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Delectamentum - Dufay, Etc / Dobszay, Szendrei, Schola Hungarica


Release Date: 07/08/2014 
Label:  Budapest Music Center/Bmc (Hungary)   Catalog #: 140   Spars Code: n/a 
Composer:  AnonymousGuillaume Dufay
Conductor:  László DobszayJanka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews



DELECTAMENTUM László Dobszay, dir; Janka Szendrei, dir; Schola Hungarica BUDAPEST MUSIC CENTER 140 (60:40 Text and Translation)


Music by DUFAY, anon


The title, “delight,” comes from one word in a versicle/response sung in Offices of the Blessed Sacrament, originally found in Wisdom 16:20 where it refers to the manna in the desert, a Biblical type of the Eucharist. The title signals Read more a collection of chants for the feast of Corpus Christi, originally established in the diocese of Liège in the 13th century but extended to the universal calendar of feasts as soon as Urban IV, a prelate in Liège at that time, became pope. The texts of Mass and Office are usually attributed to St. Thomas Aquinas, while the melodies used were composed in a late-medieval style. The Office chants heard here are not familiar, for they are taken from sources in Esztergom, Prague, Vienna, and the Dominican rite, while the Mass Propers are the familiar chants more often recorded but heard here in the Dominican version. The Dominican rite is significant because St. Thomas Aquinas belonged to that order. Three texts are sung to Dufay’s polyphonic settings. The importance of the feast in recent centuries is indicated by the presence of Matins in the Liber Usualis , as one of the few liturgical days of the year when Matins was generally sung, not recited.


The third nocturn of Matins is fairly complete here (no antiphons or psalms) with three readings, two responsories, and the Te Deum. Six other chants represent the rest of Matins, the most unusual being a troped antiphon, “Melchisedech rex Salem,” found in a Prague source but not elsewhere. It is one of four Corpus Christi chants from the same source that this ensemble recorded earlier (13:1). The two renditions are quite similar, but unfortunately the source is not cited. One of the most remarkable chants is the “Alleluia Caro mea,” which is similar to the Roman version but for an extended melisma found in the Winchester Troper that is added to the end of the repeated alleluia.


The three pieces by Dufay are well chosen. “Sanctus/Ave verum,” also known as the Sanctus papale, has been recorded by Paul Boepple, Konrad Ruhland (twice), Giuseppe Maletto (reviewed elsewhere), and Scott Metcalfe (31:1); it fits here because the trope is a Eucharistic hymn. “Pange lingua,” previously recorded in Dobszay’s fine collection of Dufay hymns (13:1), is the hymn for Second Vespers of Corpus Christi, alternating as usual between chant and three-voice polyphony. “Lauda Sion,” the sequence of the festal Mass, also sung in alternation, was first recorded by Karel Aerts and is now available on a more accessible disc. Altogether this is a fine thematic collection, rendered in the usual superlative manner of the Schola, now 40 years old.


FANFARE: J. F. Weber
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Works on This Recording

1.
Jesu nostra refectio by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
2.
Sapientia aedificavit by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
3.
Quicumque manducaverit by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
4.
Dominus Jesus by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
5.
Melchisedec rex Salem by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
6.
Angelorum esca by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
7.
Sanctus by Guillaume Dufay
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Renaissance 
Written: 14th Century 
8.
Verbum vitae carni conjungitur by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
9.
Panis oblatus caelitus by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
10.
Te Deum laudamus by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
11.
Pange lingua gloriosi by Guillaume Dufay
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Renaissance 
Written: 14th Century; France 
12.
Cibavit eos ex adipe frumenti by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
13.
Fratres, ego enim accepi a Domino quod et tradidi vobis by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
14.
Occuli omnium by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
15.
Caro mea by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
16.
Lauda sion by Guillaume Dufay
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Renaissance 
Written: 14th Century 
17.
Sacerdotes incensum by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 
18.
Quotiescumque by Anonymous
Conductor:  László Dobszay,  Janka Szendrei
Orchestra/Ensemble:  Schola Hungarica
Period: Medieval 

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