Missa in Dedicatione Ecclesiae - Feast of the Consecration of the Temple
1. Litaniae Sanctorum 0:53
2. Introitus Terribilis est locus 1:59
3. Kyrie XIII 1:54
4. Gloria XIII 2:32
5. Lectio Ad decus ecclesie 5:23
6. Graduale Locus iste 2:55
7. Alleluia Adorabo ad templum 2:03
8. Praefatio + Sanctus XIII 2:49
9. Agnus Dei XIII 1:17
10. Communio Domus mea 3:16
11. Tropus ad Benedicamus Zacheus arboris 0:59
Petr Eben - Suita liturgica
12. I. Dominica de Passione
Introitus Zjednej mi pravo
Graduale + Tractus Vysvobod mne, Pane
Offertorium Oslavovati te budu, Pane 10:52
13. II. Theresiae a Jesu Infante
Introitus Prijd, nevesto ma
Offertorium Velebi duse ma Hospodina 6:48
14. 14. Dominica IV. in Quadragesima / 4. neděle postní
Introitus Vesel se, Jeruzaléme
Festum Omnium Sanctorum / Svátek Všech Svatých
Offertorium Duše spravedlivých 7:19
15. In Ascensione Domini / Nanebevstoupení Páně
Introitus Muži galilejští
Alelluia Vstoupil Bůh za plesání
Communio Prozpěvujte Pánu 9:46
Schola Gregoriana Pragensis: Hasan El-Dunia, Jiri Hodina, Ondrej Manour, Martin Prokes, Stanislav Predota, Jan Stetka, Matous Vlcinsky, Radim Vondracek
artistic director - David Eben
Petr Eben organ
The title of this CD, Antica e moderna, is meant to symbolise a dialogue between old and new music, with the two mirroring each other, at once keeping a distance from each other and being close to each other. What also brings the works featured here together is, among other things, the purpose for which they were destined: namely, to be sung during an act of Christian worship.
The conception of this project as a whole is based upon the polarity of two major components: the first presents liturgical song in its earliest form, that of Gregorian chant; while the second section brings the intimate experience of plainsong embodied in the musical idiom of the 20th century.
Suita Liturgica was compiled from select parts of Petr Eben’s “Liturgical Songs”, which the composer supplemented with obligato organ interludes. Petr Eben described his attitude towards Gregorian chant, and his “Liturgical Songs” as follows: “To me, Gregorian chant has been a lifelong major source of inspiration. Three of its properties in particular have constantly fascinated me: for one, its single voice which confronts the ear accustomed to the hybrid outpour of 19th-century harmonics with the sudden experience of a simple solitary melody, one that is moreover both autonomous, comforting, meditative, and monumental. This single-voice format likewise brings me to the second of the aforementioned crucial qualities: with it, I am free to quote the theme in the style of my own idiom, something I could hardly do in trying to quote for instance a Bach chorale. Finally, the third peculiar quality of Gregorian chant is its loose rhythmic pattern. After the iron rules of accented, heavy divisions whose regular strides have nailed melody down to earth ever since the time of the Baroque basso continuo to this day, here bar divisions are obliterated, the music flowing freely in space, progressing unhindered in a continuous stream.
I wrote the Liturgical Songs between 1955 and 1960, as propria for the individual Sunday and festival services. At that time, still prior to Vatican II, we were particularly concerned with making the texts sung during mass accessible to the worshippers, which was best achieved through the Czech language.
In my work on the setting I realised the magnitude of the contrasts in the atmosphere of the various feasts, and I strove to express them in musical terms. I was inspired — as I have already suggested — by the melody and rhythmic pattern of Gregorian chant. While of course, conveyed by a more modern idiom the melodies may occasionally be strongly chromatised, I stuck to the Gregorian form of alternating antiphon and psalm.”
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