Lyrics & Music Roland de Lassus - Magnum, Opus Musicum ~ Choeur de Chambre de Namur, La Fenice, Tubéry (B001W8WTTE)

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Roland de Lassus - Magnum, Opus Musicum ~ Choeur de Chambre de Namur, La Fenice, Tubéry

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The motets of Orlandus Lassus form a vast collection that almost defies order. The composer published voluminously, starting with his op. 1 in 1555. His peak years were 1568 to 1573, which saw 24 books of motets published. There are over 530 motets in all, over two-thirds of them for five or six voices with the rest ranging from two to 12 voices. Ten years after his death, his sons published Magnum opus musicum (the title borrowed for this disc), a collection of over 700 motets and other works arranged by vocal scoring rather than chronology. Franz Haberl’s collected works followed the same pattern. Wolfgang Boetticher’s monumental study of 1958 restored the works to the chronological order of the original publication, and the new collected works is following suit, as is Peter Bergquist’s edition of the complete motets. (This summary ignores the chronological problem of composition vs. publication, which has no solution.) The resulting disorganization has resulted in paying greater attention to such pivotal major works as the Penitential Psalms, the Sibylline Prophecies, the Tears of St. Peter, and the Lamentations of Jeremiah, which can be comprehended more readily.

This program avoids his familiar liturgical and other sacred motets, displaying a less familiar side of his work. As such, it adds a useful view of his genius. But this selection is also valuable because it includes not just a lot of unrecorded motets, but several that have been cited in the literature for their novelty. Ut queant laxis was the chant hymn that gave Guido of Arezzo the names of the notes (the first syllable of each half-line of the first strophe rises one step from ut, or do, to la). It is set by Lassus for a solo voice singing the crucial syllables, leaving the rest of the hymn to the other voices. Super flumina Babylonis is laid out letter by letter, syllable by syllable, in an attempt at humor that is not always understood by commentators. In hora ultima (pointedly placed last in the program), more familiar from several previous recordings, is a serene contemplation of the end of life, full of madrigalesque illustrations of the words he uses. The program is laid out in the notes with a narrative drawn from excerpts from the composer’s letters to Archduke Wilhelm V, written during his foreign travels. Several of his cantiones sine textu, or instrumental pieces, rare among his works, are also included. The interpretation and performances are more than satisfactory, as we know from the work of these ensembles. -- FANFARE: J. F. Weber

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1. Quid Trepidas à 6

2. Haec Quae Ter À 3

3. Sequntur Cantiones IV Vocum: Pulvis Et Umbra

4. Sequntur Cantiones IV Vocum: Fertur In Conviviis

5. Sequntur Cantiones IV Vocum: Qui Regit Astra

6. Sequntur Cantiones IV Vocum: Ut Queant Laxis

7. Sequntur Cantiones IV Vocum: Lauda Mater Ecclesia

8. Sequntur Cantiones IV Vocum: Cantione Sine Textu À 2, No. 16

9. Sequntur Cantiones V Vocum: In Quoscunque Locos

10. Sequntur Cantiones V Vocum: Super Flumina Babylonis

11. Sequntur Cantiones V Vocum: Hispanum Ad Coenam Mercator Belga

12. Sequntur Cantiones V Vocum: Bestia Stultus Homo

13. Sequntur Cantiones V Vocum: Cantione Sine Textu À 2, No. 21

14. Sequntur Cantiones V Vocum: Quam Pulchra Es (Instrumental)

15. Sequntur Cantiones V Vocum: Quam Pulchra Es

16. Sequntur Cantiones VI Vocum: Homo Cum In Honore

17. Sequntur Cantiones VI Vocum: Non Des Mulieri

18. Sequntur Cantiones VI Vocum: Nunc Gaudere Licet

19. Sequntur Cantiones VI Vocum: Luxuriosa Res Vinum

20. Sequntur Cantiones VI Vocum: O Decus Celsi

21. Sequntur Cantiones VI Vocum: Cantione Sine Textu À 2, No. 22

22. Sequntur Cantiones VI Vocum: Ad Primum Morsum

23. Sequntur Cantiones VI Vocum: In Hora Ultima

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