Fingergull – In festo susceptionis sanguinis Domini

Schola Sanctae Sunnivae

15.9933.49
Clear
Original Recording Format: DXD

DSD 512 Exclusive

«Blóð várs herra Jesv Christi kom til Niðar ós» (“The blood of our Lord Jesus Christ came to Nidaros”). With these words the Icelandic Annales regii for 1165 record the arrival of a drop of Christ’s blood in Nidaros, today’s Trondheim, in Norway, and, if the information is correct, then it was in fact one of the first places to receive such a prominent relic. The chant cycle for the Susceptio sanguinis feast, called today the “Holy Blood office”, has survived in just one manuscript. It consists of ten parchment folios, and is all that remains of a book with chants for the Divine office. This antiphonary was written between 1250 and 1275, probably for Nidaros cathedral. Schola Sanctae Sunnivae and conductor Anne Kleivset have worked on this material for many years, and they give here the first complete recording of the “Holy Blood office”.

Tracklist

1.
Ad primas vesperas, antiphona - Super precipuos
01:06
2.
Ad primas vesperas, antiphona - Ecce advenit dominator Deus
00:44
3.
Ad primas vesperas, antiphona - Salus aeterna nobis
00:46
4.
Ad primas vesperas, antiphona - Christus Deus noster
00:46
5.
Ad primas vesperas, antiphona - Exultemus in Domino
00:58
6.
Ad primas vesperas, responsorium - Jesu bone
03:35
7.
Ad primas vesperas, hymne - Salve lux mundi
03:06
8.
Ad primas vesperas, antiphona ad Magnificat - Ave pater gloriosae
01:43
9.
Ad matutunas, antiphona ad invitatorium - Filie Sion venite
03:05
10.
Ad matutunas, hymnus - Christe redemptor omnium
03:09
11.
In primo nocturno, antiphona - Auctor salutis omnium
02:29
12.
In primo nocturno, antiphona - Beata vere civitas
02:28
13.
In primo nocturno, antiphona - Clementissime Domine
03:41
14.
In primo nocturno, responsorium - Dignus es, Domine
02:08
15.
In primo nocturno, responsorium - O vere digna hostia
02:21
16.
In primo nocturno, responsorium - Domine Jesu Christe
04:08
17.
In secundo nocturno, antiphona - Domine rex omnipotens
03:06
18.
In secundo nocturno, antiphona - Gregem tuum Domine
01:54
19.
In secundo nocturno, antiphona - Da, benignissime Deus
02:09
20.
In secundo nocturno, responsorium - Verbum patris aeterni
03:16
21.
In secundo nocturno, responsorium - Primogenito patris
01:48
22.
In secundo nocturno, responsorium - Completis scriptis
03:01
23.
In tertio nocturno, antiphona - Gratia Dei per Jesum Christum
03:09
24.
In tertio nocturno, antiphona - Domine fons misericordiae
03:32
25.
In tertio nocturno, antiphona - Ave regum rex et Domine
02:58
26.
In tertio nocturno, responsorium - Sanguis tuus Domine
02:15
27.
In tertio nocturno, responsorium - Gratia dominica
02:07
28.
In tertio nocturno, responsorium - Summa laus
03:08
29.
Ad laudes, antiphona - Crux benedicta nitet, Dominus
00:31
30.
Ad laudes, antiphona - Salvator mundi, salva nos
00:38
31.
Ad laudes, antiphona - Orabat Christus in caelum
01:00
32.
Ad laudes, antiphona - Redemisti nos, Deus
00:42
33.
Ad laudes, antiphona - Ecce de quo Johannes dicit
00:42
34.
Ad laudes, hymnus - Magne Deus potentiae
02:00
35.
Ad laudes, Antiphona ad Benedictus - Laetentur omnes populi
02:00
36.
Ad secundas vesperas, antiphona ad Magnificat - Rex seculorum
01:50

Total time: 01:17:59

Additional information

Label

SKU

2L114

Qualities

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Channels

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Artists

Composers

Genres

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Digital Converters

Horus, Merging Technologies

Editing Software

Pyramix, Merging Technologies

Mastering Engineer

Morten Lindberg

Microphones

DPA

Notes

NativeDSD selectively creates higher DSD bitrates of label's releases using two methods (Merging Technologies Album Publishing and Singnalyst HQPlayer Pro), depending on the original edited master source. In order to understand the processes, a bit of background is appropriate.   NativeDSD sells only recordings that were originally recorded in DSD or DXD (352.8KHz PCM). The overwhelming majority of these recordings were edited and post processed in DXD, then converted (modulated) into DSD deliverable bit rates. NativeDSD acquires the label's original DXD edited master, and using Merging Technologies Album Publishing, creates a first generation DSD64, DSD128, and DSD256, as well as a DXD FLAC deliverable.  Additionally, on selected recordings, a 32bit PCM WAV file is extracted (the DXD PCM FLAC is 24 bits by format definition), and uses it to modulate a DSD512 using HQPlayer Pro. The exception to the above are the few label recordings (Yarlung, Eudora, Just Listen etc.) that record in DSD, and do no PCM post processing mixing, level balancing, EQ etc. That's doable by restricting post processing to just editing, where only the edit transition interval (typically 100ms or less) is PCM converted, leaving the DSD music content unaltered when rendered. For those recordings, the DSD edited master (the actual recording master with edits) is used with HQPlayer Pro to re-modulate the missing DSD bitrates. Why do any of this? It's to provide a DSD bitrate deliverable choice, allowing a customer to purchase the highest DSD bitrate their DAC will support. It's correct that there's no additional music content information contained in the higher DSD bit rate from the original DSD bitrate. What's different is the uncorrelated modulation noise content placement in the frequency spectrum. When a DSD original file is converted to DXD (PCM), the inherent DSD modulation noise is removed through the decimation filtering, and re-inserted when modulated back to DSD. The modulation noise (again, uncorrelated) is the carrier part of the DSD bitstream modulation, and an inherent part of the DSD bit stream.

 

While the spectorial shape is the same regardless of the DSD bitrate, it's effective start and end points move an octave higher for every doubling of the DSD bitrate. For DSD64, the uncorrelated modulation noise is about -110dB at 20KHz, rising to about -50dB at 100KHz. For DSD512, the modulation noise is about -110dB at 160KHz, and -50dB at 800KHz. What this allows is for the customer's DAC to use gentler, more Gaussian shaped reconstruction filters, with far improved phase response.

 

Conductors

Original Recording Format

Recording Engineer

Morten Lindberg, Beatrice Johannessen

Recording location

Ringsaker Church, Norway May 2014

Recording Type & Bit Rate

DXD

Release Date September 5, 2019

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