Utwory na płycie:

• 1 Antiphon - Lumen ad revelationem gentium.mp3
• 2 Antiphon - Ave gratia plena.mp3
• 3 Antiphon - Adorna thalamum tuum, Syon.mp3
• 4 Antiphon - Responsum accepit Symeon.mp3
• 5 Antiphon - Hodie beata virgo Maria.mp3
• 6 Traditional Ad missam magnam - Introit Suscepimus, Deus Psalm Magnus Dominus.mp3
• 7 Traditional Ad missam magnam - Gradual Suscepimus, Deus Verse Sicut audivimus.mp3
• 8 Traditional Ad missam magnam - Alleluia Verse Adorabo ad templum.mp3
• 9 Traditional Ad missam magnam - Offertory Diffusa est gratia.mp3
• 10 Traditional Ad missam magnam - Communion Responsum accepit Symeon.mp3
• 11 Traditional Ad missam magnam - Hymn Ave maris stella.mp3

Gregorian Chant
Early Polyphony 13th Century from the Ecole Notre-Dame

Music For Candlemas Gregraorian Chant & early 13th century polyphony from the Ecole Notre-Dame Ensemble Trigon Passacaille 932 More and more frequently, the interpretations of the Ecole Notre-Dame are being contextualised within a liturgical reconstruction, and not just as a mere anthology of pieces in one style or another. As a result, apart from bringing to light the repertory of a particular period, they also allow us better to understand the liturgical atmosphere in which that music was developed, the music that was the true backbone of religious music throughout the history of the Church. As a result this recording by the Ensemble Trigon (a curious name, taken from one of the elements of pneumatic notation, a group of three notes, although the CD booklet gives some other possible meanings) will be warmly welcomed. The group consists of three women who achieve a polished execution of plainsong, albeit at tempos that are a little slow, and with a touch of "French" pronunciation. The blend of the three voices is very good in the execution of monody (reminding one a little of Anonymous 4, although their approach to the polyphony differs). Trigon has an oriental touch, the result of the use of portamento at some cadences, not because of microtonal elements or an inexact tempering of a scale. In the organa sections the singer of the vox organalis successfully introduces some elements of ornamentation in the style of the florificatio vocis explained by Jerome of Moravia in his Tractatus de Musica (13th century) giving an impression of freedom and greater variety. The clause sections are well treated with a perfect distinction from the organum purum. The notes sung by Margot Kalse are especially interesting. Recommended for all lovers of the Parisian repertory.

JUAN CARLOS ASENSIO