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The Leiden Choirbooks, Vol. 2

Egidius Quartet & College
Release Date: 01/10/2011 
Label:  Etcetera Records   Catalog #: 1411   Spars Code: n/a 
Composer:  AnonymousChristian HollanderJacobus Clemens non PapaJohannes Lupi,   ... 
Performer:  Donald BentvelsenHans WijersJon Etxabe-ArzuagaMichaela Riener,   ... 
Conductor:  Peter de Groot
Orchestra/Ensemble:  Egidius Quartet
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 34 Mins. 

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Notes and Editorial Reviews



DE LEIDSE KOORBOEKEN, Volume 1 Egidius Qrt & College ET’CETERA KTC 1410 (2 CDs: 126:24 Text and Translation)


Music of GOMBERT, CRECQUILLON, APPENZELLER, J. DE MONTE, CLEEFF, HOLLANDER, RICHAFORT, ANON


DE LEIDSE KOORBOEKEN, Volume 2 Read more class="ARIAL12"> Egidius Qrt & College ET’CETERA KTC 1411(2 CDs: 154:34 Text and Translation)


Music of HOLLANDER, CLEMENS NON PAPA, BASTON, LUPI, J. DE MONTE, RICHAFORT, VERDELOT, ANON


The Leiden choirbooks are the last witness to a pre-Reformation tradition in the Netherlands. In the 15th century, parish churches set out to copy the practice of monasteries, cathedrals, and collegiate churches where the liturgical hours, or Divine Office, was sung daily. While this was normally done in Gregorian chant, a parish would employ a College of the Seven Liturgical Hours, a group of priests similar to the college of canons in a collegiate church or cathedral, who would sing the hours in polyphony. Leiden was the first such city in 1440, where two parishes supported colleges, but many other cities followed suit, though nothing other than inventories remains as evidence due to the destruction of religious artifacts. The six books of polyphony that were assembled for St. Peter’s in Leiden are the only ones that survived the destruction of the Reformation. They were kept after 1566 in the city council, then in 1876 moved to a museum. About this time they were marked as Codex A to Codex F. In 1931, the museum retained only Codex C for lack of space, returning the other five to the city archives.


The Egidius Quartet has undertaken to record excerpts from this repertoire. Two CDs will be devoted to each codex, with the first two sets already issued. Codex A was compiled in 1549, consisting of 37 motets along with four Masses. Thomas Crecquillon’s 18 works are the largest number of any composer in this volume. Codex B was delivered (along with Codex C) 10 years later, a more diverse selection of music that took into account the parts of the liturgical hours. Along with 28 motets, there are 22 settings of the Magnificat, eight of the Nunc dimittis, and more than 25 hymns for the various hours. The leading composer in this volume is Clemens non Papa, with 17 works.


On the whole, the composers represented in these six books comprise both the leading Flemish composers of the era, as far back as Josquin des Prez, who was still heard decades after his death, as well as other composers of merely local repute. The latter will be entirely unfamiliar names, such as Joachimus de Monte, a singer at Delft and probably at Leiden, who is represented by 10 compositions. Some of this music must be unique, while other pieces, such as the Maria Magdalena of Clemens non Papa heard in the second set, were widely disseminated. Listening to four CDs straight through, it is amazing how high the level of composition was in the Low Countries at the time, for the minor composers stand out from the famous not at all. Some indeed are anonymous, and those pieces must come from the same local composers.


The two sets, in the form of bound books, have lengthy and informative notes about every aspect of this project, most of the information not duplicated from one book to the next. The singing is on the high level that this quartet of singers has given us. The history of the project shows why the four members of the vocal quartet are joined by 16 additional singers identified as a “college.” They are needed to fill out the polyphony and they take their name from the original groups. Even after the six sets have been issued, we will have only a sampling of the sources, probably less than half of the total number of pieces. The first set has 10 motets and two Masses, while the second set has 38 shorter pieces. When the project is complete, it will be interesting to see how many of the works are familiar from other sources, likely a short list. This is a fascinating expansion of our view of Franco-Flemish polyphony, very well executed.


