1001 classical recordings you must hear before you die - Part 1

Choral

Choral and Chant

Music for Holy Week

Sacred Choral, A Capella

country music

Worship the Lord

Cristóbal de Morales (1500 - 1553) Circundederunt me

Perteneciente al programa monográfico sobre el texto "O magnum mysterium".
This piece belongs to our "O magnum mysterium" repertoire, dedicated exclusively to this religious text:

http://www.inhorasexta.com/repertorioIH606.html

O Magnum Mysterium (Abraham González Ponce)

Save Us (Psalm 17)

This Is All My Joy (Psalm 16)

Wait For The Lord (Psalm 27)

06 - Hoyt Axton - Double Double Dare

A heavy devilish Californian serenade from the homie Hoyt Axton (even the name could slice you up good), which is literally stomps and hollering and nothing else. Haunting in it's own right and immediately grabs you by the collar and shakes you up... I added a savage drum set to it with edits here and there, and played banjo and uke on top, with added hummms and shaker egg. It's a remix / rebuild / re-upholster job essentially, and I dusted it all up nice at the end. Desert stomp holler music. Get yerself some. 
Thank you kindly.
XXX BUDDY PEACE XXX

BP Store

CASSINGLE REMIX 004: HOYT AXTON - The Devil

The Cantilena Singers in concert, recorded live at the Church of St Cyriac and St Julitta, Swaffham Prior, on Saturday 28 March 2015.

Lamentations Of Jeremiah, Part 1 – Thomas Tallis

Lamentations Of Jeremiah, Part 2 – Thomas Tallis

Hildegard von Bingen - Canticles Of Ecstasy

Quia ergo femina mortem instruxit

Cum processit factura digiti Dei

O vis eternitatis

Nunc aperuit nobis

Original version of this song appears on his 1974 album 
"Life Machine" 

Enjoy

Hoyt Axton - Telephone Booth (Ole Smokey Edit)- 128 mp3 - Buy hi-res Wav

Victoria - O Magnum Mysterium

Hoyt Axton's "Greenback Dollar", with the original swears.

Hoyt Axton - Greenback Dollar

Collegium Musicum of Columbia University
Directed by Mahir Cetiz

April 30, 2012 - Low Memorial Library of Columbia University

Josquin Desprez: Ave Maria

Collegium Musicum of Columbia University
Directed by Mahir Cetiz

Performed on April 30, 2012
at Low Memorial Library of Columbia University

Johannes Ockeghem: Mort tu as navrè

Collegium Musicum of Collegium Musicum
Directed by Mahir Cetiz

Performed on April 30, 2012
at the Low Memorial Library of Columbia University

Josquin Desprez: Nymphes des bois (La déploration sur la mort d'Ockeghem)

Collegium Musicum of Columbia University
Directed by Mahir Cetiz

Performed on April 30, 2012
at the Low Memorial Library of Columbia University

Maurice Duruflé: Tota pulchra es

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble3

About the Track

When my Aunt Nita died in the Philippines in May 2012, I looked for some prayers that were appropriate and found this passage from an Anglican Book of Common Prayer (It's from the Gospel of St. John).  I'm much better at communicating in music than I am in words, so I wrote an anthem in honor of her which I hoped would both please her spirit and bring comfort to those of us closest to her.

When writing sacred music in English, I've always been inspired by the great Elizabethan composers, such as William Byrd and many others, and this anthem for three male voices felt particularly right to be set in the style of Byrd.  As there was little time to find colleagues to record this in time for my aunt's funeral, I recorded this under the auspices of "Mortensemble", my professional recording group (search Mortensemble on CD Baby to see the group's bio).

The text:

This particular passage jumped out at me while I was going through the prayer book because I found it to be very uplifting and full of the joy of Christ's Resurrection, and I also wanted to make it a personal prayer from me for the hope and sake of my aunt. 

