Song of Songs

Stile Antico

23.9931.49
Clear
Original Recording Format: DSD 64

What is the Song of Songs? Why is it in the Bible? And why did it gain such popularity amongst Continental composers of polyphony in the sixteenth century? In short, it is a love poem (or perhaps a collection of poems), ascribed to King Solomon, who reigned over Israel between 971 and 931 BC, and after whom the work is sometimes named. The beautiful and often erotic poetry tells of the relationship between the lover and his beloved, traditionally thought to be Solomon and a Shulamite girl. It speaks in colourful and poetic terms of the joys, delights, and the sorrows of their relationship, as well as relating the girl’s dialogue with the young Israelite girls around her. Above all, it consists in rich expression of the love of one for the other, in all its facets.
For many the literal sense of the book alone has not been considered sufficient grounds to merit its place in the canon of holy writ (in spite of the fact that it contains inspiration and wisdom for many an aspiring couple!). Surely it must have a yet more profound meaning! The most established tradition of interpretation reads the relationship between the lover and his beloved as an allegory for the covenant relationship between God and his people. It is a long tradition: as early as the first half of the first century BC Jewish interpreters understood the book as an allegorical account of God’s dealings with Israel; Christian commentators from the early Fathers onwards have continued this tradition, seeing it as referring to the relationship between Christ and his Church, or Christ and the Soul. Such a reading is supported by similar allegories used elsewhere in both the Old and New Testaments. 
Yet the surge in the book’s popularity in medieval times, and the resulting proliferation of musical settings, often revolved around the practice of Marian devotion. The so-called ‘Marian interpretation’ of the Song of Songs has sometimes been misunderstood: it is not that the beloved of the poem has ever been seriously understood to refer exclusively to Mary – but rather that, if Mary is revered as the church’s most perfect flowering (as she often was in medieval times), then the poem is about her inasmuch as she ‘represents’ the Church. It is for this reason that the poem was adopted (and often adapted) for use in various medieval Marian liturgies, and seen as prophetic in justifying certain Marian doctrines.

Tracklist

1.
Egos flos campi
06:05
2.
Osculetur me
03:23
3.
Antiphon - Dum esset rex
00:43
4.
Surge, propera amica mea
06:07
5.
Quam pulchra es
06:10
6.
Antiphon - Nigra sum
00:40
7.
Veni, dilecte mi
04:19
8.
Vadam et circuibo
10:41
9.
Alleluia - Tota pulchra es
02:40
10.
Ego flos campi
03:17
11.
Nigra sum
05:33
12.
Antiphon - Laeva eius
00:37
13.
Hortus conclusus
05:32
14.
Nigra sum
03:57
15.
Antiphon - Speciosa facta es
00:42
16.
Veni, dilecte mi
04:21
17.
Trahe me post te
05:15
18.
Antiphon - lam hiems transiit
00:48
19.
Vidi speciosam
06:38

Total time: 01:17:28

Additional information

Artists

Mastering Engineer

Brad Michel

Genres

,

Label

Qualities

Channels

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Original Recording Format

Composers

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Producer

Robina G. Young

Recording Engineer

Brad Michel

Recording location

St. Jude on the Hill, Hampstead Garden London

Recording Type & Bit Rate

DSD64

Recording Software

Pyramix

SKU

807489DI

Release Date July 7, 2014
SKU 807489DI

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