Stock: 
Format: 
Release Date: 25-06-1994
Label: Erdenklang Musik
Catalog Number: EK40712
Barcode: 723091407120
Musical Style: Medieval
Track Listing:
| Disc 1 | |||
|---|---|---|---|
| 1 | Ego sum Alpha et Omega  | 9 | Ave Maria |
| 2 | Kyrie Eleison | 10 | Ave Maria |
| 3 | Lectio Isaye Prophete | 11 | Ave Regina Caelorum |
| 4 | Haec Dies | 12 | Regina Coeli |
| 5 | Alleluia | 13 | Salve Regina |
| 6 | Sequentia Sancti Evangelii secundum Lucam | 14 | Veni Creator Spiritus |
| 7 | Tollite Portas | 15 | Te Deum |
| 8 | Sanctus | ||
Description:
Plainchants About Gregorian Hymn - Gregorian Chant According to legendary tradition, it was Pope Gregory the Great (+604), that systemized, standardized and made the liturgical songs of the Catholic Church 'Catholic', i.e., universally valid. In its widest sense, the Catholic Church consists of all baptised believers. In the Middle Ages, the period of origin of Gregorian canto, the responsibility of unwavering thanks to God, however, was allocated to a select few believers specifically trained for this: monks and nuns. Their thanks to God had two fundamental forms of expression. The daily eight hourly prayers (officium) and the celebration of the Eucharistic Mass. The Gregorian chant, the music of the Middle Age Catholic Church, is therefore, exclusively a manner of prayer and thanks to God. The recording at issue presents a selection of melodies from the Mass liturgy - from different periods of the church year - and the monks officium. The chant compositions that are bound by the Editio Vaticana of the Catholic liturgy are compared with a few melodies in the dalmatical dialect chant which deviates from this. Recorded at Oleviste Church (XIIIth century), Tallinn (Estonia)
Biography:
Hortus Musicus, the 'Music Garden”, was founded in 1972 by Andres Mustonen with his first concert in Tallinn, Estonia. The musicians are considered to be the most highly individual and most sprightly interpreters of 'ancient music”, i.e., artistic European music from its beginning to the masters of the Fate Renaissance and the Baroque. Their vitality and their enthusiasm does not allow boring erudition to arise. It is reputed to decipher the applicable time period as a whole, to make music precise and homogeneous, in the authentic style, but not at the expense of the zest and with precisely the amount of personal freedom for their creative talents, for improvising and for extraordinary interpretation, It is exactly this non-academic composure that makes them so popular and that also makes the hearts of many ancient music ultra-purists involuntarily beat faster.