I am the resurrection and the life, saith the Lord;
he that believeth in me, though he were dead, yet shall he live; 
and whosoever liveth and believeth in me shall never die.

Amen.

Mortensemble Performers:

Erik-Peter Mortensen, (all parts - alto, tenor bass)

Follow EP on Facebook!: www.facebook.com/NYTroubador

Follow EP on Soundcloud!: www.soundcloud.com/Erik-Peter

I am the Resurrection

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/erikpetermortensen

About the track:

Heavily influenced by William Byrd's composition of the same name, Teach Me, O Lord is written in the style of an English Jacobean verse anthem, for soloist, full choir, and accompaniment of varying disposition - in this case, a cappella "loo's".  Accompaniment could also suitably be provided by organ or a chamber consort of viols or mixed instruments.

In religious music, the verse anthem is a species of choral music, or song, distinct from the motet or 'full' anthem (i.e. for full choir).

In the 'verse' anthem the music alternates between sections for a solo voice or voices (called the 'verse') and the full choir. The organ provided accompaniment in liturgical settings, but viols took the accompaniment outside of the church. In the 'verses', solo voices were expected to ornament their parts for expressive effect with the 'full choir' sections providing contrast in volume and texture. The verse anthems were a major part of the English Reformation due to the use of the vernacular. In addition to this, the use of soloists allowed the text to be expressed more clearly. For the choirmaster they were useful too: the choir only had to learn a small part of the anthem, leaving the hardest passages to a soloist to learn on their own, reducing rehearsal time. Verse anthems developed and were very popular during the early 17th to the middle of the 18th centuries. At the Restoration of Charles II, enthusiasm for the older 'motet' style of anthem returned, but composers continued to write verse anthems, sometimes on a grand scale, particularly for the Chapel Royal.

Notable composers of verse anthems include William Byrd, Orlando Gibbons, Thomas Weelkes, Thomas Tomkins, John Bull and Pelham Humfrey. The "Star Anthem" by John Bull was the most popular Jacobean verse anthem occurring in more contemporary sources than any other. Of the Jacobean anthems the most well known in the 21st century is "This is the Record of John" written by Orlando Gibbons for a visit of Archbishop Laud to his alma mater St. John's College Oxford. 

Verse anthems have been frequently transposed to suit modern English cathedral choir voices, so "This is the Record of John" exists as an alto solo as well as the original tenor.

Henry Purcell composed several examples, usually for special occasions like the composition of his odes. For example, "The Way of God is an Undefiled Way", apparently a Psalm setting, was to be sung by the famed bass soloist, the Reverend John Gostling, to celebrate King William III's safe and successful return from campaigning in Flanders. The larger anthems are often referred to as Symphony Anthems as they include, in addition to sections for 'verse' and 'full choir', passages for string instruments and organ alone, e.g. 'O sing unto the Lord' and 'Rejoice in the Lord always'.

About the text:

Source of text: Psalm 119 vv.33-38 (BCP), with the minor doxology. 
Description: Third Psalm to the Second Preces, this alphabetic acrostic is the longest Psalm: 176 verse lines and 1063 words. Together with Psalm 118, it functions in Book V as a bridge between two well-defined cycles, the First Group of Eleven Psalms (107-117) and the Songs of Ascents (120-134).

Book of Common Prayer (1662)
English text

33 Teach me, O Lord, the way of thy statutes : and I shall keep it unto the end.
34 Give me understanding, and I shall keep thy law : yea, I shall keep it with my whole heart.
35 Make me to go in the path of thy commandments : for therein is my desire.
36 Incline my heart unto thy testimonies : and not to covetousness.
37 O turn away mine eyes, lest they behold vanity : and quicken thou me in thy way.
38 O stablish thy word in thy servant : that I may fear thee.

(minor doxology)
Glory be to the Father, and to the Son: and to the Holy Ghost;
As it was in the beginning, is now, 
and ever shall be: world without end. Amen.

