Like as the Hart Choir of New College Oxford, Robert Quinney
Composer: Johannes Ockeghem, Giovanni Pierluigi da Palestrina (1525-1594), Thomas Tallis (1505-1585), John Taverner (c. 1490-1545), Heinrich Schütz, Antony Pitts, Dieterich Buxtehude (1637-1707), George Frideric Handel (1685-1759), Herbert Howells, Alexander L'Estrange (1974-)
Album including Album cover
- 1Requiem: No. 4, Tractus. Sicut cervus desiderat01:57
- 2Sicut cervus06:24
- 39 Psalm Tunes for Archbishop Parker's Psalter: Psalm 42 "E'en like the Hunted Hind"06:09
- 4Quemadmodum desiderat cervus: Psalm 41 "Quemadmodum"06:22
- 5Kleine geistliche Konzerte II, Op. 9: No. 31, Quemadmodum desiderat cervus, SWV 33609:18
- 6Why Restless, Why Cast Down?06:46
- 7Quemadmodum desiderat cervus, BuxWV 9206:49
- 8As Parts the Hart, HWV 251b "Chandos Anthem No. 6"11:14
- 94 Anthems: No. 3, Like as the Hart06:01
- 10As the Chased Hart05:16
Info for Like as the Hart
This latest release from the Choir of New College Oxford explores settings of Psalm 42, „Like as the Hart“, to accompany a new book by Catherine Clover, The Templar's Garden. The collection explores the rich emotional and musical responses to this evocative text from composers across the centuries including two special commissions. Robert Quinney showcases choral and solo settings which celebrate the variety of interpretations of this well-loved Psalm text.
The words of Psalm 42, at once desperate and yet full of yearning for God’s presence and love, are the recurring theme of Catherine Clover's novel The Templar’s Garden. But is it possible to create an album of the same text without each track sounding as if it is on a continual loop? In fact, it is. As the listener will hear, each composer has his own distinct way of setting the psalm. From plainchant, to unaccompanied and accompanied motets, to hymns, the words and melodies flow gracefully from one into the next, creating a seamless progression of styles covering nearly six centuries of musical composition without a hint of repetition. Some composers highlight the pathos in the opening verses; others take a more upbeat approach; while others plot a course from desolation to hope.
Choir of New College Oxford
Robert Quinney, direction
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