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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)
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