Production:

Recorded, edited and mixed at Papagena Productions, New York City

Performers:

Emily Speer, soprano
Erik-Peter Mortensen, countertenor
Edwin Santayana, tenor
Erik-Peter Mortensen, bass

Teach Me, O Lord

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/erikpetermortensen3

Will also be part of an upcoming album release in Jan, 2014 - "Sacred Music in the English Style".

Erik-Peter Mortensen’s “Supplication for the Holocaust” prayer adapted from and inspired by “Prayer for the Six Million:” – last in a series of prayers from “Z’CHOR – REMEMBER – A Holocaust Prayer – In Memory – Written by a Holocaust Survivor”

Prayer for the Six Million:

Almighty God, remember the six million people that were gassed, killed, drowned, burned alive, tortured, beaten or frozen to death. In our hearts, their sacred memory will last forever and ever. Amen.
God of our Fathers, let the ashes of the children incinerated in Auschwitz, the rivers of blood spilled at Babbi Yar or Majdanek, be a warning to mankind that hatred is destructive, violence is contagious, while man has an unlimited capacity for cruelty. For our own sake and for the sake of our children, we have to be our brother's keeper.
Almighty God, fulfill the prophecy of Isaiah: "They shall beat their swords into ploughshares . . . nation shall not lift up a sword against nation, neither shall they learn war any more." Man shall not lift weapon against man, and shall kill no more. Amen.

“Supplication for the Holocaust” text:

Almighty God,

Call to remembrance the number twenty-six million,
The number of them that died in the Great Holocaust.

For their sake, and ours,

“fulfill the prophecy of Isaiah:
They shall beat their swords into ploughshares…
Nation shall not lift up sword against nation,
Neither shall they learn war anymore.
Man shall not lift weapon against man,
And shall kill no more!”

Amen.
___________________

Research:

Informational excerpts below are from the http://www.u-s-history.com/pages/h1677.html web page as published on 4/30/2012.

The Holocaust is generally regarded as the systematic, state-sponsored persecution and slaughter of approximately 6 million Jews — two thirds of the total European Jewish population, and two-fifths of the Jews in the entire world — but also millions of other victims, by the Nazi regime and its collaborators under Adolf Hitler.

While the Jews were the primary target, there were many other ethnic, secular, religious, and national groups that suffered during the Holocaust, including Poles, Czechs, Greeks, Gypsies, Serbs, Ukranians, and Russians, as well as homosexuals, mentally and physically handicapped persons, trade unionists, prisoners of war, Jehovah's Witnesses, and uncounted others. All were targeted because of their perceived "racial inferiority."

Current estimates, based on Nazi war records and official government documents from various countries, place the death toll of the Holocaust at anywhere from 10 million (a conservative figure) to 26 million people.

Erik-Peter chose to musically set the figure “26 million” not because it is necessarily factually accurate, but because it represents an unfathomably large number of exterminated victims, linked together as a chain of humanity, brothers and sisters in death, across nations, religions, and ideologies. When one group of our human brothers is afflicted, we are all afflicted as we are all connected to each other!

Production:

Recorded, edited and mixed at Papagena Productions, New York

Performers:

Emily Speer, soprano
Emily Speer, alto
Edwin Santayana, tenor
Erik-Peter Mortensen, bass

Follow Erik-Peter on Facebook!

www.facebook.com/NYTroubador


Supplication for the Holocaust

Ihr für uns und wir für euch CD2

In taberna quando sumus (C. Orff/Carmina Burana Nr. 196)

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen.  Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy.  To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. in the case of the debut release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor, baritone)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)

This roster will now doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future.


About the track

Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI. During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament. The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers.

Text

The text is in Latin, and reads:
Ave verum corpus, natum
de Maria Virgine,
vere passum, immolatum
in cruce pro homine,
cuius latus perforatum
fluxit aqua et sanguine:
esto nobis praegustatum
in mortis examine.
O Iesu dulcis, O Iesu pie, O Iesu, fili Mariae.
Miserere mei. Amen.

