Notes and Editorial Reviews
L. PAMINGER
Domine, ne in fuore tuo. Descendi in hortum meum. Virgo prudentissima. Sicut lilium inter spinas. Disce crucem. In exitu Israel de Aegypto. Pater noster. Ad te, Domini, levavi. Agni paschalis. Dixit Dominus. O Trinitas.
S. PAMINGER
O Mensch, bewein dein Sünde groß
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Stimmwerck
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CHRISTOPHORUS CHR 77331 (71:39
Text and Translation)
Leonhard Paminger (1495–1567) is one of many Renaissance
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composers whose names have slipped through the cracks of time and fallen into obscurity, awaiting rediscovery. So far as I can discover, this is the first album in any format devoted to his works; individual motets appeared on the Pelca, Schwann, and Telefunken labels on LP, and on Koch Schwann and Hänssler issues on CD, all of these being anthology albums. Born in Aschach on the Danube, Paminger studied in Vienna from 1513 to 1516, and then moved to Passau, where he spent the rest of his life as first a teacher and then headmaster of the Augustinian Choir School of St. Nikola. He composed more than 700 works and sired at least three sons—Balthasar, Sigismund, and Sophronius—who were also composers. Sophronius in particular sought to perpetuate his father’s memory, but of a planned posthumous edition of Leonhard’s works in 10 volumes only four were published. Aside from his musical activities, Paminger was also involved in the religious controversies of the era; several short polemical works by him on behalf of Lutheranism were published in the year of his death. Some evidence suggests that he may have been forced to relinquish his position in 1558 due to his confessional convictions.
This album presents a mixture of motets and psalm settings, all well crafted and worthy of revival. Despite his Protestant sympathies, virtually all of Paminger’s works set Latin rather than German texts—a practice not uncommon in areas that followed Lutheran rather than Reformed doctrine. The initial primary musical influences on Paminger appear to have been Heinrich Isaac and Josquin Desprez. However, in line with the Protestant principle that primacy should be given to intelligibility of the text, there is a good deal more homophony and less polyphony than this lineage might suggest. In particular, the psalm settings frequently feature an alternating pattern in which an initial is sung in unison and a responsory verse in harmony or relatively simple polyphony. As an appendix, a German hymn in four-part chordal harmony (with occasional antiphonal imitation) by Paminger’s son Sigismund (1539–71) is also presented.
Stimmwerck is a vocal trio, consisting of countertenor Franz Vitzhum, tenor Gerhard Hölze, and bass Marcus Schmidl, joined here by guest countertenor David Erler. As one might infer with such a small ensemble, intimacy and clarity are primary vocal virtues; the singing and interpretations throughout are highly polished. A minor caveat is that the ensemble members are miked a bit too closely for my tastes and can almost sound as if they are singing directly in one’s ear. Texts are provided in Latin, English, German, and French; curiously, though, the booklet note on Stimmwerck itself is given only in German. This disc is warmly recommended both on its own merits and for bringing a neglected and virtually forgotten figure back to our attention.
FANFARE: James A. Altena
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Works on This Recording
1.
Domine, ne in furore tuo, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Orchestra/Ensemble:
Stimmwerck
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 8 Minutes 11 Secs.
2.
Descendi in hortum meum, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 4 Minutes 37 Secs.
3.
Virgo prudentissima, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 3 Minutes 25 Secs.
4.
Sicut lilium inter spinas, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 2 Minutes 7 Secs.
5.
Disce crucem, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 6 Minutes 57 Secs.
6.
In exitu Israel de Aegypto, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 5 Minutes 30 Secs.
7.
Pater Noster by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 5 Minutes 1 Secs.
8.
Ad te, Domine, levavi, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 11 Minutes 10 Secs.
9.
Agni paschalis, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 5 Minutes 4 Secs.
10.
Dixit Dominus, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 9 Minutes 57 Secs.
11.
O Trinitas, for chorus by Leonhard Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 7 Minutes 5 Secs.
12.
O Mensch, bewein dein Sünde groß, for chorus by Sigismund Paminger
Performer:
David [Alto Vocal] Erler ()
Period: Renaissance
Venue: Auferstehungskirche im Evang. Diakoniewe
Length: 2 Minutes 26 Secs.
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