Miracles of Sant'Iago
View record and artist detailsRecord and Artist Details
Composer or Director: Anonymous
Label: Harmonia Mundi
Magazine Review Date: 4/1996
Media Format: CD or Download
Media Runtime: 71
Mastering:
DDD
Catalogue Number: HMU90 7156
Tracks:
| Composition | Artist Credit |
|---|---|
| Codex Calixtinus (Jacobus), Movement: Congaudeant catholici (Benedicamus trope, 3vv) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Nostra phalanx plaudat leta (Benedicamus trope, 2v |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Venite omens cristicole (Invitatory) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Salve festa dies (Processional) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Vox nostra resonet (Benedicamus trope) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Regem regum dominum (Invitatory) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Ad sepulcrum beati Iacobi (Antiphon) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Ad superni regis decus (Benedicamus trope) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Iacobe servorum (Brief responsory) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Benedicamus domino |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: In hac dies laudes (Conductus) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Cunctipotens genitor (Kyrie trope) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Psallat chorus celestium (Hymn) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Alleluia: Gratulemur et letemur |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Ascendens Ihesus in montem (Offertory) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Qui pius ac mitis (Agnus dei trope) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Gratulantes celebremus festum (Benedicamus trope) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Iacobe sancte tuum (Conductus) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: O adiutor omnium seculorum (Responsory) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Portumin ultimo (Prosa) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
| Codex Calixtinus (Jacobus), Movement: Clemens servulorum (Prosa) |
Anonymous, Composer
Anon 4 Anonymous, Composer |
Author: mberry
Susan Hellauer’s lucid introduction to the contents of Jacobus, the Liber Sancti Iacobi (the Codex Calixtinus) makes fascinating reading. Following Christopher Hohler, she points out that this extraordinary collection of liturgical items, non-liturgical pilgrim songs, sermons, chants and lessons in honour of St James, was originally destined for the use of French schoolboys, presumably with voix blanches. That being so, this recording by a group of high female voices may be easily vindicated: Anonymous 4 bring to their performance that smooth, unsophisticated vocal blend we have come to expect from them. It is a lovely sound, and their intelligent and imaginative approach sticks resolutely to middle ground, avoiding excesses of orientation and extremes of interpretative theory.
A few pieces, such as the Salve festa dies, are partly measured, others, such as the Offertory, Ascendens Ihesus, follow a more ‘plain chant’ approach. I think the balance of rhythmic styles works well almost throughout, one exception being the troped Kyrie Cunctipotens genitor, where the purely chant passages could have had a little more vigour pumped into them. I know there are only four performers, but some clear distinction between solo and group for the verse sections seemed to be lacking. '
A few pieces, such as the Salve festa dies, are partly measured, others, such as the Offertory, Ascendens Ihesus, follow a more ‘plain chant’ approach. I think the balance of rhythmic styles works well almost throughout, one exception being the troped Kyrie Cunctipotens genitor, where the purely chant passages could have had a little more vigour pumped into them. I know there are only four performers, but some clear distinction between solo and group for the verse sections seemed to be lacking. '
Miracles of Sant'Iago
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