A translation into English is:
Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
O sweet Jesus, O pious Jesus, O Jesus, son of Mary,
have mercy on me. Amen.

William Byrd's Setting (from Atrium Musicologicum)

Byrd was a student of Tallis, and they combine together various obligations through their lifetimes they were both gentlemen of the Chapel’s Royal Mix lead group of singers that followed the monarch around from venue to venue and provided the music for worship services. Byrd was a devoted catholic and was prosecuted for this during his lifetime.

In order to understand how Byrd sets the text of the motet Ave Verum Corpus it is necessary to understand what it meant to him: for Byrd, the Blessed Sacrament which is the consecrated bread at the Mass contains the real presence of Christ. The first phrase of this Ave Verum Corpus means Hail true body and for Byrd the most important word wasn’t Ave or Corpus, but Verum because word true meant that He was the true presence of Christ in this bread. This was one of the main differences between the Anglican Church and the Roman Catholic Church, and he wanted to emphasise this word Verum in the first phrase. And he did it by using a very particularly expressive device.
The device is called false-relation. A false-relation is when a note and it’s chromatically altered note appear very close to one another, in this case F# and F natural.

The "false-relation" of F#-F, between the Superius and Bassus, emphasises the Verum, in a sort of demosntrating of the true corpus. This "expression" was very common in English music of this period. Byrd's master Thomas Tallis often used it on some of his works.

A great English scholar comment once the vicious English taste for false-relations, where they put it on many contexts that the continentals wouldn’t. This marked English music out as particularly expressive.

Mortensemble members recorded on this track

Erik-Peter Mortensen, all choral parts (soprano, alto, tenor, bass), doubled

Like and follow "EP" on facebook!

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William Byrd - Ave Verum Corpus, by Mortensemble

This is an excerpt (Kyrie and Gloria) from a live concert I sang in as a baritone with early music ensemble Polyhmnia (polyhymnia-nyc.org)

Here are more details about the concert and music:

___________________________________________
	
The Church of St. Ignatius of Antioch, 552 West End Ave, New York, NY 10024

Saturday, March 9, 8:00 pm

John Bradley - Director
Sarah Davies - Organ

Pre-concert Lecture, 7:00 PM, Dr. Antoni Pizà

Missa Surge propera a6, chant & motets

Francisco Guerrero, the quintessential Spanish Renaissance composer musically embodies the essence of Iberian spirituality with his dark-hued elegantly wrought polyphony. He wrote only one mass for six voices, the sensuous Missa Surge propera. Join us as we perform this magnificent mass ordinary in a liturgical reconstruction, with motets and Gregorian chant from Spanish sources, rediscovering a glorious musical and liturgical tradition as it might have been heard within the walls of Seville’s splendid cathedral.

_____________________________________________

Follow Erik-Peter on Facebook: www.facebook.com/NYTroubador

Follow Erik-Peter on soundcloud:  www.soundcloud.com/erik-peter


La Flor de Espana (Live Concert 3/9/13)-Polyhymnia-Kyrie/Gloria-Guerrero's Missa Surge propera a 6

This track or the entire album is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, ADORAMUS TE, CHRISTE: Q. Gasparini (1749-1770)

Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the "stile antico", the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century.

Text

Adoramus te Christe, et benedicimus tibi, quia per sanctam crucem tuam redemisti mundum.

We adore Thee O Christ, for by Thy holy cross you have redeemed the world.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Adoramus Te, Christe: Q. Gasparini (1749-1770)

This track is from the album A Gallery of Italian Madrigals & Motets and is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, CRUCIFIXUS: A. Lotti (1667?-1740)

Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the "stile antico", the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century.

Text

Crucifixus etiam pro nobis. Sub Pontio Pilato passus et sepultus est.

