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Paul McCreesh - A Rose Magnificat (Tallis, Warlock, MacMilan...)

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A Rose Magnificat (Tallis, Warlock, MacMilan...)

Gabrieli Consort - Paul McCreesh

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Fascinated by the Marian cult, whose contradictions he loves to highlight, Paul McCreesh offers here a purely choral programme, leaving behind the charms of orchestral instrumentation. Both virgin and mother, a symbol of both chastity and fertility, the figure of Mary also holds a strong erotic potential, which has not escaped Paul McCreesh, who designed this album by choosing English composers from the Renaissance to the present day, without any real disparity in style becoming apparent, proving the strength and continuity of British choral music.
The great English movement of the rediscovery of polyphony in the 20th and 21st centuries doesn't stop at exploring the music of the Renaissance, but also rediscovering, and employing in new compositions, the beautiful medieval words set to music, which have been passed unamended down the centuries. Returning to the sources of Western music, Paul McCreesh asks whether the sudden popularity of religious music comes from a subliminal desire to recreate a world in which almost everyone believed in God.
Fighting against a certain ethereal and angelic approach to religious choral music, McCreesh compares high polyphony to the architecture of a vast cathedral, trying to bring out its visceral side, on certain pieces at least.
Listeners will note that this album contains the world's first recording of a new work commissioned by Paul McCreesh and the Gabriel Consort, written by the young British composer Matthew Martin. A Rose Magnificat (which also gives the whole album its name) was written for double choir and contains interjections from a medieval text. The composer wrote the piece in a "Stravinskian" manner, as he put it, while searching out Eastern and Byzantine flavours. © François Hudry/Qobuz

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A Rose Magnificat (Tallis, Warlock, MacMilan...)

Paul McCreesh

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Of a rose is all my song (Kenneth Leighton)

1
Of a rose is all my song 00:05:55

Gabrieli Consort (Soloist : Ruth Provost, Soprano) - Paul McCreesh, Conductor - Kenneth Leighton (1929-1988), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Videte miraculum (Thomas Tallis)

2
Videte miraculum 00:08:50

Gabrieli Consort - Paul McCreesh, Conductor - Thomas Tallis (c.1505-1585), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

As dew in Aprylle (Peter Warlock)

3
As dew in Aprylle 00:01:41

Gabrieli Consort - Paul McCreesh, Conductor - Peter Warlock (1894-1930), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Magnificat (Robert White)

4
Magnificat 00:11:57

Gabrieli Consort - Paul McCreesh, Conductor - Robert White (c.1538-1574), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Ave Maris Stella (I) (James MacMillan)

5
Ave Maris Stella (I) 00:04:36

Gabrieli Consort - Paul McCreesh, Conductor - James MacMillan (b.1959), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

6
Ave Maris Stella (II) 00:05:03

Gabrieli Consort - Paul McCreesh, Conductor - John Sheppard (c.1515-1558), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Ave Maris Stella (III) (Owain Park)

7
Ave Maris Stella (III) 00:04:40

Gabrieli Consort - Paul McCreesh, Conductor - Owain Park (b.1993), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Salve Regina (I) (Robert Wylkynson)

8
Salve Regina (I) 00:16:16

Gabrieli Consort (Soloists : Charlotte Mobbs & Emma Walshe, Sopranos - Martha McLorinan, Alto - Jeremy Budd, Steven Harrold & Tom Kelly, Tenors - William Gaunt, Oliver Hunt & Greg Skidmore, Basses) - Paul McCreesh, Conductor - Robert Wylkynson (c.1450-1515), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Salve Regina (II) (Herbert Howells)

9
Salve Regina (II) 00:05:33

Gabrieli Consort (Soloist : Jessica Cale, Soprano) - Paul McCreesh, Conductor - Herbert Howells (1892-1983), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

There is no rose (Jonathan Lane)

10
There is no rose 00:02:51

Gabrieli Consort (Soloists : Emma Walshe, Soprano - Martha McLorinan, Alto - Tom Kelly, Tenor - William Townend, Bass) - Paul McCreesh, Conductor - Jonathan Lane (b.1958), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

A Rose Magnificat (Matthew Martin)

11
A Rose Magnificat 00:10:23

Gabrieli Consort (Soloists : Susan Hemington Jones, Charlotte Mobbs, Bethany Partridge, Emma Walshe, Sopranos - Helen Charlston & Kim Porter, Altos - Jeremy Budd & Steven Harrold, Tenors - Robert Evans & William Gaunt, Basses) - Paul McCreesh, Conductor - Matthew Martin (b.1976), Composer

(C) 2018 Signum Records (P) 2018 Signum Records

Album Description

Fascinated by the Marian cult, whose contradictions he loves to highlight, Paul McCreesh offers here a purely choral programme, leaving behind the charms of orchestral instrumentation. Both virgin and mother, a symbol of both chastity and fertility, the figure of Mary also holds a strong erotic potential, which has not escaped Paul McCreesh, who designed this album by choosing English composers from the Renaissance to the present day, without any real disparity in style becoming apparent, proving the strength and continuity of British choral music.
The great English movement of the rediscovery of polyphony in the 20th and 21st centuries doesn't stop at exploring the music of the Renaissance, but also rediscovering, and employing in new compositions, the beautiful medieval words set to music, which have been passed unamended down the centuries. Returning to the sources of Western music, Paul McCreesh asks whether the sudden popularity of religious music comes from a subliminal desire to recreate a world in which almost everyone believed in God.
Fighting against a certain ethereal and angelic approach to religious choral music, McCreesh compares high polyphony to the architecture of a vast cathedral, trying to bring out its visceral side, on certain pieces at least.
Listeners will note that this album contains the world's first recording of a new work commissioned by Paul McCreesh and the Gabriel Consort, written by the young British composer Matthew Martin. A Rose Magnificat (which also gives the whole album its name) was written for double choir and contains interjections from a medieval text. The composer wrote the piece in a "Stravinskian" manner, as he put it, while searching out Eastern and Byzantine flavours. © François Hudry/Qobuz

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