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앨범: "하늘의 모후 찬양" 모음집
Various Artist (1992 Collegium)
1. Alma Redemptoris Mater - Track 전곡 연주 |
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Album Title: Hail! Queen of Heaven: Music in Honour of the Virgin Mary
Composer: Bible, New Testament, Anonymous, Anton Bruckner, William Byrd, Richard Dering, Francisco Guerrero, Gustav Holst, Herbert Howells, Giovanni Pierluigi da Palestrina, Igor Stravinsky, Giles Swayne, Pyotr Il'yich Tchaikovsky, Christmas Traditional, Giuseppe Verdi, Tomás Luis de Victoria, Pierre Villette, Gregorian Chant, Charles Wood
Conductor: John Rutter
Performer: Caroline Ashton (Soprano)
Andrew Gant (Tenor)
Ensemble: The Cambridge Singers
Audio CD (April 1, 1992)
Number of Disc: 1
Format: CD
Recording: 1991
Mono/Stereo: Stereo
SPAR Code: DDD
Label: Collegium Records
Copyright: (C) 1992 Collegium Records
Total Length: 1:11:19
Genres: Classical, Music, Antiphon, Ave Maria, Baroque Period, Carol, Chant, Gregorian Chant, Magnificat, Mass, Medieval Period, Motet, Renaissance Period, Romantic Period, Sacred Music, Vespers
Period: 20th Century, Baroque (1600-1750), Contemporary, Renaissance (1400-1600), Romantic
Conductor John Rutter
Ensemble The Cambridge Singers
Studio/Live Studio
Venue Lady Chapel, Ely Cathedral
Recording Date 01/1991
1. Alma Redemptoris Mater, antiphon (1:53)
Composer Gregorian Chant
Lyricist Anonymous
Genre Antiphon / Chant / Medieval Period / Vespers
Period Medieval
Date Written 10th Century
Country Germany
2. Ave Virgo Sanctissima (à5) for chorus, motet for 5 voices (3:49)
Composer Francisco Guerrero (Renaissance) (1528 - 1599)
Lyricist Anonymous
Genre Motet / Renaissance Period
Date Written 1566; 16th Century; Spain
Period Renaissance
Country Spain
3. Ther is no rose of swych vertu (English) (3:57)
Composer Christmas Traditional
Lyricist Anonymous
Performer Andrew Gant (Tenor)
Caroline Ashton (Soprano)
Genre Carol / Medieval Period
Period Medieval
Date Written circa 1420; England
Country England
4. Ave Maria (à4), motet for 4 voices (1:52)
Common Name Ave Maria Motet For 4 Voices
Composer Tomás Luis de Victoria (circa 1548 - 1611)
Lyricist Bible - New Testament
Genre Motet / Renaissance Period
Date Written circa 1570
Period Renaissance
Country Italy
5. Ave Virgo Gloriosa for chorus (2:06)
Composer Richard Dering (1580 - 1630)
Genre Baroque Period
Date Written 1617
Period Baroque
6. Ave Regina caelorum, antiphon in Mode 6 (1:36)
Composer Gregorian Chant
Lyricist Anonymous
Genre Gregorian Chant / Medieval Period / Sacred Music
Period Medieval
Country Europe
7. Stabat mater (à8), motet for 8 voices (8:15)
Composer Giovanni Pierluigi da Palestrina (1525 - 1594)
Lyricist Anonymous
Genre Motet / Renaissance Period / Sacred Music
Period Renaissance
Date Written 16th Century; Italy
Country Italy
8. Ave Maria (offertory; à7 for chorus a cappella) (Ⅱ), motet for chorus in F major, WAB 6 (3:16)
Composer Anton Bruckner (1824 - 1896)
Lyricist Bible - New Testament
Genre Motet / Romantic Period / Sacred Music
Date Written circa 1861; Austria
Period Romantic
Country Austria
9. Quattro (à4) pezzi sacri: Laudi alla Vergine Maria, for female voices (4:59)
Composer Giuseppe Verdi (1813 - 1901)
Lyricist Bible - New Testament
Genre Motet / Romantic Period / Sacred Music
Date Written circa 1890; Italy
Period Romantic
Country Italy
10. Ave Maria, for chorus a cappella (after Bogoroditse D'vo) (2:03)