He was crucified also for us. Under Pontius Pilate he suffered and was buried.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Crucifixus: A. Lotti (1667?-1740)

This track is currently available on iTunes at: https://itunes.apple.com/us/album/lamentations-jeremiah-i-single/id626743855

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen. Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy. To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. in the case of the debut release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

This roster will no doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future.

About the Track

Thomas Tallis made two famous sets of the Lamentations. Scored for five voices (either one on a part or in a choral context), they show a sophisticated use of imitation, and are noted for their expressiveness. The settings are of the first two lessons for Maundy Thursday. As many other composers do, Tallis also sets the following:

The announcements: Incipit Lamentatio Ieremiae Prophetae ("The Lamentation of Jeremiah the Prophet begins") and De Lamentatione Ieremiae Prophetae ("From the Lamentation of Jeremiah the Prophet")

The Hebrew letters that headed each verse: Aleph, Beth for the first set; Gimel, Daleth, Heth for the second. These letters were considered part of the text in the Latin Vulgate Bible of Tallis's day, although most English translations omit them. Tallis's use of 'Heth' rather than the correct 'He' appears to have been an error

The concluding refrain: Ierusalem, Ierusalem, convertere ad Dominum Deum tuum ("Jerusalem, Jerusalem, return unto the Lord thy God") – thus emphasising the sombre and melancholy effect of the pieces

Tallis's two settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the liturgical role of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.

Text for Tallis' setting of Lamentations I:

(Opening announcement)

Incipit lamentatio Ieremiae prophetae.

(from Lamentations, Chapter 1)

1:1 ALEPH. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium; princeps provinciarum facta est sub tributo.
1:2 BETH. Plorans ploravit in nocte, et lacrimæ ejus in maxillis ejus: non est qui consoletur eam, ex omnibus caris ejus; omnes amici ejus spreverunt eam, et facti sunt ei inimici.

(Concluding refrain)

Ierusalem, Ierusalem, convertere ad Dominum Deum tuum

English translation:

(Opening announcement)

Here begins the Lamentation of Jeremiah the Prophet.

(from Lamentations, Chapter 1)

1:1 ALEPH. How lonely sits the city that was full of people! How like a widow has she become, she that was great among the nations! She that was a princess among the cities has become a vassal.
1:2 BETH. She weeps bitterly in the night, tears on her cheeks; among all her lovers she has none to comfort her; all her friends have dealt treacherously with her, and they have become her enemies.

(Concluding refrain)

Jerusalem, Jerusalem, return unto the Lord thy God

Original Hebrew text (without introductions or conclusions)

(from Lamentations, Chapter 1)

     א  אֵיכָה יָשְׁבָה בָדָד, הָעִיר רַבָּתִי עָם--הָיְתָה, 
כְּאַלְמָנָה; רַבָּתִי בַגּוֹיִם, שָׂרָתִי בַּמְּדִינוֹת--הָיְתָה, 
                                                        לָמַס.  {ס}

ב  בָּכוֹ תִבְכֶּה בַּלַּיְלָה, וְדִמְעָתָהּ עַל לֶחֱיָהּ--אֵין-לָהּ 
מְנַחֵם, מִכָּל-אֹהֲבֶיהָ:  כָּל-רֵעֶיהָ בָּגְדוּ בָהּ, הָיוּ לָהּ 
                                                    לְאֹיְבִים.  {ס}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

According to Jewish and Christian traditions, authorship is assigned to the Prophet Jeremiah, who was ministering the Word of God during the conquest of Jerusalem by Nebuchadnezzar, during which the First Temple was destroyed and King Zedekiah was taken prisoner (cf. 2 Kings 24-25, Jer. 39:1-10 and Jer. 52). In the Septuagint and the Vulgate the Lamentations are placed directly after the Prophet.

