Music for the court of Maximilian II

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From this showing, Cinquecento would be well placed to advocate Vaet further. An all-male a cappella ensemble, they sound clear and bright, and articulate the music lucidly — Gramophone Magazine More…

Release Date: 29th Jan 2007
Catalogue No: CDA67579
Label: Hyperion
Series: Early Vocal Music
Length: 67 minutes

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Vaet: Videns Dominus

Work length4:55

$1.10

$1.50

Cinquecento

Galli, A: Missa Ascendetis post filium

Work length33:58

$5.50

$7.50

Cinquecento

I. Kyrie

Track length5:25

$1.10

$1.50

II. Gloria

Track length6:42

$1.10

$1.50

III. Credo

Track length10:36

$1.10

$1.50

IV. Sanctus & Benedictus

Track length6:36

$1.10

$1.50

V. Agnus Dei

Track length4:39

$1.10

$1.50

Vaet: Conditor alme siderum

Work length6:43

$1.10

$1.50

Cinquecento

Vaet: O quam gloriosum

Work length2:18

$1.10

$1.50

Cinquecento

Pieter Maessens: Discessu

Work length3:58

$1.10

$1.50

Cinquecento

Vaet: Ascendetis post filium ‘In laudem Invictiss. Rom. Imp. Max. II’

Work length6:50

$1.10

$1.50

Cinquecento

Lassus: Pacis amans

Work length5:07

$1.10

$1.50

Cinquecento

Vaet: Continuo lacrimas

Work length3:39

$1.10

$1.50

Cinquecento

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The court of Maximilian IIHoly Roman Emperor and undisputed King of much of Europeoffered an unparalleled opportunity for artistic and musical development: ideas and influences could be widely exchanged in a context of amicable rivalry. Lassus, perhaps the only composer represented on this disc whose name remains familiar to this day, was employed far away from Maximilians power base, but his monumental skills were suppliedon secondment, as it were, from Bavariato provide the motet Pacis amans in celebration of Maximilians crowning as King of Bohemia. What this fascinating programme reveals is how music by Lassuss lesser-known contemporaries can stand direct comparison with that of the illustrious master. Opening with Jacobus Vaets wondrous depiction of the raising of Lazarus, Videns Dominus, the inspirational singing presented here takes us on an exhilarating tour of Maximilians bejewelled royal chambers, an environment every bit as opulent and artistically ambitious as that of contemporary Tudor England. Informativeand enlighteningbooklet notes by Dr Stephen Rice (also the recording producer) provide the listener with a full guide to the context and sometimes complex interrelationships of these composers whose reputations surely deserve their own bit of the Lazarus effect. Music for the court of Maximilian II is the debut recording by the thrilling all-male ensemble Cinquecento. Based in Vienna, its six members represent five countries, bringing together and, we believe, truly fusing the very best of their respective choral traditions. The results, gloriously captured on tape in the Austrian Dominikanerkirche of Retz, offer an exhilarating new outlook on this rich seam of repertoire as yet largely untapped. Future projects are eagerly awaited, and will include a pioneering survey of music by Jacobus Regnart.

Reviews

From this showing, Cinquecento would be well placed to advocate Vaet further. An all-male a cappella ensemble, they sound clear and bright, and articulate the music lucidly

Continuo lacrimas, Vaet’s gracious lament on the death of the composer Clemens non Papa, is a small masterpiece both in technique and emotional resonance … Cinquecento is an all-male vocal ensemble with members drawn from five European countries … The voices are young, lithe, pure in
intonation and warm in timbre - in short, ideal for interpreting Renaissance polyphony. Their phrasing is supple, mellifluous and understated, while always alert to the musical rhetoric … No lover of Renaissance polyphony should overlook this outstanding début recording

[Vaet] The fine motets recorded here suggest that his skill in achieving the closest possible union between text and music was comparable with that of Lassus. This is especially obvious in the darkly sonorous Videns Dominus, which tells the
story of the raising of Lazarus, with its slow sustained evocation of Jesus’s grief, and the climactic rising and falling scale figures symbolising the opening of the tomb … Cinquecento’s six male voices produce a rich and expressive sound … this is a very promising debut disc

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