Palestrina - Music for Holy Saturday - Chandos: CHAN0679 - CD or download

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This outstanding recording of music for Holy Saturday opens with two lessons from the third of Palestrina's four settings of texts from Lamentations, passages chanted during the Office of Tenebrae... — Gramophone Classical Music Guide, 2010 More…

Release Date: 1st Feb 2002
Catalogue No: CHAN0679
Label: Chandos
Series: Chaconne
Length: 60 minutes

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Palestrina: Lamentationes Jeremiae Prophetae, Book III, Sabbo Sancto: I. De Lamentatione Jeremiae Prophetae

Work length9:36

$1.60

$1.95

Musica Contexta, Simon Ravens

Palestrina: Sicut ovis ad occisionem dustus est

Work length2:24

$1.05

$1.30

Musica Contexta, Simon Ravens

Palestrina: Lamentationes Jeremiae Prophetae, Book III, Sabbo Sancto: II. Quomodo obscuratum est aurum

Work length7:58

$1.60

$1.95

Musica Contexta, Simon Ravens

Palestrina: Jerusalem, surge, et exue te vestibus

Work length2:33

$1.05

$1.30

Musica Contexta, Simon Ravens

Palestrina: Lamentationes Jeremiae Prophetae, Book III, Sabbo Sancto: III. Incipit oratio Jeremiæ prophetæ

Work length8:49

$1.60

$1.95

Musica Contexta, Simon Ravens

Palestrina: Plange quasi virgo, plebs mea

Work length4:11

$1.05

$1.30

Musica Contexta, Simon Ravens

Palestrina: Stabat mater: Stabat Mater

Work length9:30

$1.60

$1.95

Musica Contexta, Simon Ravens

Palestrina: Mulieres sedentes ad monumentum

Work length0:27

$1.05

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Musica Contexta, Simon Ravens

Palestrina: Benedictus pro Hebdomada sancta

Work length8:51

$1.60

$1.95

Musica Contexta, Simon Ravens

Palestrina: Mulieres sedentes ad monumentum (II)

Work length0:37

$1.05

$1.30

Musica Contexta, Simon Ravens

Palestrina: Sicut cervus

Work length5:10

$1.05

$1.30

Musica Contexta, Simon Ravens

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2010

This outstanding recording of music for Holy Saturday opens with two lessons from the third of Palestrina's four settings of texts from Lamentations, passages chanted during the Office of Tenebrae on the last three days of Holy Week.
The third lesson is Palestrina's superb setting of the Prayer of Jeremiah.
The performance is objectively straightforward, allowing the music, in its utter poignancy expressed with marked restraint, to speak for itself. The clarity of the individual voices is remarkable and the acoustic clear, yet warm: even the six-part final cry, 'Jerusalem… convertere ad Dominum Deum tuum', comes across with perfect intelligibility. In the chanted liturgy each lesson is followed by a florid reponsory, and full marks should go to Musica Contexta for transcribing these chants from Giovanni Guidetti's edition of 1587, which naturally comes from the right place and is of the right date.
Though the responsories might have been better in a slower, more determinedly solemn style, these singers are well on the way to achieving perfection here. It's particularly interesting to hear them sing Palestrina's wonderful Sicut cervus, with its surging phrases, and also his famous Stabatmater for double choir, displaying that dramatic alternation between antiphonal choir and combined choral sections. For maximum effect, more antiphonal distinction might have helped in the choir – versus – choir sections; but overall this is a well-thought-out and moving performance.

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