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Hilliard Live - The Collection [4-CD Set]


Release Date: 10/14/2008 
Label:  Coro   Catalog #: 16064   Spars Code: n/a 
Composer:  AnonymousPérotinLéoninJohannes Ockeghem,   ... 
Performer:  David JamesGordon JonesJohn PotterRogers Covey-Crump
Orchestra/Ensemble:  Hilliard Ensemble
Number of Discs: 4 
Recorded in: Stereo 
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Notes and Editorial Reviews

4 CDs for the price of 3 – All four Hilliard "live" discs in one box.

Reviews of the original recordings that make up this set:

The illusion of perfection, pursued ever more eagerly with today's highly advanced recording techniques, may well end up as an illusion of reality, presenting music that never-never was, a composite of a multitude of takes. For all its hazards, doesn't an inspired live performance have a chance of being infinitely more exciting and satisfying? Well: Hilliard Live is a case in point, if ever there were one. This repertoire from the twelfth and thirteenth centuries was performed at a concert in that most unlikely of venues, the chapel of Trinity College, Cambridge: hardly
Read more the best setting for Ars Antiqua, you'd think, but Superb For sound when you're listening to a string quartet - or, as it happens here, to a quartet of voices. Such is the transparency, such the admirable tuning, that nothing is lost. There's a surprising degree of variety: one can savour the fascinating grinding richness of Dens miserlus liominis juxtaposed with the slower, sweeter three-part texture of Veni Creator spin us. Pérotin's two great responsories Videruni and Sederunt Figure large, with romping rhythms in the polyphony and beautifully sung stretches of chant - rather more in the style of Westminster Cathedral, though, than of thirteenth-century Notre-Dame.

– Gramophone [8/1997]

-----


The third of four Hilliard Live discs to be reissued on Coro, this is devoted entirely to Antoine Brumel (c. 1460–c. 1515), except for four laude from the Cortona source. A close contemporary of Josquin des Prez, with whom he is mentioned in Crétin’s lament on the death of Ockeghem, he moved from one post to another, the last known being the Este chapel at Ferrara, which was disbanded in 1510. Major attention has focused on his Missa Et ecce terrae motus , recorded by Paul van Nevel (14:4), Peter Phillips (16:2), Dominique Visse (27:5), and Clytus Gottwald (the oldest of all, a 1968 recording issued on Bayer and Brilliant). Edward Wickham recorded his Requiem (30:1), and earlier Dario Tabbia recorded his Missa A l’ombre d’ung buissonet (20:4), while Chanticleer recorded his Missa Bergerette savoyenne . This disc offers the first recording of another Mass, leaving 10 masses yet to be recorded. This Mass, based on a phrase from the Easter sequence, was included in a book of Brumel’s masses printed by Petrucci in 1503. Even earlier, Petrucci included his motets in the very first print, Odhecaton A (1501). Later, standard treatises by Morley and Glareanus cited his work. Brumel is still not well known today, though he was famous for a century after his death.


The Mass is a splendid example of Brumel’s technique, based on only seven notes of the sequence (the same brevity of the cantus firmus to Missa Et ecce terrae motus ). The Sanctus is the most astonishing movement, the Hosanna simply electrifying in the sound that four solo voices can produce. This is an incredible moment in a great piece of music. The motets range from the most familiar, Mater Patris et filia , to three others that appear to be first recordings. The four laude have all been recorded before, but they are hardly familiar.


This program was recorded at a concert in 1997 for broadcast on the BBC. The reissue reprints the note on the music by Ivan Moody, but omits another note in the original booklet that treated the Hilliards’ use of just tuning in preference to Pythagorean tuning. This practice extends even to the laude, which might seem to demand Pythagorean tuning but for the uncomfortable alternation with polyphony. This note was probably considered more appropriate for the Hilliards’ concert fans than for the record-buying public. The first of this series was marvelous, the second less so, but this third disc has the advantage of introducing some great music to the public. Do not pass it up, by any means. That Hosanna is worth the price of the record.


FANFARE: J. F. Weber
-----

This touchingly named recital tells of the man behind the music, whose death the Hilliard Ensemble commemorated in a live concert, subsequently broadcast by BBC Radio 3 on the eve of the quincentenary in February. The emphasis on the human being is reflected in the Hilliards' choice of programme, a series of movements drawn from different Masses, accompanied by motels written in Ockeghem's honour.