FANFARE: J. F. Weber
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Works on This Recording

1.
Venite ad me omnes, for 5 voices by Anonymous
Conductor:  Peter de Groot
Orchestra/Ensemble:  Egidius Quartet
Period: 21st Century 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 5 Minutes 32 Secs. 
2.
In nomine, for 4 voices by Christian Hollander
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 4 Minutes 34 Secs. 
3.
Work(s): Heu mihi domine, a4 / Anima mea turbata est, a4 by Jacobus Clemens non Papa
Conductor:  Peter de Groot
Period: Renaissance 
Written: Flanders 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 9 Secs. 
4.
Work(s): Maria Magdalena, a5 / Cito euntes, a5 by Jacobus Clemens non Papa
Performer:  Donald Bentvelsen (), Hans Wijers ()
Period: Renaissance 
Written: Flanders 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 7 Minutes 2 Secs. 
5.
Work(s): Angelus autem domini, a5 / Erat autem faties, a3 / Pre timore autem eius, a5 by Anonymous
Performer:  Hans Wijers (), Jon Etxabe-Arzuaga ()
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 20 Secs. 
6.
Work(s): Victime paschali, a6 / Sepulcrum Christi, a6 by Anonymous
Conductor:  Peter de Groot
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 2 Secs. 
7.
Work(s): Tu deus noster, a5 / Nosce enim te, a5 by Johannes Lupi
Performer:  Michaela Riener (), Donald Bentvelsen (), Stefan Berghammer ()
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 18 Secs. 
8.
Work(s): Jherusalem surge, a5 / Leva in circuitu, a5 by Jacobus Clemens non Papa
Performer:  Donald Bentvelsen ()
Conductor:  Peter de Groot
Period: Renaissance 
Written: Flanders 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 5 Minutes 8 Secs. 
9.
Work(s): O Elisabeth, a4 / Cum puellis certavisti, a4 by Joachimus de Monte
Conductor:  Peter de Groot
Period: Renaissance 
Written: Netherlands 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 4 Minutes 9 Secs. 
10.
Ave maris stella, for 4 voices by Benedictus Appenzeller
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 5 Minutes 13 Secs. 
11.
Sancta Maria by Phillippe Verdelot
Performer:  Michaela Riener (), Matthew Vine ()
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 4 Minutes 39 Secs. 
12.
Work(s): Ego sum qui sum, a5 / Tulerunt dominum meum, a5 by Jean Richafort
Conductor:  Peter de Groot
Period: Renaissance 
Written: Belgium 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 5 Minutes 50 Secs. 
13.
Christe qui lux es et dies: (f. 270) by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 1 Secs. 
14.
Iam bone pastor, for 4 voices by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 2 Minutes 36 Secs. 
15.
Maria mater domini, for 4 voices by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 2 Minutes 38 Secs. 
16.
Magnificat quarti toni by Jacobus Clemens non Papa
Conductor:  Peter de Groot
Period: Renaissance 
Written: by 1556; Netherlands (Holland 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 10 Minutes 53 Secs. 
17.
Nunc dimittis quarti thoni, for 4 voices by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 3 Minutes 15 Secs. 
18.
Christe qui lux es et dies: (f. 274) by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 5 Minutes 0 Secs. 
19.
Aurea luce, for 4 voices by Joachimus de Monte
Performer:  Matthew Vine ()
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 3 Minutes 3 Secs. 
20.
Work(s): Quod chorus vatum, a4 / Quem senex iustus, a4 by Anonymous
Conductor:  Peter de Groot
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 35 Secs. 
21.
Magnificat sexti toni, for 4 voices by Jacobus Clemens non Papa
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 9 Minutes 51 Secs. 
22.
Christe qui lux es et dies: (f. 276) by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 5 Minutes 26 Secs. 
23.
Work(s): Pange lingua, a4 / Tantum ergo, a4 by Anonymous
Conductor:  Peter de Groot
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 6 Minutes 44 Secs. 
24.
Magnificat octavi toni, for 5 voices by Jacobus Clemens non Papa
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 10 Minutes 6 Secs. 
25.
Christe qui lux es et dies: (f. 328) by Anonymous
Conductor:  Peter de Groot
Period: Renaissance 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 7 Minutes 12 Secs. 
26.
Work(s): Dum transisset, a5 / Et valde mane, a5 by Josquin Baston
Performer:  Jon Etxabe-Arzuaga (), Hans Wijers ()
Period: Renaissance 
Written: Netherlands 
Venue:  Laurentiuskerk, Mijnsheerenland 
Length: 8 Minutes 6 Secs. 

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