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Lutzenberger: Orpheus’ Echo – A Carolignian Soundscape (24/48 FLAC)

Lutzenberger: Orpheus' Echo - A Carolignian Soundscape (24/48 FLAC)
Lutzenberger: Orpheus’ Echo – A Carolignian Soundscape (24/48 FLAC)

HiRes FLAC

Composer: Marc Lewon
Performer: Per-Sonat
Conductor: Sabine Lutzenberger
Format: FLAC (tracks)
Label: Christophorus
Catalogue: CHR77469
Release: 2023
Size: 715 MB
Recovery: +3%
Scan: cover

01. anon.: Sicut fuit Jonas in ventre
02. anon.: Aurea personet lira
03. anon.: Alleluya – Adorabo ad templum sanctum tuum
04. Lewon: Omorsestampie
05. anon.: Popule meus
06. anon.: Ne avertas
07. anon.: Alleluia – Ave Maria gratia
08. anon.: Pastor cum traheret
09. anon.: Sic te diva potens Cypri
10. Abaelardus: Dolorum solatium
11. Lewon: Stantipes Dolorum solatium
12. anon.: Donec gratus
13. anon.: Albi ne doleas
14. anon.: O fons Bandusiae
15. Lewon: Aurea Estampie nach Aurea personet lira
16. anon.: Christus resurgens ex mortis
17. anon.: Alleluya, Surexit domino
18. anon.: O mors, ero mors tua
19. anon.: Miserarum est

Orpheus was able to beguile the gods, humans and wild animals with his song and even soften stones – his ancient legendary figure became a myth. We also encounter this myth in the Middle Ages: at the end of the 9th century, the function of polyphonic music is described for the first time in the famous manual “Musica enchiriadis”.

The author chooses Orpheus as a model for his students.

In theology, Orpheus, who descended into the realm of the dead and came back again, is equated with Christ by the Doctor of the Church Augustine. The popularity of the texts of the ancient poet Horace in the Middle Ages is also shown by recorded melodies, which were written down in various sources with neume signs.

The ensemble Per-Sonat under the direction of Sabine Lutzenberger has reconstructed the medieval melodies to Horace’s ancient odes and juxtaposes them with Gregorian chants that include Christ/Orpheus as the overcomer of death.

Some of the chants are interpreted in several voices according to the rules of “musica enchiriadis”. Carolingian cithara and citole as well as medieval harp and lyre are added to accompany the singing, creating a sound image of the Carolingian period from which the echo of Orpheus resounds into our time.

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