Common Name Ave Maria For Chorus
Composer Igor Stravinsky (1882 - 1971)
Lyricist Bible - New Testament
Genre Ave Maria / Sacred Music
Date Written 1949; USA
Period Modern; 20th Century
Country Russia / USA
11. Liturgy of St John Chrysostom, for chorus, Op. 41: Sacred pieces (à9) for mixed Chorus: No. 5, Dostoino Yest (2:25)
Common Name Liturgy Of St John Chrysostom For Chorus
Composer Pyotr Il'yich Tchaikovsky (1840 - 1893)
Lyricist Anonymous
Genre Mass / Romantic Period / Sacred Music
Date Written 1884-1885; Russia (1878)
Period Romantic
Country Russia
12. Regina caeli laetare, for chorus (1:35)
Composer Gregorian Chant, Anonymous, Traditional
Genre Chant / Medieval Period
Period Medieval
Country Europe
13. 4 Anthems to the Blessed Virgin Mary, Op. 9: Regina Coeli, for chorus (3:02)
Composer Herbert Howells (1892 - 1983)
Lyricist Anonymous
Date Written 1916; England
Period Modern; 20th Century
Country England
14. Hail! Blessed Virgin Mary, for chorus (1:58)
Composer Traditional (arr. C. Wood)
Lyricist George Ratcliffe Woodward
Period Modern (after traditional Italian)
Work Notes Arranged: Charles Wood (1886 - 1926 Choral Composer)
15. Hymne à la Vierge, for chorus, Op. 24 (3:33)
Composer Pierre Villette (1926 - 1969)
Lyricist Roland Bouheret
Genre Motet
Date Written 1953-1954; France
Period Modern; 20th Century
Country France
16. Magnificat for chorus (3:48)
Composer Giles Swayne (1946 - )
Lyricist Bible - New Testament
Genre Magnificat
Date Written 1982; England
Period Modern; 20th Century
Country England
17. Salve Regina [Medieval], mater misericordiae, antiphon (2:25)
Composer Gregorian Chant, Anonymous
Lyricist Anonymous
Genre Chant / Medieval Period
Period Medieval
Country Europe
18. Gradualia, Volume 1: Part 1-No 20, Alleluia, Ave Maria...reconcilians ima summis (a5), motet for 5 voices (SATTB) (4:20)
Composer William Byrd (1543 - 1623)
Genre Motet / Renaissance Period
Date Written 1605; England
Period Renaissance
Country England
19. Vidi speciosam (à6), motet for 6 voices (5:43)
Composer Tomás Luis de Victoria (circa 1548 - 1611)
Lyricist Bible - Old Testament
Genre Motet / Renaissance Period / Sacred Music
Date Written 1572; Spain
Period Renaissance
Country Spain
20. Ave Maria, for female chorus, Op. 9b, H. 49 (4:20)
Common Name Ave Maria For Female Chorus
Catalog No. H 49
Composer Gustav Holst (1874 - 1934)
Lyricist Bible - New Testament
Genre Ave Maria / Sacred Music
Date Written 1900; England
Period Post-Romantic; 20th Century
Country United Kingdom
21. Ave Maria, gratia plena (à8), motet for 8 voices & organ (for double choir) (4:24)
Composer Tomás Luis de Victoria (circa 1548 - 1611)
Lyricist Bible - New Testament
Genre Motet / Renaissance Period
Date Written 1572; Italy
Period Renaissance
Country Italy
음반 정보
성모 마리아 찬가 <Ave gracia plena>
성모 마리아께 기도를 바치는 것은 로마 카톨릭의 오랜 전통이며, 때문에 많은 마리아 찬가들이 작곡되었다. 이 앨범에서는 전통적인 교회력에 의해 대림절에서 다음 대림절까지 네 시기로 나누어 음악을 소개하고 있다. 마리아 찬가를 많이 쓴 것으로 유명한 빅토리아의 아베마리아를 비롯, 버드, 브루크너, 홀스트의 아베 마리아 그리고 팔레스트리나 등 다양한 마리아 찬가들이 불려지는데 캠브리지 싱어즈의 단아하고 깔끔한 해석이 유난히 돋보이는 음반이다. / 수입-영국
연주: 캠브리지 싱어즈, 존 루터(지휘)
Hail! Queen of Heaven
This recording, made in the architecturally and acoustically glorious setting of the Lady Chapel of Ely Cathedral by the twenty-eight unaccompanied mixed voices of the Cambridge Singers, gathers together twenty-one examples of the extraordinary wealth of choral music inspired by the Virgin Mary.
