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Gregorian Chants · Vox Nostra · Veri Solis Radius

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Cover
EUR 11,70
Veri Solis Radius
Musical networks in medieval Europe

Gregorian chants from the 12th & 13th century,
performed by the Vocal Ensemble Vox Nostra:
Amy Green · Susanne Wilsdorf · Ellen Hünigen
Werner Blau · Burkard Wehner (Musical Director)

A concert recording from the church
of Cistercian Abbey in Eusserthal (Germany)

HD Recording · DDD · Duration: 59 Min. 36 Sec.
Digital Album · 13 Tracks · Booklet

1 x
∅ 2:32
€ 0.90
MP3 · 320kBit/sec.
Processional Hymn (Italy, Biblioteca comunale Augusta, Perugia, Ms 2793, 13th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 2:45
€ 0.90
MP3 · 320kBit/sec.
Versus (Aquitaine, today: Bibl. Nat. Paris, lat. 1139, Early 12th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 7:02
€ 0.90
MP3 · 320kBit/sec.
Kyrie Trope (Aquitaine, today: Bibl. Nat. Paris, lat. 1139, Early 12th Century - Spain, Biblioteca de la Catedral Santiago de Compostella, Codex Calixtinus c. 1170), performed by the Ensemble Vox Nostra
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1 x
∅ 2:47
€ 0.90
MP3 · 320kBit/sec.
Kyrie Trope (Scotland, St. Andrews, today: HAB Wolfenbüttel, Helmst. 628 (W1), 13th Century), performed by the Ensemble Vox Nostra
x
1 x
∅ 4:44
€ 0.90
MP3 · 320kBit/sec.
Versus (Aquitaine, today: Bibl. Nat. Paris, lat. 3719, Early 12th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 6:27
€ 0.90
MP3 · 320kBit/sec.
Responsorium (England, Worcester, Cathedral Chapter Library, F. 160, 13th Century - France, today: Florenz Biblioteca Laurenziana, Pluteo 29.1, 13th Century), performed by the Ensemble Vox Nostra
x
1 x
∅ 5:32
€ 0.90
MP3 · 320kBit/sec.
Benedicamus Domino Versus (Aquitaine, today: British Library London, add. 36881, Mid 12th Century - South Germany, today: British Library London, add. 27630, 2nd Half of 14th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 4:37
€ 0.90
MP3 · 320kBit/sec.
Psalm recitation in tonus peregrinus to Psalm 113 (England, Alphonso Psalter, British Library London, Additional 24686, 13th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 4:37
€ 0.90
MP3 · 320kBit/sec.
Sanctus Trope (Scotland, St. Andrews, today: HAB Wolfenbüttel, Helmst. 628 (W1), 13th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 7:35
€ 0.90
MP3 · 320kBit/sec.
Benedicamus Domino Trope (Spain, Biblioteca de la Catedral, Santiago de Compostella, Codex Calixtinus c. 1170 - Aquitaine, today: Bibl. Nat. Paris, lat. 1139, Early 12th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 4:39
€ 0.90
MP3 · 320kBit/sec.
Agnus Dei Trope (Scotland, St. Andrews, today: HAB Wolfenbüttel, Helmst. 628 (W1), 13th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 3:33
€ 0.90
MP3 · 320kBit/sec.
Benedicamus Domino Trope (Aquitaine, today: Bibl. Nat. Paris, lat. 1139, Early 12th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 2:40
€ 0.90
MP3 · 320kBit/sec.
Motet (France, today: UB Bamberg, lit. 115, Late 13th Century), performed by the Ensemble Vox Nostra
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1 x
∅ 
€ 0.00
PDF · 21 Pages
Gregorian Chants
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Work(s) & Performance

V

ERI SOLIS RADIUS · Musical networks in medieval Europe
Songs from music manuscripts were in great demand in the middle ages, and they circulated in many different ways: orally, notated by trained scribes or given as a gift. The paths of repertorial exchange can be traced across the whole of Europe by the many concordances found in music manuscripts.
A change of repertory in a monastery or cathedral was often connected with a desire to take part in the musical innovation of the time, or to implement prescribed reforms. This new music in turn attracted the faithful and pilgrims in greater numbers. Many European monasteries and cultural centres, such as the cathedrals of Stantiago de Compostela in Spain and St. Andrews in Scotland, profited from the increasing flow of pilgrims.
Notre Dame Cathedral in Paris had already developed an entirely novel polyphonic repertoire, which soon attracted many admirers from throughout Europe. The English scholar known as Anonymous IV, for example, vividly describes the enormous appeal the musical innovations of Magisters Leonin and Perotin had for many of his contemporaries.
In consequence, several similar manuscripts of large parts of this repertory have come down to us. One manuscript was removed far away to St. Andrews, and was probably in part also written there. Besides many concordant pieces in its 13th fascicle are a series of unique tropes (special textual and melodic amplifications) that did not find their way into the younger, continental manuscripts influenced by Notre Dame. Our programme contains three-part tropes from this group of unica.
Another widely disseminated layer of tradition consists of Kyrie tropes, whose particular texts survive with their original melody as well as in polyphonic settings. We also find these in St. Andrews, as well as in St. Martial de Limoges, Santiago de Compostela and Notre-Dame de Paris.
Another genre, the verse compositions that were newly developed in Aquitaine in the 11th and 12th centuries, turn up again in French and South German manuscripts. A famous example, “Veri solis radius”, has been chosen for the title of this concert.
The present programme demonstrates the manifold relationships between European cultural centres, especially the flood of music exchange - even over great distances - and the mutations that the music underwent in the process.

