The Chants Of Mary

Gloriæ Dei Cantores Schola

19.9927.49
Clear
Original Recording Format: DSD 64

Over the Centuries, aspects of Mary’s life were celebrated with various feasts; the first ones were connected with the essential facts surrounding Jesus’s birth. As devotion to Mary increased and flowered over time, later feasts developed, including the Feast of the Immaculate Conception of the Blessed Virgin Mary.
The Feast of the Immaculate Conception was officially proclaimed in 1854, though the faithful had sung songs to honor this tenet of belie f in popular devotion for centuries before. Florid in both melody and text, the Gradual Benedícta es tu features high and lengthy melismas, possibly implying Mary’s relationship with heaven, and her constant encouragement in pointing us up to her Son. Then it comes back to a lower range, reminding us perhaps that God chose an earthly, human vessel—like us—to co-work with him, and fulfill his plan of love and salvation for his people.
The Introit for this Feast, Gaudens gaudébo, weds past and present in many ways. Mary herself sings this song from the womb of her mother, Anne, with the words of the Old Testament prophet Isaiah. Almost from the moment of her conception, it seems, she points the way to Christ with unequivocal joy. Even the tune for this piece, composed in the 1800s, was borrowed fr om a more ancient melody. So her joy becomes our joy, and that spark of divinity occurring in a moment more than two thousand years ago can happen in our heart s today

Tracklist

1.
Missa IX Cum ioebilo: Gloria - Mode VII
03:01
2.
Responsory: Benedicta et venerabilis - Mode V
03:06
3.
Gradual- Benedicta es tu - Mode V
03:28
4.
Introit: Gaudens gaudebo - Mode III
03:41
5.
Antiphon - Salve Regina - Simple mode- Mode V
01:44
6.
Antiphon- Salve Regina - Solemn mode - Mode I
02:37
7.
Hymn - O gloriosa Domina- Mode II
01:58
8.
Brief response - Ave Maria - Mode VI
01:51
9.
Antiphon - Alma Redemptoris Mater - Simple mode - Mode V
01:07
10.
Antiphon - Alma Redemptoris Mater - Solemn mode - Mode V
01:47
11.
Offertory - Ave Maia - Mode VIII
05:15
12.
Hymn - Ave maris stella - Mode I
02:42
13.
Antiphon - Regina caelii - Simple mode - Mode VI
00:39
14.
Antiphon- Regina caeli - Solemn mode - Mode VI
01:47
15.
Gradual- Benedicta et venerabilis - Mode IV
03:44
16.
Alleluia- Felix es -Mode VIII)
03:00
17.
Responsory - Repleta est - Mode I
03:41
18.
Antiphon - Ave Regina - Simple mode - Mode VI
00:51
19.
Antiphon - Ave Regina - Solemn mode - Mode VI
01:35
20.
Introit - Signum magnum - Mode VII
02:32
21.
Hymn - O Prima, Virgo, prodita - Mode II
03:20
22.
Alleluia - Assoempta est Maria - Mode V
02:38
23.
Antiphon & Solemn Magnificat - Beata es - Mode I
04:15
24.
Sequenc - Stabat Mater dolorosa - Mode II
05:10

Total time: 01:05:29

Additional information

Artists

Mastering Engineer

Mark Donahue

Genres

,

Label

Qualities

Channels

, ,

Original Recording Format

Composers

Producer

Banton Alspaugh, Richard K. Pugsley

Recording Engineer

John Newton

Recording location

Church of the Transfiguration, Orleans Mass.

Recording Type & Bit Rate

DSD64

Recording Software

Pyramix

SKU

GDCD055

Release Date January 1, 1970
SKU GDCD055

Press reviews

American Record Guide

“. . . a wonderful anthology of chants taken from various feasts of the Virgin Mary”

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.”

Fanfare Magazine

“The excellence of interpretation is not surprising, for the first members of the Gloriæ Dei Cantores spent some time at Cambridge studying chant with Mary Berry in the 1980s. . . . the sequence Stabat Mater is superbly executed. The verses of the offertory Ave Maria, too, are expertly rendered.”

“The surround sound provides a nice sense of space around the singers. While I have always approved the schola’s chant recordings, these two discs attain a new height of excellence, the best chant singing of any American choir.”

Audiophile Audition

“. . . [they] sing with unalloyed grace in their voices, powerful, not especially churchlike or considerate of monastic-like uniformity, but as I imagine the music was at one time performed in the public churches. The men of this Schola bring not only a spiritual sense but also some full-blooded and genuinely religious fervor, as if the Latin words on the paper are pregnant with real meaning and an otherworldly mysticism, not just syllables to accompany dull or routine monody.”

“The surround sound is excellent, well-balanced and well-filled. This is yet another superb production (full color booklet and wonderful notes) from a source that sets the example time and time again. Do delve into the clear, cool waters of Gregorian chant—and this is a perfect place to start.”

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