Caterina Sforza · 24-Дек-20 17:20(4 года 1 месяц назад, ред. 24-Дек-20 17:23)
Gombert - Magnificat I, Salve Regina, Credo, Tulerunt Dominum (Oxford Camerata) Жанр: Classical sacred Страна-производитель диска: Made in the EU Год издания диска: 2006 Издатель (лейбл): Naxos Номер по каталогу: 8.557732 Дата записи: 2004 Аудиокодек: FLAC Тип рипа: image+.cue Битрейт аудио: lossless Продолжительность: 01:02:13 Источник: релизер сайт-источник/ник/другое: DutchPublisher from Meeting Music; Caterina Sforza - доп. сканы Наличие сканов в содержимом раздачи: да, авторские сканы jpeg + 2 web pdf буклета Треклист: 1 Tulerunt Dominum Meum 5:44
2 Magnificat Primi Toni 11:38
3 Credo In Unum Deum 13:21
4 Super Flumia Babylonis 7:15
5 Media Vita In Morte Sumus 7:11
6 Salve Regina (Plainchant Mode 1) 3:00
7 Salve Regina (Diversi Diversa Orant) 6:34
8 Epitaphum (In Josquinum A Prato) 7:36
Исполнители
Nicolas Gombert (c. 1495-1560) Magnificat I, Salve Regina, Credo, Tulerunt Dominum Oxford Camerata Jeremy Summerly - direction Recorded in the Chapel of Hertford College, Oxford (by kind permission of the Principal and Fellows) on 17th and 18th March, 2004
Лог создания рипа
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Содержание индексной карты (.CUE)
REM GENRE Classical REM DATE 2006 REM DISCID 730E9908 REM COMMENT "ExactAudioCopy v1.1" PERFORMER "Oxford Camerata, Jeremy Summerly (dir.)" TITLE "Gombert - Magnificat I, Salve Regina, Credo, Tulerunt Dominum" FILE "Oxford Camerata, Jeremy Summerly - Gombert - Magnificat I, Salve Regina, Credo, Tulerunt Dominum.flac" WAVE TRACK 01 AUDIO TITLE "Tulerunt Dominum meum" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464101 INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Magnificat primi toni" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464102 INDEX 00 05:41:66 INDEX 01 05:46:47 TRACK 03 AUDIO TITLE "Credo in unum Deum" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464103 INDEX 00 17:20:24 INDEX 01 17:25:06 TRACK 04 AUDIO TITLE "Super flumina Babylonis" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464104 INDEX 00 30:40:70 INDEX 01 30:44:63 TRACK 05 AUDIO TITLE "Medi vita in morte sumus" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464105 INDEX 00 37:55:46 INDEX 01 37:59:71 TRACK 06 AUDIO TITLE "Salve regina (plainchant mode 1)" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464106 INDEX 00 45:06:59 INDEX 01 45:11:14 TRACK 07 AUDIO TITLE "Salve regina (Diversi diversa orant)" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464107 INDEX 00 48:07:05 INDEX 01 48:08:01 TRACK 08 AUDIO TITLE "Epitaphium (in Josquinum a Prato)" PERFORMER "Oxford Camerata, Jeremy Summerly" ISRC HKI190464108 INDEX 00 54:41:15 INDEX 01 54:47:08
Review
AllMusic Review by James Manheim [-] The music of Nicolas Gombert (accent it like "Dilbert"), from the generation after Josquin in the middle sixteenth century, develops Josquin's language in the direction of greater density. His unaccompanied sacred choral works are luxuriant things, both difficult and greatly rewarding for choirs. His name is less well known than that of Josquin or Palestrina owing to a confluence of factors: his music presents a rather forbidding wall of sound to the listener, without striking details for the general listener to grab on to, and he was a convicted child sexual abuser who did time pulling oars in the fetid galley of a ship. He won a pardon by composing a series of eight Magnificats in the various church modes, the first of which is included on this disc, and in general the Oxford Camerata under Jeremy Summerly offers a good introduction to this composer for anyone who likes unaccompanied choral music. Several motets with grim texts bring out the most distinctive feature of Gombert's style: a tendency toward low ranges illuminated by stabs of sharp dissonance as if by blood-red light. His response to the Super flumina Babylon (By the waters of Babylon) and Media vita in morte sumus (In the middle of life we are already in death) texts are intensely felt. The Magnificat primi toni (Magnificat in Mode One) and an eight-part Credo give an idea of the big, dense Gombert style without spending time investigating his masses -- by this time the mass was no longer on the forward edge stylistically. A concluding Epitaphium in memory of Josquin is an unusually profound example of the tribute-piece genre that runs through the heart of the Renaissance choral repertory. The Oxford Camerata, a 16-voice, mixed-gender choir, is sympathetic to Gombert's music; the female sopranos and altos bring a needed power and lushness to the texture that boy singers cannot, but they don't lose the transparency necessary to bring forth the inner voices. The bright Oxford chapel sound occasionally degenerates into a sequence of hissing and clicking consonants but is attractive for the most part.
