Philips, P: Cantiones Sacrae 1612

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...the choir's sensitivity, poise and purity of sound generate a deeply moving performance. Engineering deftly captures each nuance and heightening of musical gesture...This disc illuminates... — BBC Music Magazine, July 2010, 4 out of 5 stars More…

Release Date: 1st Jun 2010
Catalogue No: CHAN0770
Label: Chandos
Series: Chaconne
Length: 77 minutes

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Philips, P: Cantiones sacrae, Vol. 1

Work length46:38

$15.75

$19.50

Choir of Trinity College Cambridge, Richard Marlow

No. 1, O beatum et sacrosanctum diem (In Festo Nativitatis Domini)

Track length2:38

$1.05

$1.30

No. 4, Cantabant Sancti (In Festo SS. Innocentium)

Track length3:00

$1.05

$1.30

No. 5, Gaudeamus omnes (In Festo S. Thomæ Martyris)

Track length2:49

$1.05

$1.30

No. 6, O nomen Jesu (In Festo Circumcisionis Domini)

Track length2:46

$1.05

$1.30

No. 7, Modo veniet Dominator (In Festo Circumcisionis Domini)

Track length2:22

$1.05

$1.30

No. 9, Tu es vas electionis (In Festo Conversionis S. Pauli)

Track length2:57

$1.05

$1.30

No. 11, Hodie beata Virgo Maria (In Festo Purificationis B. Mariæ)

Track length4:38

$1.05

$1.30

No. 16, Christus resurgens (In Festo Resurrectionis Domini)

Track length3:16

$1.05

$1.30

No. 17, Surgens Jesus (In Festo Resurrectionis Domini)

Track length2:16

$1.05

$1.30

No. 18, Gentes Philippus ducit (In Festo SS. Philippi et Jacobi)

Track length3:51

$1.05

$1.30

No. 20, Ascendit Deus (In Festo Ascensionis Domini)

Track length2:31

$1.05

$1.30

No. 24, Ave verum Corpus (In Festo Corporis Christi)

Track length3:51

$1.05

$1.30

No. 28, Gabriel Angelus (In Festo Joannis Baptistæ)

Track length2:54

$1.05

$1.30

No. 32, Ave gratia plena (In Festo S. Annæ)

Track length3:16

$1.05

$1.30

No. 33, Surge Petre ( In Festo S. Petri ad Vincula)

Track length3:33

$1.05

$1.30

Philips, P: Cantiones sacrae, Vol. 2

Work length31:09

$10.50

$13.00

Choir of Trinity College Cambridge, Richard Marlow

No. 38, Cam jucunditate (In Festo Nativitatis B. Mariæ)

Track length3:00

$1.05

$1.30

No. 39, Factum est silentium (In Festo S. Michælis)

Track length3:20

$1.05

$1.30

No. 41, Sancti mei (In Festo Omnium Sanctorum)

Track length3:09

$1.05

$1.30

No. 42, O beatum Martinum (In Festo S. Martini)

Track length3:05

$1.05

$1.30

No. 44, Cantantibus organis (In Festo S. Cæciliæ)

Track length3:00

$1.05

$1.30

No. 48, Tristitia vestra (Tempore Paschali)

Track length2:07

$1.05

$1.30

No. 50, Gaudent in cælis (In Natalis plurimorum Martyrum)

Track length2:38

$1.05

$1.30

No. 56, Ave Regina cælorum (Antiphona B. Mariæ)

Track length3:47

$1.05

$1.30

No. 58, Salve, Regina (Antiphona B. Mariæ)

Track length3:44

$1.05

$1.30

No. 68, Ne reminiscaris, Domine

Track length3:19

$1.05

$1.30

About
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About

Peter Philips was, after William Byrd, the most published English composer of the Elizabethan-Jacobean Age. He was also, in his day, the best-known English composer on the European mainland but his absence from his homeland after the age of about twenty-one means that he remains relatively neglected at home. Born in 1560 or 1561, he trained as a choirboy at St Paul’s Cathedral in London and may have studied keyboard playing with Byrd. In 1582 he fled England to avoid persecution as a Roman Catholic, making his way to Rome. In 1585 he joined the entourage of another Roman Catholic refugee, Sir Thomas Paget, travelling with him through Northern Europe for the next five years, eventually settling in Antwerp in 1591. In 1593 he was accused of plotting against Elizabeth I and arrested, but was eventually exonerated. He joined the court chapel of Archduke Albert, Viceroy of The Netherlands, as organist in 1597 and remained there until his death in 1628.

The three years spent in Rome were crucial for the formation of Philips’s musical style. The early 1580s were years of rapid development in that city’s music, particularly in writing for multiple choirs. Philips wrote some double-choir music and the antiphonal principle underlies much of the music on this recording, even if written for a single choir of five voices: two sopranos, alto, tenor and bass – a texture that gives an overall brightness, often heightened by close spacing between the two sopranos.

Richard Marlow conducts the mixed Choir of Trinity College, Cambridge. About a previous release International Record Review wrote: ‘This is a triumph for Marlow and his Trinity college choir, for Chandos, and above all, for Mendelssohn’s reputation as an inventive and deeply rewarding composer of sacred choral pieces.’

Reviews

July 2010

...the choir's sensitivity, poise and purity of sound generate a deeply moving performance. Engineering deftly captures each nuance and heightening of musical gesture...This disc illuminates a legacy which, despite periodic longeurs, richly deserves a hearing.

7th June 2010

their overall sound is warm and blended, with a soprano section sounding sweetly pure yet mature of tone. Ornamentation is sharply defined and lightly executed, and they have a wonderfully expansive dynamic and emotional range...it would be impossible to find a choir that could better their sheer togetherness of attack.

October 2010

Philips is so skilful in writing antiphonal and echo effects that you could easily think you were listening to pieces for double choir...In this recording from 2002, Richard Marlow and his mixed-voice choir are excellent.

17th June 2010

Philips encountered and absorbed a wide range of the influences circulating in western Europe towards the end of the 16th century...the best of his music is strikingly effective, and Richard Marlow and his Trinity College Choir respond impressively in those highlights.

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