The Hilliards have served Ockeghem well in the past, having already recorded some of the music on this disc. Given that the most recent recordings of Ockeghem have also been from multi-voiced choirs (such as The Clerks' Group and The Tallis Scholars), this difference of approach is welcome. The excerpts from the Masses do whet the appetite for more of each; nevertheless, we have here the first recording on CD of the Caput Mass (the Sanctus only), and the oddest piece here by a long shot; and the Gloria of Mi-Mi is presented for the first time in a slightly shortened, probably more authentic version. The Hilliards have a knack of focusing on the music's textural richness; no wonder that they are so fond of Ockeghem, whose handling of texture is unrivalled. The Sanctus of the Caput Mass shows how other-worldly and awe-inspiring Ockeghem (and the Hilliards) can sound. The bass holds his notes firmly at the bottom as the tenors and countertenor seem to float above him. A trademark of theirs is the hushed delivery of particularly striking moment (think of the close at the words "gloria tua"). But where forward declamation and text-projection are of the essence (as in the accompanying motets), results are muted. It's often claimed that a degree of personal rivalry can help fuel the best public performances (be they by string quartets or rock bands). Could it be that the Hilliards get on too well these days?

There have been several fine recordings of Ockeghem this year, and there will be more; what I admire and enjoy here is the sense of an intimate, heartfelt celebration of Ockeghem's life and work; in short, the sense of occasion. As I said at the start, a distinctive and touching contribution to the Ockeghem year, from a group who have done so much to keep his name alive."

– Gramophone [7/1997]

-----

The Hilliard Ensemble is, like Caesar’s wife, all things to all men. Its repertory ranges from plainsong to the music of Arvo Pärt, but its recordings of 15th-century music do seem to have a rather special quality. Virgin Veritas recently reissued its discs of English music from that period, and the group has now turned to continental music with an anthology of songs (Sweet Love, Sweet Hope – reviewed December 1996) and this splendid account of the Missa Se la face ay pale written in the 1450s by the great Guillaume Dufay.

The only serious rival to the current disc is David Munrow’s attractive 1974 recording of the Mass reissued on Virgin Veritas two years ago. Munrow’s disc also provides, unlike the Hilliard one, the love song upon which the Mass is based, but his singers are accompanied (rather unnecessarily) by instruments, and their pacing is erratic, being achingly slower than the Hilliard in the Kyrie, Gloria and Agnus, and hectically quicker in the Credo and Sanctus. The Hilliard disc is a live recording, which gives rise to some distracting noises (especially in the Agnus) and some missed opportunities in the musical detail (such as the vocal imitation at the beginning of the Credo), but the sense of a musical journey is overwhelming. I enjoyed, too, the wayward but brilliant account of Flos florum, sung for once as if it were a love song rather than a motet.

– Anthony Pryer, BBC Music Magaine
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Works on This Recording

