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markfromireland

Easter Sunday 2014: Ludwig Senfl (±1489-1543) – Missa Paschalis (Easter Mass)

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April 20, 2014

I wish you all a happy, holy and peaceful Easter.

markfromireland

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Grzegorz Gerwazy Gorczycki (±1665 — 1734): Sepulto Domino

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April 19, 2014

The Gospel according to St. Matthew relates how following Jesus' burial on Good Friday the chief priests went to Pilate to ask that the tomb be sealed and guarded, to prevent the Disciples stealing the body with a view to falsely proclaiming Christ’s resurrection. These verses form the basis for Sepulto Domino, they've been set by many different composers ranging from de Lassus, to Gesualdo, to Zelenka. A composer whose settings are well-known throughout Eastern Europe but aren't so well-known in Western Europe is Grzegorz Gerwazy Gorczycki  (±1665 – 1734).

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Philippe Rogier (±1561-1596): Caligaverunt oculi mei

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April 18, 2014

Rogier was a Flemish composer who started his musical career at the Spanish court as one of the choirboys recruited by Philip II's maestro de capilla Geert van Turnhout. During his all-too-short life he rose to become the Emperor's maestro de capilla himself. His music with its unusual dissonances, striking accidentals, and unexpected suspensions can sound surprisingly modern as can his sudden harmonc shifts – all of these techniques are used in Caligaverunt oculi mei to express both grief and remorse and it ends with a plainitive cry of the bereft Rogier mourning our crucified Lord – Videte omnes populi, si dolor similis sicut dolor meus,  (See, all you people, whether any grief can be compared to mine).

markfromireland

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Juan Gutiérrez de Padilla (± 1590 -1664): Lamentation for Maundy Thursday, ‘Incipit lamentatio Jeremiae Prophetae’

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April 17, 2014

For this year's Maundy Thursday I've chosen Juan Gutiérrez de Padilla's setting of Lectio I (Incipit Lamentatio Ieremiae prophetae) of the Lamentations for Maundy Thursday 'In Coena Domini'. It's a six-part setting and as you might expect from de Padilla it's very traditional in tone with it's polyphony being firmly based on the Toledo Lamentation tone and uses very fluid and sad vocalisations for the Hebrew letters—Aleph, Beth, and Gimel between the verses. It's sung below, superbly as always, by the Westminster Cathedral Choir conducted by James O'Donnell.

markfromireland

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George Malcolm (1917-1997): Miserere mei Deus

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April 16, 2014

Psalm 51 – the Miserere, is the Biblical text around which the Ash Wednesday liturgy revolves. George Malcolm's setting (Malcolm was Master of Music at Westminster Cathedral between 1947 and 1959) is an alternatim setting of the Psalm. It's a beautiful piece of work that deserves to be far better known in which Malcolm switches between the higher and lower voices in an unadorned second mode chant which he offsets with polyphonic expansions and variations. The voices join together for the second half of the Gloria  in a descant of great power and beauty.

markfromireland

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