It is said that Jeremiah retired to a cavern outside the Damascus gate, where he wrote this book. That cavern is still pointed out by tour guides. "In the face of a rocky hill, on the western side of the city, the local belief has placed 'the grotto of Jeremiah.' There, in that fixed attitude of grief which Michelangelo has immortalized, the prophet may well be supposed to have mourned the fall of his country" (Arthur Penrhyn Stanley, History of the Jewish Church).

However, the strict acrostic style of four of the five poems is not found at all in the Book of Jeremiah itself and Jeremiah's name is not found anywhere in the book itself (nor any other name, for that matter), so authorship of Lamentations is disputed. The Book of Chronicles says that Jeremiah did write a lament on the death of King Josiah. The work is probably based on the older Mesopotamian genre of the "city lament", of which the Lament for Ur is among the oldest and best-known.

According to F. W. Dobbs-Allsopp, "the widely observed unity of form and point of view... and general resemblance in linguistic detail throughout the sequence are broadly suggestive of the work of a single author," though other scholars see Lamentations as the work of multiple authors.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

Lamentations was probably composed soon after 586 BC. Kraus argues that "the whole song stands so near the events that one feels everywhere as if the terrible pictures of the destruction stand still immediately before the eyes of the one lamenting."

Contents

The book consists of five separate poems. In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely. In chapter 2 these miseries are described in connection with national sins and acts of God. Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them. Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins. Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

Readings, chantings, and choral settings, of the book of Lamentations, are used in the Christian religious service known as the Tenebrae (Latin for darkness). In the Church of England, readings from Lamentations are used at Morning and Evening Prayer on the Monday and Tuesday of Holy Week, and at Evening Prayer on Good Friday.

The Book of Lamentations is recited annually on the Tisha b'Av, the anniversary of the destruction of both of the Jewish Temples as well as numerous other unfavorable days in Jewish history.

As quoted by Scottish Presbyterian preacher, Matthew George Easton (1823-1894), at the "Wailing Wall" in the Old City of Jerusalem, "the Jews assemble every Friday afternoon to bewail the downfall of the holy city, kissing the stone wall and watering it with their tears. They repeat from their well-worn Hebrew Bibles and prayer-books the Lamentations of Jeremiah and suitable Psalms."

In the Coptic Orthodox Church chapter three is chanted on the twelfth hour of the Good Friday service, that commemorates the burial of Jesus.

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Lamentations of Jeremiah I

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble4

or on iTunes here: https://itunes.apple.com/us/album/lamentations-jeremiah-ii-ep/id667916751

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen. Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy. To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. in the case of the debut release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

This roster will no doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future.

About the Track

Thomas Tallis made two famous sets of the Lamentations. Scored for five voices (either one on a part or in a choral context), they show a sophisticated use of imitation, and are noted for their expressiveness. The settings are of the first two lessons for Maundy Thursday. As many other composers do, Tallis also sets the following:

The announcements: Incipit Lamentatio Ieremiae Prophetae ("The Lamentation of Jeremiah the Prophet begins") and De Lamentatione Ieremiae Prophetae ("From the Lamentation of Jeremiah the Prophet")

The Hebrew letters that headed each verse: Aleph, Beth for the first set; Gimel, Daleth, Heth for the second. These letters were considered part of the text in the Latin Vulgate Bible of Tallis's day, although most English translations omit them. Tallis's use of 'Heth' rather than the correct 'He' appears to have been an error

The concluding refrain: Ierusalem, Ierusalem, convertere ad Dominum Deum tuum ("Jerusalem, Jerusalem, return unto the Lord thy God") – thus emphasising the sombre and melancholy effect of the pieces

Tallis's two settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the liturgical role of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.

Text for Tallis' setting of Lamentations II:

(Opening announcement)

De lamentatione Ieremiae prophetae.

