Gunnfjauns Kapell

Svante Pettersson

Hemållt

Margits Sånger

Martin Martinsson

Blackthorn

Volund

Ensemble Villancico

Triller

Dansar Edvard

Jan Ekedahl

Ziya Aytekin

Burgess, Ådin & Wingård

Luntilua

Lunds Akademiska Kör

Orientexpressen

Eitre

Utlottningen

Olle Lindvall

Oleman

Kristendomens alla övertalningsförsök innefattade även musiken. Det gällde att frälsa genom tonerna, så även på Gotland under 1500-talet. Den så kallade Källungs-boken, eller Codex Kellungensis, med omkring 160 mer eller mindre bevarade noter, upptäcktes i början av förra seklet och ur vilken Ensemble Villancico i Källunge kyrka på Gotland framförde valda delar 2003.
Nu föreligger en cd - The Källunge Codex 1622 (SJECD 19) - där ensemblen med tät och lätt klang låter reformationens retoriska övertalningsförsök ljuda för moderna öron. Det är musik av kompositörer som Johann Bahr, Hans Leo Hassler eller, kanske den för eftervärlden mest kända, Orlando di Lasso.
Vackert är det, och Ensemble Villancico kan i morgon söndag avnjutas på Stockholms konserthus.


(Claes Wahlin, Aftonbladet 2005-07-23)

This interesting recording presents a representative cross-section of a fragmentary manuscript collection of (mainly sacred) music - the "Codex Kellungensis": This collection of works of the late 16th/early 17th c. stems from Silesia and probably came to Gotland through the German through Johann Bahr who became main organist in Visby in 1638. The repertory can be called international and includes some of the most wide-spread works (e. g. Phinot's Iam non dicam) from this time of transition (late prima/early seconda prattica), also figuring in other popular collections (e. g. Bodenschatz - Florilegium Musici Portensis) around 1600: Hieronymus Praetorius (active in Hamburg - St. Jacobi, a quite important and hitherto largely and even in Hamburg neglected composer), Melchior Vulpius (active in Weimar), Jacob Gallus, Lassus and H. L. Hassler are the best rpresented masters. / The Swedish Ensemble Villancico consists of 2 S, 2 A, 2 T, 2 B - hence the double choir works are taken by 2 groups of SATB with one singer to a part, organ and/or trombone added (though not in every case - e. g. the secular Mein Lieb will mit mir kriegen and Deus misereatur nostri are performed without instruments): This was probably common practice in smaller churches (such as the Källunge church in Gotland, where the manuscript was found) and where there were no additional singers and instrumentalists (for instance from surrounding villages) available for such magnificent performances (especially of polychoral works) fashionable in larger towns in the 17th c.. Among the especially beautiful gems of this recording are certainly the prima prattica Exultate justi in Domino by M. Vulpius (SATB + organ) and Duo Seraphim clamabant by the South German Lassus & G. Gabrieli pupil G. Aichinger (SS/AATTBB + organ & trombone): The latter work starts with a supple duet of the two sopranos in close imitation over an organ drone and subsequently displays Venetian influence with passages of homophonic writing. The juxtaposition of polyphonically more dense "stile antico" (e. g. Dulichius, Vulpius) and the more modern compositions with a change between polyphonic/homophonic sections and Venetian influence (e. g. H. Praetorius) is symptomatic and representative for the early 17th c.. Bahr's Befiehle dem Herren is the only monodic piece (for S and organ). The vocal clarity and homogenity, the supple- and roundness of the sopranos, the astonishing splendour - though without violins and cornetti - in works like O quam metuendus (SSAT, ATBB + organ & trombone) by Gallus make this disc very enjoyable. A special thrill for every lover of North German baroque organ music are Johann Bahr's organ works - the Magnificat octavi toni and the richly ornamented/diminuted O lux beata trinitas - which seems to be close to Scheidemann - with typical passages in echo: The reconstructed 17th c. organ in Stockholm with enough sharpness of the mixtures and beautifully nasal solos, powerful reeds and some delightingly dark hued flues - this organ seems so close to the sounds of an original organ of the 17th c. North German type that one can only wish that many more recordings and concerts with this instrument (for instance from the Düben collection) may be realized! This organ seems a paradigm of today's capabilities in reconstruction: May it serve as an example for many other regions in Northern Europe (which have sadly often lost their precious old organs)!

(Christoph Dohrmann, Musikalischer Trichter)

This is a recording of real rarities, a selection of Reformation choral works from the enigmatic Codex Kellungensis, which originally contained over 300 pieces of music, from the Källunge Church on the Swedish island of Gotland. The Ensemble Villancico, under the direction of the energetic composer-conductor Peter Pontvik, has associated itself very much with this repertoire, and the group has a tremendous feel for it, all the way from motets for solo voice and organ to massive double-choir textures. That´s just what the disc begins with, in fact - a stunning two-choir setting of Exultate iusti by Philipp Dulichius, known, apparently, as "the Pomeranian Lassus". There´s no other work here by this composer, but the level of invention and grasp of choral texture is so high that one´s appetite is immediately whetted for more. Other works are mostly by better-known composers - Vulpius, Aichinger (a fine Duo seraphim), Praetorius, Jacob Handl (Gallus), Hassler and Lassus - but there are also rarities by Johan Bahr (a composer actually from Gotland) and Nicolaus Zangius (a fascinating madrigalistic Congratulamini using both Latin and German), for example.
Ensemble Villancico is possessed of transparency, considerable energy and a finely honed timbre, and is clearly both comfortable with and excited by this repertoire. Given the interest of the music, which is not only of high quality but helps to fill in an important historical and cultural gap, I have no hesitation in expressing a strong desira to hear further recordings of the Källunge music by this group.


(Ivan Moody, Goldberg december 2005)

Musikarkeologi är alltid lika spännande. Det mystiska Codex Kellungensis är ett ofullständigt manuskript av okänt ursprung, daterat 1622, som återupptäcktes i Källunge kyrka på Gotland 1913. Man vet inte hur manuskriptet hamnade där, eller hur det har sett ut i komplett skick... Materialet består av en samling kyrkomusik från femtonhundratalet. Det är en ganska ologisk blandning av tyska, latin, vokal- och orgelmusik. Som älskare av renässansmusik är det lite mysigt att på det här sättet få en påse abstrakt blandade karameller i handen. Det är ganska stor skillnad på karaktären på de olika musikstyckena, så att göra en sammanfattande uppskattning är svårt. Samlingen innefattar både kända kompositörer som Orlando di Lasso och okända som gotlänningen Johan von Bahr, som kan ha varit den som förde in manuskriptet till Sverige. Han är den som är representerad mest på skivan med sin intesiva, på gränsen till aggressiva, orgelmusik. Det mesta på skivan framförs med en inbjudande intensitet av Ensemble Villancico. Det är trevligt att få bli presenterad för en helt ny ljudbild. Det här är väl värt att höra.

(Martina Jarminder, Opus 4/2006)

SJECD 19

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