1.
Vetus abit littera by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 3 Minutes 46 Secs. 
2.
Deus misertus nostri by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 4 Minutes 59 Secs. 
3.
Veni creator spiritus by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: after 1300; France 
Length: 7 Minutes 21 Secs. 
4.
Viderunt omnes by Pérotin
Performer:  Gordon Jones (Baritone), John Potter (Tenor), Rogers Covey-Crump (Tenor),
David James (Countertenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: circa 1200; France 
Length: 10 Minutes 31 Secs. 
5.
Gloria: Redemptori meo by Léonin
Performer:  Gordon Jones (Baritone), John Potter (Tenor), Rogers Covey-Crump (Tenor),
David James (Countertenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 5 Minutes 44 Secs. 
6.
Haec dies by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 4 Minutes 27 Secs. 
7.
Stirps Jesse virgam produxit by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 5 Minutes 6 Secs. 
8.
Mundus vergens by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 2 Minutes 21 Secs. 
9.
Procurans odium by Anonymous
Performer:  Gordon Jones (Baritone), John Potter (Tenor), Rogers Covey-Crump (Tenor),
David James (Countertenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: 13th Century; France 
Length: 1 Minutes 59 Secs. 
10.
Alleluia nativitas by Pérotin
Performer:  Gordon Jones (Baritone), John Potter (Tenor), Rogers Covey-Crump (Tenor),
David James (Countertenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: circa 1200; France 
Length: 5 Minutes 25 Secs. 
11.
Christus iam surrexit by Anonymous
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Length: 4 Minutes 43 Secs. 
12.
Sederunt principes by Pérotin
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: circa 1200; France 
Length: 11 Minutes 45 Secs. 
13.
In hydraulis by Johannes Ockeghem
Performer:  David James (Countertenor), John Potter (Tenor), Gordon Jones (Baritone),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Length: 7 Minutes 49 Secs. 
14.
Missa "De plus en plus": Credo by Johannes Ockeghem
Performer:  David James (Countertenor), Gordon Jones (Baritone), Rogers Covey-Crump (Tenor),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: circa 1460; Flanders, Belgium 
Length: 9 Minutes 43 Secs. 
15.
Omnium bonorum Plena by Loyset Compère
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: France 
Length: 10 Minutes 41 Secs. 
16.
Missa Caput: Sanctus by Johannes Ockeghem
Performer:  David James (Countertenor), Rogers Covey-Crump (Tenor), John Potter (Tenor),
Gordon Jones (Baritone)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century; Flanders, Belgium 
Length: 7 Minutes 16 Secs. 
17.
Ergo ne conticuit by Johannes Lupi
Performer:  John Potter (Tenor), Rogers Covey-Crump (Tenor), David James (Countertenor),
Gordon Jones (Baritone)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Length: 7 Minutes 51 Secs. 
18.
Missa prolationum: Agnus Dei by Johannes Ockeghem
Performer:  Gordon Jones (Baritone), David James (Countertenor), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century; Flanders, Belgium 
Length: 6 Minutes 10 Secs. 
19.
Missa "Victimae paschali laudes": Kyrie by Antoine Brumel
Performer:  David James (Countertenor), Gordon Jones (Baritone), John Potter (Tenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 1503; France 
Length: 9 Minutes 13 Secs. 
20.
O divina virgo fiore by Anonymous
Performer:  Rogers Covey-Crump (Tenor), David James (Countertenor), Gordon Jones (Baritone),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: Italy 
Length: 2 Minutes 27 Secs. 
21.
Ave, virgo gloriosa by Antoine Brumel
Performer:  David James (Countertenor), John Potter (Tenor), Gordon Jones (Baritone),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: by 1505; France 
Length: 10 Minutes 27 Secs. 
22.
Salve, salve, virgo pia by Anonymous
Performer:  John Potter (Tenor), Gordon Jones (Baritone), Rogers Covey-Crump (Tenor),
David James (Countertenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Written: 13th Century; Italy 
Length: 2 Minutes 20 Secs. 
23.
Mater patris et filia by Antoine Brumel
Performer:  David James (Countertenor), John Potter (Tenor), Gordon Jones (Baritone),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century 
Length: 3 Minutes 23 Secs. 
24.
Missa "Victimae paschali laudes": Credo by Antoine Brumel
Performer:  David James (Countertenor), John Potter (Tenor), Gordon Jones (Baritone),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 1503; France 
Length: 8 Minutes 43 Secs. 
25.
Nativitas unde gaudia by Antoine Brumel
Performer:  Gordon Jones (Baritone), Rogers Covey-Crump (Tenor), David James (Countertenor),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 1505; France 
Length: 5 Minutes 47 Secs. 
26.
Regina sovrana by Anonymous
Performer:  David James (Countertenor), John Potter (Tenor), Rogers Covey-Crump (Tenor),
Gordon Jones (Baritone)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: Italy 
Length: 2 Minutes 47 Secs. 
27.
Missa "Victimae paschali laudes": Sanctus by Antoine Brumel
Performer:  John Potter (Tenor), Gordon Jones (Baritone), David James (Countertenor),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 1503; France 
Length: 7 Minutes 43 Secs. 
28.
Oi me lasso by Anonymous
Performer:  David James (Countertenor), Rogers Covey-Crump (Tenor), Gordon Jones (Baritone),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 3 Minutes 11 Secs. 
29.
O Crux, ave, spes unica by Antoine Brumel
Performer:  Rogers Covey-Crump (Tenor), David James (Countertenor), Gordon Jones (Baritone),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: France 
Length: 1 Minutes 49 Secs. 
30.
Missa "Victimae paschali laudes": Agnus Dei by Antoine Brumel
Performer:  John Potter (Tenor), Rogers Covey-Crump (Tenor), David James (Countertenor),
Gordon Jones (Baritone)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 1503; France 
Length: 6 Minutes 31 Secs. 
31.
Missa "Se la face ay pale" by Guillaume Dufay
Performer:  Gordon Jones (Baritone), David James (Countertenor), Rogers Covey-Crump (Tenor),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century; France 
32.
Flos florum by Guillaume Dufay
Performer:  Rogers Covey-Crump (Tenor), John Potter (Tenor), Gordon Jones (Baritone),
David James (Countertenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century; France 
Length: 4 Minutes 7 Secs. 
33.
Anima mea liquefacta est by Guillaume Dufay
Performer:  David James (Countertenor), Rogers Covey-Crump (Tenor), Gordon Jones (Baritone),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Length: 3 Minutes 9 Secs. 
34.
Moribus et genere by Guillaume Dufay
Performer:  John Potter (Tenor), David James (Countertenor), Gordon Jones (Baritone),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: ?1442; France 
Length: 9 Minutes 32 Secs. 
35.
Vergene bella by Guillaume Dufay
Performer:  David James (Countertenor), John Potter (Tenor), Gordon Jones (Baritone),
Rogers Covey-Crump (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century; France 
Length: 4 Minutes 33 Secs. 
36.
Ave regina celorum by Guillaume Dufay
Performer:  Rogers Covey-Crump (Tenor), David James (Countertenor), John Potter (Tenor),
Gordon Jones (Baritone)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: 15th Century; France 
Length: 7 Minutes 42 Secs. 
37.
Exultet celum laudibus by Guillaume Dufay
Performer:  David James (Countertenor), Rogers Covey-Crump (Tenor), Gordon Jones (Baritone),
John Potter (Tenor)
Orchestra/Ensemble:  Hilliard Ensemble
Period: Medieval 
Length: 4 Minutes 47 Secs. 

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