Pater peccavi. Dominique Phinot. The Brabant Ensemble · Stephen Rice скачать в хорошем качестве

Pater peccavi. Dominique Phinot. The Brabant Ensemble · Stephen Rice

Pater peccavi Dominique Phinot (c. 1510 – c. 1556) 5vv; Primus liber cum quinque vocibus. Motetti del frutto (Venice: Gardano, 1538) The Brabant Ensemble · Stephen Rice 2009 Hyperion Records Limited Released on: 2009-08-01 Soprano: Kate Ashby, Helen Ashby, Alison Coldstream Alto: Fiona Rogers, Sarah Coatsworth, Emma Ashby Tenor: Andrew McAnerney, Alastair Carey Bass: David Stuart, Jon Stainsby, Will Dawes Whatever the background to this phenomenon, it is certainly the case that in several pieces of this period, if the rules of musica ficta are followed as most likely would have happened in performance from separate partbooks, one flat after another appears in the music and leads to a downward spiral. One such example is Phinot’s Pater peccavi, a motet based on the story of the prodigal son. The first half of the motet proceeds in a contrapuntally unproblematic way; only when the son begins to describe his miserable circumstances (‘hic fame pereo’) does the modulation begin, achieving the entire shift in an extraordinary passage a little over half a minute long (3'45" to 4'20"). Having so to speak ‘found his feet’ in the new tonality the son resolves to go back to his father to beg forgiveness (‘Surgam et ibo’), but the pain of his humiliation is underlined by the highly expressive downward sequence of suspensions (‘et dicam ei’) before the plea ‘Make me as one of your servants’ (‘Fac me sicut unum ex mercenariis tuis’) returns in a mood of resignation. Such a direct narrative explanation may seem out of place for a motet published as early as 1538; yet the remarkable effect both of the ‘secret chromatic’ spiral and the later suspension passage suggests just such an interpretation despite the early date. Phinot's music was widely distributed, and he was highly praised by writers of the time, including Heinrich Finck and Pietro Cerone. Cerone called Phinot "one of the first and best composers of the time" and also said "had there been no Phinot, ... Palestrina's music would not have been possible."[2] Heinrich Finck ranked him with Crecquillon, Clemens non Papa and Gombert, three contemporary composers who wrote similar music; indeed Phinot's style strongly resembles Gombert's.