Burkard Wehner / Ellen Hünigen · Translation: Paul Shannon

E

usserthal Abbey (German: Kloster Eußerthal) was a Cistercian abbey in Eusserthal near Annweiler am Trifels in the Rhineland-Palatinate, Germany. All that now remains of it is the front portion of the abbey church, which is now used as a parish church. The abbey was founded in 1148 by a knight, Stephan of Mörlheim, and settled by twelve Cistercian monks from Villers-Bettnach Abbey in Lorraine (of the filiation of Morimond). The monks' first task was the clearing of the river valley, to make it cultivable. In 1186 Emperor Frederick Barbarossa put the monastery under Imperial protection. It subsequently received rich gifts, including many vineyards in the south of the Palatinate. A village quickly grew up round the monastery. The monks served at Trifels Castle as chaplains, and watched over the Imperial Regalia while they were kept in the castle during the 12th and 13th centuries. Eusserthal never founded any daughter houses, but it had a priory at Mörlheim. After that the importance of the abbey declined. In the 15th century it was looted several times. In 1525, during the German Peasants' War, it was looted and set on fire; it was rebuilt in 1552 under Abbot Martin II. In 1561 Elector Frederick III dissolved the abbey in consequence of the Reformation. In the 17th and 18th centuries several attempts were made to revive the monastery, but without success. The building of the church is thought to have been begun about 1220; it was dedicated in 1262. The plan and basic structure are Romanesque but the vaulting shows Early Gothic influence. In accordance with Cistercian custom the church has no towers, just a flèche, or miniature spire, over the crossing, and the interior is without colour. The construction is of local red sandstone. The structure is of a pillared basilica of three aisles and a transept on a Latin cross ground plan. The vaults in the nave and the choir are secured by open buttresses. The resemblance to the church of Otterberg Abbey, which was built earlier, is unmistakable, although the church at Otterberg is larger. The conventual buildings and the cloisters have disappeared, and of the church there now remain only the choir, the transept and the first bay of the nave. In the wall of the choir is a rose window with tracery, and over the arch of a door a well-preserved relief sculpture of a dragon in sandstone. In the 18th century the remains of the abbey church were re-worked as a parish church. At that time the upper window openings were closed and the ruins of the bulk of the nave were demolished, and replaced by a simple west front. The acoustics of the resulting building are ideal for the performance of church music, and the summer concerts held here are well-known. In 1961 substantial restorations took place, which have had the effect of emphasizing the Romanesque character of the structure.

From Wikipedia, the free encyclopedia · May 6th 2015

Performer(s)

