Composer: Hieronymous Praetorius
Performer: Alamire, Stephen Farr, His Majestys Sagbutts & Cornetts
Conductor: David Skinner
Number of Discs: 2
Format: FLAC (tracks)
Label: Inventa
Catalogue: INV001
Release: 2019
Size: 1.68 GB
Recovery: +3%
Scan: cover
CD 01
01. Dixit Dominus a12
02. Nunc dimittis a8
03. Sequentia: Grates nunc omnes
04. Angelus ad pastores ait a12
05. Ecce Dominus veniet a8
06. Decantabat populus a20
07. Kyrie summum
08. Gloria summum
CD 02
01. Laudate Dominum a8
02. Sanctus summum
03. Agnus Dei summum
04. Iubilate Deo a12
05. Ecce quam bonum a8
06. Levavi oculos meos a10
07. Sequentia: Victimae paschali laudes
08. Exultate iusti a16
The large-scale works of Hieronymus Praetorius (1560–1629) owe much to the great polychoral tradition mastered by Hans Leo Hassler and the great Venetian composer Giovanni Gabrieli. Heironymus does not disappoint with his vivid expression of texts, intricate counterpoint, and sumptuously sonorous and inventive harmonies: this is Northern Germany’s noble response to the Italians, and to the Roman Counter-Reformation. The programme displays his creativity and ingenuity across a number of compositional forms, from the grand polychoral works (performed here with various combinations of cornets and sackbutts with organ continuo) solo choir and instrumental items, to plainchant alternatim featuring the great historical organ at Denmark’s Roskilde Cathedral.
Hieronymus Praetorius is unrelated to composer Michael Praetorius and is much less well known than his namesake. His neglect is probably due to a comparative dearth of surviving music, but this release by the vocal group Alamire under David Skinner and joined by His Majesty’s Sagbutts and Cornetts, suggests that closer attention is warranted. In these motets, at least, Hieronymus was a North German counterpart to Schütz, an early adopter of the Venetian polychoral style. Like Schütz, he put his own twists on it, although these pieces do not have the deep gravity of Schütz’s. Instead, he deployed the voices of his multiple choirs in various ways, offering clear part-writing for as many as 16 or 20 voice lines. For the maximal effect, sample the Decantabat populus a20, which has a truly kaleidoscopic effect as blocks separate and recombine. The diverse forces here are mostly veteran musicians and cohere beautifully as an ensemble. Are two CDs of music, not intended to be performed at a stretch, a lot for average listeners? Maybe, but even for them, this is a useful reference recording, and fans of the early Baroque will find much to admire.