(from Lamentations, Chapter 1)

1:3 GHIMEL. Migravit Judas propter afflictionem, et multitudinem servitutis; habitavit inter gentes, nec invenit requiem: 
1:4 DALETH. Omnes persecutores ejus apprehenderunt eam inter angustias. (Viæ Sion) lugent, eo quod non sint qui veniant ad solemnitatem: omnes portæ ejus destructæ, sacerdotes ejus gementes; virgines ejus squalidæ, et ipsa oppressa amaritudine.
1:5 HE(TH). Facti sunt hostes ejus in capite; inimici ejus locupletati sunt: quia Dominus locutus est super eam propter multitudinem iniquitatum ejus. Parvuli ejus ducti sunt in captivitatem ante faciem tribulantis.

(Concluding refrain)

Ierusalem, Ierusalem, convertere ad Dominum Deum tuum

English translation:

(Opening announcement)

From the Lamentation of Jeremiah the Prophet.

(from Lamentations, Chapter 1)

1:3 GHIMEL. Judah has gone into exile because of affliction and hard servitude; she dwells now among the nations, but finds no resting place;
1:4 DALETH. All her pursuers have overtaken her in the midst of her distress. (The ways of Zion) do mourn, because none come to the solemn assembly; all her gates are desolate, her priests groan; her virgins have been dragged away, and she herself is oppressed in bitterness.
1:5 HE(TH): Her foes have become the head, her enemies prosper; for the LORD hath afflicted her for the multitude of her transgressions; her young children are led into captivity before face of the adversary.

(Concluding refrain)

Jerusalem, Jerusalem, return unto the Lord thy God

Original Hebrew text (without introductions or conclusions)

(from Lamentations, Chapter 1)

ג  גָּלְתָה יְהוּדָה מֵעֹנִי, וּמֵרֹב עֲבֹדָה--הִיא יָשְׁבָה בַגּוֹיִם, לֹא 
מָצְאָה מָנוֹחַ; כָּל-רֹדְפֶיהָ הִשִּׂיגוּהָ, בֵּין הַמְּצָרִים.  {ס}

ד  דַּרְכֵי צִיּוֹן אֲבֵלוֹת, מִבְּלִי בָּאֵי מוֹעֵד--כָּל-שְׁעָרֶיהָ שׁוֹמֵמִין, 
כֹּהֲנֶיהָ נֶאֱנָחִים; בְּתוּלֹתֶיהָ נּוּגוֹת, וְהִיא מַר-לָהּ.  {ס}	

ה  הָיוּ צָרֶיהָ לְרֹאשׁ אֹיְבֶיהָ שָׁלוּ, כִּי-יְהוָה הוֹגָהּ עַל רֹב-
פְּשָׁעֶיהָ; עוֹלָלֶיהָ הָלְכוּ שְׁבִי, לִפְנֵי-צָר.  {ס}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

According to Jewish and Christian traditions, authorship is assigned to the Prophet Jeremiah, who was ministering the Word of God during the conquest of Jerusalem by Nebuchadnezzar, during which the First Temple was destroyed and King Zedekiah was taken prisoner (cf. 2 Kings 24-25, Jer. 39:1-10 and Jer. 52). In the Septuagint and the Vulgate the Lamentations are placed directly after the Prophet.

It is said that Jeremiah retired to a cavern outside the Damascus gate, where he wrote this book. That cavern is still pointed out by tour guides. "In the face of a rocky hill, on the western side of the city, the local belief has placed 'the grotto of Jeremiah.' There, in that fixed attitude of grief which Michelangelo has immortalized, the prophet may well be supposed to have mourned the fall of his country" (Arthur Penrhyn Stanley, History of the Jewish Church).

However, the strict acrostic style of four of the five poems is not found at all in the Book of Jeremiah itself and Jeremiah's name is not found anywhere in the book itself (nor any other name, for that matter), so authorship of Lamentations is disputed. The Book of Chronicles says that Jeremiah did write a lament on the death of King Josiah. The work is probably based on the older Mesopotamian genre of the "city lament", of which the Lament for Ur is among the oldest and best-known.