V

OX NOSTRA is a vocal ensemble based in Berlin, Germany, founded in 1999 by Burkard Wehner. Specialized in the performance of medieval music the main focus of the group is the interpretation of the earliest surviving compositions from the cultural centers of Europe. Sung from manuscripts originating in monasteries, cathedrals, and courts, this music is an acoustical insight into the archaic sound world of the Middle Ages.
The members of VOX NOSTRA have pursued extensive scholarship in the fields of musicology, medieval paleography, and theology. The music of VOX NOSTRA combines expressive musicality and academic curiosity. The repertoire includes Gregorian and pre-Gregorian chant and the specific liturgical music of the different medieval orders like Cistercians, Dominicans, Carthusians and Franciscans dating from the 10th to the 14th century. Furthermore VOX NOSTRA sings early 12th century polyphonic compositions from St. Martial (Aquitaine), compositions from the famous cathedral of Notre-Dame de Paris (starting from 1200), Italian laude of the 13th century, and the richly polyphonic compositions of the Renaissance.
In addition to Early Music, Vox Nostra interprets contemporary music, devised and composed to experimenting with vocal color and microintervals. In both old and contemporary music performances VOX NOSTRA regularly collaborates with lighting designers, and other visual artists, in order to enrich the visual and theatrical aspects of the performance.
A special feature of the ensemble is the practice of singing scores researched from original manuscripts. The musical interpretation made by VOX NOSTRA has specific consequences on the old forms of notation, such as neumatic notation of the chorale, the modal notation of the Notre-Dame organa, and mensural notation. Which each employ a great number of symbols indicating that melodic ornamentation that should be sung. In order to give these features the emphasis they deserve, ensemble VOX NOSTRA favors a slow, flowing style of performance in an appropriately restrained tempo. The vocal sound which results is rich in overtones, and fills the entire space; it allows the archaic and pure intervals of this music to be fully appreciated, and ensures that the complex weaving of the individual voices is clearly audible. In addition to the original manuscripts, research and this interpretation of the music from the 12th-16th centuries also provides new information the regarding tempo, ornamentation and the practice of solo performance of the chants.
The music of VOX NOSTRA is best suited to a large space with a good acoustic and hence no amplification is required. Churches are of course suitable for the liturgically structured programs, yet more modern settings like galleries, or industrial sites also provide a provocative backdrop for the music. The unique acoustical situation of each concert location influences concert presentations, as well as the choreography of singers, hence time in each venue to work how the singers can move between various points in the room to integrate the acoustic properties of each site into the score.

Series & Edition

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ublishing Authentic Classical Concerts entails for us capturing and recording outstanding performances and concerts for posterity. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance, so we record the concerts in direct 2-Track Stereo digital HD. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value. Flourishing culture, enthralling the audience and last but not least also you the listener, are the values we endeavor to document in our editions and series.

Andreas Otto Grimminger & Josef-Stefan Kindler, K&K Verlagsanstalt

Works, Movements & Tracklist

1. Vexilla regis prodeunt
Processional hymn
Italy, ­Biblioteca comunale Augusta, Perugia, Ms 2793, 13th century

2. Deus in adiutorium
intende laborantium
Versus
Aquitaine, today: Bibl. Nat. Paris, lat. 1139, early 12th century

3. Cunctipotens genitor Deus
Kyrie-Tropus
Aquitaine, today: Bibl. Nat. Paris, lat. 1139, early 12th century
Spain, Biblioteca de la Catedral Santiago de Compostella, Codex Calixtinus c. 1170

4. Rex virginum amator
Kyrie-Tropus
Scotland, St. Andrews, today: HAB Wolfenbüttel, Helmst. 628 (W1), 13th century

5. Veri solis radius
Versus
Aquitaine, today: Bibl. Nat. Paris, lat. 3719, early 12th century

6. Stirps Iesse, Vers Virgo
Dei genitrix
Responsorium
England, Worcester, Cathedral Chapter Library, F. 160, 13th century
France, today: Florenz Biblioteca Laurenziana, Pluteo 29.1, 13th century

7. Patris ingeniti filius
Versus zum Benedicamus Domino
Aquitaine, today: British Library London, add. 36881, Mid 12th century
South Germany, today: British Library London, add. 27630, 2nd half of 14th century

8. In exitu Israel de Aegypto
Psalmrezitation im tonus peregrinus auf Psalm 113
England, Alphonso Psalter, British Library London, Additional 24686, 13th century

9. Laudes Deo
Sanctus-Tropus
Scotland, St. Andrews, today: HAB Wolfenbüttel, Helmst. 628 (W1), 13th century

10. Ad superni regis decus
/ Noster cetus
Benedicamus Domino-Tropus
Spain, Biblioteca de la Catedral, Santiago de Compostella, Codex Calixtinus c. 1170
Aquitaine, today: Bibl. Nat. Paris, lat. 1139, early 12th century

11. Lux lucis
Agnus Dei-Tropus
Scotland, St. Andrews, today: HAB Wolfenbüttel, Helmst. 628 (W1), 13th century

12. Stirps Jesse
Benedicamus Domino-Tropus
Aquitaine, today: Bibl. Nat. Paris, lat. 1139, early 12th century

13. Deus in adiutorium
intende laborantium
Motette
France, today: UB Bamberg, lit. 115, late 13th century

Concert Date: September 8th, 2013.
A concert hosted by "Kultursommer Rheinland-Pfalz" (Cultural Summer Rhineland-Palatinate) and the Catholic parish "St. Bernhard" Eusserthal, recorded, released & created by Andreas Otto Grimminger & Josef-Stefan Kindler.

Sound & Recording Engineer:
Andreas Otto Grimminger

Mastering:
Andreas Otto Grimminger & Josef-Stefan Kindler

Photography:
Josef-Stefan Kindler

Artwork & Coverdesign:
Josef-Stefan Kindler

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