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Kyrie

Kyrie

Ref: CDG1180

33 tracks 72 min
Click here to preview trk 11

Music for Quiet Meditation

Timeless music from the early church, its rites and its rituals, creates an unhurried atmosphere of calm. Focusing on the Sarum Rite, vocal plainchant and instrumental music combine in a fine evocation in sound of the medieval world.

Price    9.99

More Information

Kyrie
Music for Quiet Meditation

Timeless music from the early church, its rites and its rituals, creates an unhurried atmosphere of calm. Focusing on the Sarum Rite, vocal plainchant and instrumental music combine in a fine evocation in sound of the medieval world.

1. Kyrie cunctipotens genitor deus
2. Studentes
3. Kyrie conditor kyrie
4. Kyrie eleison Square [1]
5. Kyrie deus creator omnium
6. Kyrie eleison Square [2]
7. Kyrie eleison Square [3]
8. Kyrie rex immense
9. Kyrie eleison Square [4]
10. Kyrie fons bonitatis
11. Kyrie eleison cividate
12. Kyrie eleison Square [5]
13. Kyrie eleison Square [6]
14. Kyrie lux et origo
15. Kyrie cunctipotens genitor deus (Codex Calixtinus)
16. Kyrie eleison Square [7]
17. Kyrie omnipotens pater
18. Kyrie eleison Square [8]
19. Kyrie eleison Square [9]
20. Kyrie eleison Square [10]
21. Kyrie orbis factor
22. Kyrie verbum incarnatum (Lantin)
23. Kyrie eleison Square [11]
24. Kyrie eleison Square [12]
25. Kyrie cunctipotens genitor deus
26. Kyrie (las huelgas)
27. Kyrie rex genitor
28. Kyrie eleison Square [13]
29. Kyrie eleison Square [14]
30. Kyrie rex Marie
31. Kyrie eleison Square [15]
32. Kyrie rex splendens
33. Sol sub nube

The Oxford Clerkes
Christopher Watson
John Duggan
Jonathan Stainsby
Gregory Skidmore
Alistair Carey

Le Basile
Uri Smilansky
Marc Lewin

CCL CDG1180
Cover image: MS 58 fol.34r Chi-rho from the Gospel of St. Matthew, chapter 1 verse 18 Book of Kells c.800 Irish School/© The Board of Trinity College, Dublin, Ireland/The Bridgeman Art Library
P & C 2008 Classical Communications Ltd
Made in Great Britain


Inside book:

Kyrie
Music for Quiet Meditation

Kyrie eleison Lord have mercy
Kyrie eleison Lord have mercy
Kyrie eleison Lord have mercy

Christe eleison Christ have mercy
Christe eleison Christ have mercy
Christe eleison Christ have mercy

Kyrie eleison Lord have mercy
Kyrie eleison Lord have mercy
Kyrie eleison Lord have mercy

The Greek words of 'Kyrie eleison' ('Lord have mercy') have been set to music almost from the moment when they became an essential part of the Christian liturgy of the Mass or Holy Communion. The symbolic three-fold repetition of the invocation of 'Lord' and then of 'Christ' and a repeat of the initial 'Lord' produce nine lines in all, and thus quite a substantial framework upon which to hang a complex musical structure. In fact the concept of this A-B-A form has underpinned most Western music for a thousand years.

As 'Kyrie eleison' became a familiar and frequently used text it quickly acquired decoration and elaboration. Just as the medieval builders decorated the arches and window traceries of their buildings with ornamentation and theological explanation, so the musicians and composer developed and ornamented their original texts, adding words and music to the original which related to specific events in the Church calendar. The 'Kyrie eleison' was used daily in church services, but it soon came almost always to have these extra words and thus went from being an 'Ordinary' (an every day unchanging text, like the psalms) to being a 'Proper', always associated with a specific liturgical time such as Advent, Christmas or Easter.

This recording includes all nine 'Proper' Kyries from the Sarum Rite, a specifically English version of the universal texts and music of the church which centred around the way things were done in Salisbury cathedral in medieval times. In addition we have recorded here in their entirety, (we believe for the first time) a group of Kyrie 'Squares'. A square is a single line of music (as is plainchant) but which is derived from a pre-existing polyphonic piece. The square is often developed from the bass line of a four- or five-part motet. The square is extracted from its original piece and can then be used as a new single line upon which to base a further new composition. For this recording we have been content to use improvisations on these melodies (performed on a selection of instruments by Le Basile) as prefaces to the melodies themselves in unadorned form, but in medieval and renaissance times many of these themes were used by composers as the starting point for very significant and elaborate works.

These two main groups of music are punctuated on the recording by a further series of 'Kyries' which have survived as instrumental works in a variety of English and Continental manuscripts.


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