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Peerson: Latin Motets CD - Import

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Category Classical, Baroque Period, Classical Vocal Crossover
Ex Cathedra Consort,Jeffrey Skidmore
Peerson: Latin Motets Music


Detailed Peerson: Latin Motets Music Information



List Price $19.97 (You save $3.82)
Label Hyperion
Orig Year 2/8/2005
All Time Sales Rank   78491  
CD Universe Part number 6824970
Discs 1
Release Date Feb 08, 2005
Recording Time 1 5
Additional Info Import
Peerson: Latin Motets Review


Peerson: Latin Motets Classical Reviews



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Peerson: Latin Motets Songs


Peerson: Latin Motets Songs Detailed Work Information



1. Deus omnipotens  (4:33)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
2. Redemptor mundi, psalm-tune harmonization  (3:59)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Date Written  1621
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
3. Pater fili paraclete  (3:36)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
4. Levavi oculos meos in montes  (5:39)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
5. Ecce non dormitabit  (4:05)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
6. Mulieres sedentes  (4:08)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
7. Christus factus est  (3:33)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
8. Hora nona dominus Jesus  (4:21)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
9. Latus eius lancea miles perforavit  (3:23)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
10. O rex gloriae  (4:45)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
11. Quid vobis videtur de Christo  (6:06)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
12. O domine Jesu Christe  (6:00)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
13. Laboravi in gemitu meo  (5:31)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
14. Nolite fieri sicut equus et mulus  (2:37)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)
15. Multa flagella peccatoris  (3:09)   Windows MediaWindows Media   Real AudioReal Audio
   Composer  Martin Peerson (1572 - 1651)
   Conductor  Jeffrey Skidmore
   Genre  Baroque Period
   Period  Baroque
   Venue  St. Paul's Church, New Southgate, London
   Notes  St. Paul's Church, New Southgate, London, England (01/29/2004-01/31/2004)


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Peerson: Latin Motets Music


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Composers on Peerson: Latin Motets CD : Martin Peerson

Conductors on Peerson: Latin Motets CD : Jeffrey Skidmore

Genres on Peerson: Latin Motets CD : Baroque Period

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Steve Reich's instrumental music seems to be more revered than his choral works, but it is good that you can hear both in one sitting on this recording. The vocal portion, Daniel Variations (2006) itself, is alternately inspired by Daniel's biblical story (4:2, 4:5, 4:16 & 4:19) of his encounter with the King of Babylon Nebuchadnezzar, and its relation thousands of years later to the tragedy of slain journalist Daniel Pearl, whose kidnapping and murder by Islamic extremists in 2002 was widely reported. Grant Gershon conducts the 12-voice Los Angeles Master Chorale fronting a 15-piece orchestra with five clarinetists, six percussionists, four pianists, and a string quartet from Reich's personal ensemble. The choral sections use specific phrases that are repeated and layered, giving the listener a sense of call and response/question and answer, though the replies may not be the ones we want to hear. The initial theme is an interpretation of Daniel's dreams of terrorist threats, with the elongated, spaced, and phased lyrics "I saw a dream, images upon my bed and visions in my head frightened me." In the best Reichian way, the chorale shifts dynamics, phrasings and 6/8 time at will in subtle liquid ways, ever evolving and mutating. "Let the Dream Fall Back on the Dreaded" is Daniel's defiant salvo back at the extremists. The inserted pieces include a choppy, vertical music stance, accented by the violins and pianos with the lyric line "My Name Is Daniel Pearl, I'm A Jewish American from Encino, California," with the vocal group singing his doomed praises. "I Sure Hope Gabriel Likes My Music, When the Day Is Done" is the brighter and hopeful epilogue, again in 6/8, and loosely based but not adapted from the theme of jazz violinist Stuff Smith's famous tune "I Sure Hope Gabriel Likes My Music." Pearl was also an amateur jazz and bluegrass violinist. The instrumental piece, "Variations for Vibes, Pianos and Strings" (2005) is performed by the London Sinfonietta conducted by Alan Pierson, a three-part suite and modal construct that Reich was well known for in his middle career period compositions, utilizing three string quartets, four vibraphones, and two pianos. The textures are richly rendered as you would expect, as Reich writes consciously for, in his terminology, the usage of substituting sounds for silence. There's a feeling of redemption in the first "Fast" section, actually in midtempo, as darting kinetic sounds too quick to capture surround ...
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