisma repeating the whole melody at the end of each phrase; a Greek Agios agios agios and an Agnus Dei in D mode. The Agios (Sanctus) might astonish the listener at that place in the mediaeval liturgy. However, the very melismatic chant is part of a mass for Whitsuntide and offers us a very nice example of Byzantine elements continue to exist in the Latin liturgy at a time when the knowledge of the Greek language had already considerably declined. That is why we can find some errors in the Latin of this chant. The melody in D mode is typical Aquitanian with it's beautiful lines and ornaments to make the liturgy as solemn as possible. Gradual from the 13th c. - Apt, Trsor de la Cathdrale ms. n6 This gradual written in Aquitanian notation on scratched lines and a red f-line contains the chants of the Mass in Honour of St Lucy which are notated on the folio 108r-v: the introit Dilexisti iusticiam (G mode), accompanying the solemn entry of the priest; the gradual Dilexisti iusticiam with the verse Propterea unxit te Deus (G mode); the Alleluia Diffusa est gracia (F mode); the offertory Offerentur regi virgines (D mode) and the communion Diffusa est gracia (F mode). Almost all the texts of these chants of the virgin's office have been taken from psalm 44. The offertory has been completed from

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