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Anonymous 4|A Lammas Ladymass - 13th and 14th Century English Chant and Polyphony (Anonymous 4)

A Lammas Ladymass - 13th and 14th Century English Chant and Polyphony (Anonymous 4)

Anonymous 4

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Text in englischer Sprache verfügbar

In the 13th and 14th centuries, votive masses to the Blessed Virgin were celebrated daily or weekly in many of the larger churches in England. These were special services dedicated to Mary and set to texts written in her honor. Masses were not composed in complete cycles by single composers until the late-14th century, so any recorded version of a medieval mass is a reconstruction, in the same way that each day's mass would have been constructed from different sources. Pieces were chosen to match the occasion or the purpose of the service, since most liturgical texts were related to specific feasts. A LAMMAS LADYMASS uses anonymous English music of this period, drawing together a variety of liturgical settings including motets with multiple texts, monophonic and polyphonic conductus (songs generally used at transitional points), and a troped Kyrie (one which has additional text inserted into the standard Kyrie text, as a type of commentary) to produce a Ladymass as it might have been celebrated in the 14th century. As is usual for Anonymous 4, the singing is lovely and simple, without sounding mannered or labored.
© TiVo

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A Lammas Ladymass - 13th and 14th Century English Chant and Polyphony (Anonymous 4)

Anonymous 4

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1
Antiphon: Que est ista
00:00:54

Anonymous 4, Performer

1998 harmonia mundi usa

2
Hymn: O quam glorifica
00:03:30

Anonymous 4, Performer

1998 harmonia mundi usa

3
Conductus: Ave tuos benedic
00:02:52

Anonymous 4, Performer

1998 harmonia mundi usa

4
Motet: In odore/Gracia viam continencie/[quadruplum]/[In odorem]
00:01:38

Anonymous 4, Performer

1998 harmonia mundi usa

5
Conductus: Salve mater salvatoris
00:03:51

Anonymous 4, Performer

1998 harmonia mundi usa

6
Introit: Salve sancta parens
00:03:48

Anonymous 4, Performer

1998 harmonia mundi usa

7
Kyrie: Orbis factor
00:02:24

Anonymous 4, Performer

1998 harmonia mundi usa

8
Gloria
00:02:34

Anonymous 4, Performer

1998 harmonia mundi usa

9
Gradual : Benedicta et venerabilis
00:04:21

Anonymous 4, Performer

1998 harmonia mundi usa

10
Conductus: Ave gloriosa mater
00:02:08

Anonymous 4, Performer

1998 harmonia mundi usa

11
Alleluia: Virga ferax aaron
00:03:38

Anonymous 4, Performer

1998 harmonia mundi usa

12
Sequence: O maria stella maris
00:06:28

Anonymous 4, Performer

1998 harmonia mundi usa

13
Sequence: O ceteris preamabilis
00:02:55

Anonymous 4, Performer

1998 harmonia mundi usa

14
Motet: O quam glorifica/O quam beata domina/O quam felix femina/[Tenor]
00:01:33

Anonymous 4, Performer

1998 harmonia mundi usa

15
Offertory: Recordare virgo mater/Mater patris et filia
00:04:38

Anonymous 4, Performer

1998 harmonia mundi usa

16
Sanctus
00:02:49

Anonymous 4, Performer

1998 harmonia mundi usa

17
Agnus dei
00:02:29

Anonymous 4, Performer

1998 harmonia mundi usa

18
Communion: Alma dei genitrix
00:00:56

Anonymous 4, Performer

1998 harmonia mundi usa

19
Conductus: Salve mater salvatoris
00:03:49

Anonymous 4, Performer

1998 harmonia mundi usa

20
Conductus: Paradisi porta
00:01:16

Anonymous 4, Performer

1998 harmonia mundi usa

21
Dismissal: Ite missa est
00:00:35

Anonymous 4, Performer

1998 harmonia mundi usa

22
Sequence: Pangat melos grex devotus
00:04:51

Anonymous 4, Performer

1998 harmonia mundi usa

Albumbeschreibung

In the 13th and 14th centuries, votive masses to the Blessed Virgin were celebrated daily or weekly in many of the larger churches in England. These were special services dedicated to Mary and set to texts written in her honor. Masses were not composed in complete cycles by single composers until the late-14th century, so any recorded version of a medieval mass is a reconstruction, in the same way that each day's mass would have been constructed from different sources. Pieces were chosen to match the occasion or the purpose of the service, since most liturgical texts were related to specific feasts. A LAMMAS LADYMASS uses anonymous English music of this period, drawing together a variety of liturgical settings including motets with multiple texts, monophonic and polyphonic conductus (songs generally used at transitional points), and a troped Kyrie (one which has additional text inserted into the standard Kyrie text, as a type of commentary) to produce a Ladymass as it might have been celebrated in the 14th century. As is usual for Anonymous 4, the singing is lovely and simple, without sounding mannered or labored.
© TiVo

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