The Christian celebration of Pentecost is rooted in the Jewish feast celebrating God’s gift of the law on Mount Sinai—an event viewed by some as the birth of the Jewish faith. In obedience to that tradition, the remnant of faithful disciples were gathered together. Little did they know they would receive the gift of the Holy Spirit, and that Pentecost would one day also be known as the birthday of the Church. In the same vein, the song of the Church—Gregorian chant—grew up out of its roots in the synagogue, where the Psalms were chanted using similar tunes and some of the same melodic structures we sing today.
The texts for these Gregorian chants for the Feast of Pentecost provide a blend of perspective between the Old and the New Testament and the Holy Spirit’s role from the first days of creation to today. And by the use of different neumes and modes the writers of these chants have musically illuminated the texts, painting an aural picture for us of the Holy Spirit and all of his works.
Total time: 00:51:30
|Original Recording Format|
Blanton Alspaugh, Richard K. Pugsley
John Newton, Jesse Brayman
Church of the Transfiguration
|Recording Type & Bit Rate||
|Release Date||April 4, 2014|
The Kansas City Star
“Three of the finest chant CDs have been released over the last year by Gloriæ Dei Cantores: The Chants of Angels, The Chants of Mary performed by the men of the ensemble, and The Chants of the Holy Spirit, performed by the women.”
The Buffalo News
“With a new pope in office on this Easter Sunday, this slightly unusual recording of Gregorian Chant couldn’t be timed better. . . . A beautiful disc.”
“The seven ladies that make up the Gloriæ Dei Cantores Women’s Schola have given us a real gift—the renditions of this music have rarely been as perfectly presented as what the Schola accomplishes here. . . . its primary vision [is] a living and loving manifestation of these ancient chants as something that breathes life into a contemporary cultural setting. Technically they are immaculate, and one can hear the evident love and devotion in every breath taken in this astoundingly beautiful music. This is a highly recommended disc.”
“I was always impressed by chant recorded under . . . Mary Berry, but this new approach worked out for the last three disks strikes me very favorably. It’s the difference in later music between a vocal ensemble under a director and one without a director, the latter creating the effect that characterizes chamber music in the classical repertory. I hope they give us more. . . . Nicely done.”
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