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1. Rorate cæli desuper / 1. T. /GR 34, Introitus/Dominica quarta Adventus (2:58)
Written Scotland
2. Ave Maria - Offertorium/Dominica quarta Adventus (Ave Maria, gratia plena, offertory in mode 8 for the 4th Sunday in Advent) (2:13)
3. Meditabor - Offertorium/Hebdomada vigesima nona, Offertory in mode 2, (Liber Usualis 548) (1:31)
4. Jubilate Deo - Introitus/Hebdomada tertia Paschae, introit in mode 8 (3:50)
5. De profundis - Offertorium/Hebdomada vigesima tertia, clamavi, offertory in mode 2 (Liber Usualis No. 1076; GR 388) (1:53)
6. Beati mundo corde - Communio/Commune Sanctorum et Sanctarum, communion in mode 1 for All Saints Day (1:50)
7. Christus factus est pro nobis - Graduale/Dominica in Palmis de Passione Christi, gradual in mode 5 (Liber Usualis, No 655) (2:36)
8. Improperium exspectavit cor meum - Offertorium/Dominica in Palmis de Passione Domini, offertory in mode 8 for Palm Sunday (2:56)
9. Dicit Dominus - Communio/Hebdomada secunda, communion in mode 6 for the 2nd Sunday after Epiphany (1:50)
10. Jubilate Deo universa - Offertorium/Hebdomada quinta Paschae, offertory (3:39)
11-19. Missa "In Conceptione immaculata Beata Mariae Virginis (December 8th)" (22:12)
Common English Nime Mass of the Immaculate Conception
Composer Anonymous
Conductor Hubert Dopf
Ensemble Choralschola Der Wiener Hofburgkapelle
Period Medieval
Date of Recording 04/1983
Venue Vienna, Austria
Language Latin
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11. I. Introitus: Gaudens gaudebo
12. II. Kyrie IX (Cum jubilo)
13. III. Gloria IX
14. IV. Alleluia: Tota pulchra es, Maria
15. V. Offertorium: Ave Maria
16. VI. Sanctus IX
17. VII. Agnus Dei IX
18. VIII. Communio: Glorioso
19. IX. Antiphona: Salve Regina |
4:34
2:22
3:17
2:53
2:05
1:43
1:35
0:51
3:00 |
Album Review
This is really scrumptious Gregorian Chant. Side 1 is a brimming dish of the absolute chant plums, among the choicest and best-known of the repertoire, including the passiontide gradual Christus foetus est, the great offertory Jubilate Deo with its ecstatic melismas, and the communion Dixit Dominus, a dramatic portrayal of the changing of the water into wine. The choir interprets these pieces in a style which reflects an awareness of the tenth- and eleventh-century notation: there is an attempt at repercussion and there are also subtle variations in the duration of individual notes. All this is interesting and prevents the record from being a run-of-the-mill collection of Gregorian Golden Oldies.
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Side 2 presents most of the music for the Feast of the Immaculate Conception. I was rather disappointed by this choice, as they could so easily have sung a mass with one of the more ancient propers for which plenty of examples of early neums exist. However, it was delightful to hear such firm yet tender singing of Mass IX. The voices blend well: they have overcome to a large extent the booming resonance of the Minoriten Kirche, Vienna in which the recording was made. The tempo is on the slow side, but the phrasing is musical and the attacks—with one exception— precise.
- Gramophone [5/1984, reviewing the original LP release]
Gregorian Chant - Choralschola Der Wiener Hofburgkapelle (1984 Philips)
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