The 500 years that separate Renaissance master Johannes Ockeghem (c. 1410-97) and Danish composer Bent Sørensen (b. 1958) seem to disappear in this extraordinary Requiem which is a totality integrated both dramatically and musically; a work that unites the stylistic contrasts in a mode of expression that seems at once timeless and entirely present. The project has been initiated by conductor Paul Hillier and interpreted by his GRAMMY-winning ensemble Ars Nova Copenhagen.
R E V I E W:
Shoots straight into the soul and lingers long in the mind.
This is a fascinating and highly successful project. Without going into the kind of detail which the booklet notes give us, this is JohannesRead more Ockeghem´s
Missa pro defunctis, integrated with newly composed movements by Bengt Sørensen to create what is, if not an entirely new piece, certainly a very new and fresh way of connecting the new in the old, with the old in the new. This is an extension of Paul Hillier’s more frequent combining of contemporary with early music in his programming, and here he has brought in Bengt Sørensen to complete ‘the bits which are missing’ in Ockeghem’s work.
Missa is full of moments which can wrong-foot you into thinking that you are hearing something contemporary. Harmonic shifts and quasi-romantic melodic lines abound, and just listen to some of those startling female-only passages in the
Graduale flows from Sørensen’s
Lacrimosa as if from the same fearlessly expressive source, and there are moments in the
Offertorium which are truly overwhelming.
Sørensen’s contributions are idiomatically sensitive and integrate by way of atmosphere, but are by no means a soft-pedalled imitation of ancient style. The opening
Responsorium has plenty of reassuring parallel intervals and open harmonies, but immediately alerts the ear to what is to come, with close harmonies and strange dissonances which have inner resolution, but no ultimate cadence. The central
Recordare Jesu pie in the
Sequentia is one of those impossibly melting creations which make your hairs stand up with some kind of prehensile spiritual angst. Separated by plainchant, the first two minutes of the following
Lacrimosa is truly beautiful: a moment of suspended time where the tears fall, but never reach the ground. There are moments of restrained drama here and in the
Benedictus, where vibrato is used as a textural effect, making the air itself ring like a Tibetan bowl. The entire Requiem cycle closes with Sørensen’s
In Paradisum, is the most extensive and in some ways the most far reaching, as the booklet notes describe, “with cluster-like chordal effects that are thinned out, recondensed and break like waves against each other.”
All of the texts are printed in the booklet in Latin, English and Danish, revealing a contribution from Dylan Thomas in the
Responsorium: Memento mei Deus: “Hourly I sigh,/for all things are leaf-like/and cloud-like. Flowerly I die/for all things are grief-like/and shroud-like.” There is a diagram at the back of the booklet which shows the position of singers and microphones, with a more conventional choir setting for the Ockeghem, and singers all around the venue for Sørensen’s work. In stereo this effect is not so very noticeable, though there are enough added dimensions and everything remains perfectly balanced. With a surround set-up the effect is quite magical. I searched high and low for the name of the church where this was recorded, but even un-named this is a perfect acoustic for such unaccompanied vocal scoring. This is one of those recordings for which you close your eyes and give yourself entirely over to a very rich musical experience indeed. Paul Hillier’s Ars Nova Copenhagen is a remarkable collection of vocalists for which this work is tailor-made, and the music is brought to life in a way which shoots straight into the soul and lingers long in the mind.
-- Dominy Clements, MusicWeb International Read less
Works on This Recording
Missa pro defunctisby Johannes Ockeghem
Ars Nova Copenhagen
Period: Renaissance Written: 15th Century; Flanders, Belgium
Fragments of Requiemby Bent Sorensen
Ars Nova Copenhagen
Period: 21st Century Written: 2007
Requiem: Memento mei Deus (Responsorium)
Missa pro defunctis: Introitus
Missa pro defunctis: Kyrie
Rex tremendae (plainchant) - Recordare Jesu pie - Juste judex (plainchant)
Missa pro defunctis: Graduale
Missa pro defunctis: Tractus
Agnus Dei (Lamb of God): Agnus Dei
Missa pro defunctis: Offertorium
Average Customer Review: ( 1 Customer Review )
Early music augmentedMay 2, 2013By Jim D. See All My Reviews"Mixing music from the earliest polyphonic Requiem setting with contemporary compositions, this is not the kind of thing I would have expected to like (but I did!). Bent Sorensen was commissioned by conductor Paul Hillier to assemble some music he had already written, and to compose more, to fill out the missing bits of Ockeghem's "Missa pro defunctis" into a complete concert piece. (In his earlier recording, appropriate plainchants were used for the missing movements.) The new music is not a pastiche of the old; it is clearly in its own style--though both draw at times from the even older chant. Sorensen's additions sound to me relatively austere at first, but become more dissonant as the work goes on. Director and chorus are equally at home in early music and modern, and are presented in state-of-the-art sound. Texts, translations, notes on the composer and the project."Report Abuse