According to F. W. Dobbs-Allsopp, "the widely observed unity of form and point of view... and general resemblance in linguistic detail throughout the sequence are broadly suggestive of the work of a single author," though other scholars see Lamentations as the work of multiple authors.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

Lamentations was probably composed soon after 586 BC. Kraus argues that "the whole song stands so near the events that one feels everywhere as if the terrible pictures of the destruction stand still immediately before the eyes of the one lamenting."

Contents

The book consists of five separate poems. In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely. In chapter 2 these miseries are described in connection with national sins and acts of God. Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them. Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins. Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

Readings, chantings, and choral settings, of the book of Lamentations, are used in the Christian religious service known as the Tenebrae (Latin for darkness). In the Church of England, readings from Lamentations are used at Morning and Evening Prayer on the Monday and Tuesday of Holy Week, and at Evening Prayer on Good Friday.

The Book of Lamentations is recited annually on the Tisha b'Av, the anniversary of the destruction of both of the Jewish Temples as well as numerous other unfavorable days in Jewish history.

As quoted by Scottish Presbyterian preacher, Matthew George Easton (1823-1894), at the "Wailing Wall" in the Old City of Jerusalem, "the Jews assemble every Friday afternoon to bewail the downfall of the holy city, kissing the stone wall and watering it with their tears. They repeat from their well-worn Hebrew Bibles and prayer-books the Lamentations of Jeremiah and suitable Psalms."

In the Coptic Orthodox Church chapter three is chanted on the twelfth hour of the Good Friday service, that commemorates the burial of Jesus.




Lamentations of Jeremiah II

This track is available for purchase on itunes at:

https://itunes.apple.com/us/album/ave-verum-corpus/id669021539?i=669021569&ign-mpt=uo%3D4

About the artist

BILL HEIGEN is an accomplished composer, arranger, musical director, singer, vocal coach and pianist. He is a recipient of numerous national awards in Brazil for his vocal arrangements and choral directing. He has composed many theatre shows, and has performed in several renowned professional vocal ensembles such as Polyhymnia, Sing We Enchanted, Underworld Productions Opera, Chameleonic and Schola Cantorum of St. Agnes Church in New York City - singing many musical styles from bossa nova and Brazilian popular music, to Renaissance repertoire. Bill has been active as a musical director for various vocal groups in the U.S. and Brazil. As an experienced voice teacher and vocal coach, he has taught music theory courses at various conservatories and universities in Brazil. Bill Heigen holds degrees in Vocal Performance from University of Rio de Janeiro,  and is currently in the process of completing his Master's degree in Composition at Hunter College in New York City.

About the track

Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI. During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament. The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers.

Text

The text is in Latin, and reads:
Ave verum corpus, natum
de Maria Virgine,
vere passum, immolatum
in cruce pro homine,
cuius latus perforatum
fluxit aqua et sanguine:
esto nobis praegustatum
in mortis examine.
O Iesu dulcis, O Iesu pie, O Iesu, fili Mariae.
Miserere mei. Amen.

A translation into English is:
Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
O sweet Jesus, O pious Jesus, O Jesus, son of Mary,
have mercy on me. Amen.

Recorded, Mixed, and Produced by 
Erik-Peter Mortensen, Owner
Papagena Productions, Cathedral Records, New York City
Released and Copyrighted June 30, 2013

Follow Bill! 
www.billheigen.com

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Bill Heigen: Ave Verum Corpus

Hi, My name is Erik-Peter Mortensen (aka Erik or EP).  I've been singing professionally at the Met & City Opera's since 9, as well as in many professional choirs through the present.  I have a serious love for Early and Classical music and wish to make its appeal reach out to a much vaster audience, either through fusing it with existing styles, creating new styles, or promulgating it through films & games.

I'm currently studying for my Master Certificate in Orchestration for Film and TV, and I'll be posting more of my work right here as my studies continue and I go back to remaster previous work.

If anyone has cool collaboration ideas, please feel free to reach out to me! :-)