Ever since the early centuries of Christian history, the Virgin Mary has played a significant role in worship. At the Council of Ephesus in 431 she was accorded the title of Mother of God, worthy of veneration above all other saints, and feast days dedicated to her began to appear in the church calendar, the most important being the Annunciation, the Nativity and the Assumption. The musical implications of this are clear: feasts call for specially elaborate music, and so a repertory of Marian music began to develop, especially in monastic institutions, where up to eight acts of worship were held each day. Prominent in this repertory are the four beautiful Antiphons of the Blessed Virgin Mary which frame this recording. These were composed in the turbulent centuries of the Crusades, the ending of which in 1291 marked the start of a period of especially intense devotion to Mary, perhaps in reaction to the violence and bloodshed that had gone before. The building of Lady Chapels in cathedrals and other churches was a notable symbol of this—nowhere more so than at Ely, whose huge and impressive Lady Chapel is virtually a separate structure from the main cathedral, its interior walls covered with stone carvings depicting the life and miracles of the Virgin. Mary became a popular subject of paintings and poetry, often being likened to a rose (an image going back to the Rose of Jericho in Ecclesiasticus); the delicately lovely English carol There is no rose of such virtue exemplifies this facet of Marianism at its height in the fifteenth century.
In England, of course, all this changed with the Reformation, when the singing of Marian music and veneration of the image of any saint was brought to an end, although the 1549 Book of Common Prayer did retain the principal feast days of Mary. In Italy and Spain, however, the Reformation had the effect of redoubling Catholic fervour, with the Jesuit order being founded in 1534 and the Council of Trent (1545–63) defining Catholic doctrine and reforming its practice. The church music of Victoria and Guerrero typifies this spirit of Counter-Reformation; and it is easy to see a work like Palestrina’s Stabat Mater as a musical counterpart to the great Renaissance pietàs which made real to the beholder the human grief of Mary at the Cross.
If the influence of the Reformation on the Catholic church was at least partly negative
and reactionary, as far as the Orthodox church is concerned it was wholly negligible: Tchaikovsky’s and Stravinsky’s short hymns to the Virgin remind us of a centuries-old tradition of worship in which she had always been profoundly venerated. In northern Europe, on the other hand, Mary went underground, and it was not until well after the Catholic emancipation of the nineteenth century (given artistic focus in England by the Oxford Movement) that such overtly Marian pieces as Holst’s Ave Maria, Wood’s Hail! Blessed Virgin Mary and Howells’s Regina caeli began to reappear. In Catholic countries, popular devotion to the Virgin was given new impetus by the miraculous apparitions of the nineteenth century (Villette’s Hymne à la Vierge would not be out of place at Lourdes), while in Protestant countries a more relaxed attitude to Mary has allowed such ‘Catholic’ (and cross-cultural) manifestations as Giles Swayne’s Latin Magnificat based on a Senegalese ploughing-song to take their place in the normally tranquil atmosphere of Anglican Evensong.
Scholars, theologians, believers and non-believers will probably continue to debate
the role and significance of the Virgin Mary until the end of time; but music-lovers are free simply to enjoy and be enriched by her marvellous legacy of music. Thus, the pieces heard on this recording, although grouped under four seasonal headings, do not in any sense form a strict liturgical sequence, nor are they ordered chronologically or by nationality. Rather, each piece could be thought of as an individual tile in a mosaic picture of the first-century woman of whom, really, we know so little but who has given inspiration and solace to so many.
JOHN RUTTER
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