Henri Hardouin: Complete Four-Part a cappella Masses, Volume One

Henri Hardouin: Complete Four-Part <em>a cappella</em> Masses

Henri Hardouin (1727-1808) was a chorister in Rheims Cathedral, rising swiftly through the ranks to become maître de chapelle — until the French Revolution disbanded religious establishments. As a priest he was in potential danger and seems to have gone into hiding until, in 1794, the death of Robespierre allowed him to resume his duties. Hardouin's six four-part masses, published in 1772, are unusual for their time in being a cappella, and they enjoyed wide circulation in pre-Revolutionary France. Since then they have been roundly neglected — an omission this two-CD survey intends to rectify.

St. Martinůs Chamber Choir, choir
Timothy J. Krueger, conductor

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Catalogue No: TOCC0191
EAN/UPC: 5060113441911
Release Date: 02.12.2013
Composer: Henri Hardouin
Artists: St. Martinůs Chamber Choir, Timothy J. Krueger

Listen To This Recording:

    Mass No. 1, Incipite Domino in tympanis (publ. 1772)

  1. I Kyrie
  2. II Gloria
  3. III Credo
  4. IV Sanctus
  5. V O salutaris hostia
  6. VI Benedictus
  7. VII Agnus Dei
  8. VIII Domine salvum fac Regem
  9. Mass No. 3, Jucundum sit eloquium meum (publ. 1772)

  10. I Kyrie
  11. II Gloria
  12. III Credo
  13. IV Sanctus
  14. V O salutaris hostia
  15. VI Benedictus
  16. VII Agnus Dei
  17. VIII Domine salvum fac Regem
  18. Mass No. 4, Exaltate et invocate nomen ejus (publ. 1772)

  19. I Kyrie
  20. II Gloria
  21. III Credo
  22. IV Sanctus
  23. V O salutaris hostia
  24. VI Benedictus
  25. VII Agnus Dei
  26. VIII Domine salvum fac Regem

2 reviews for Henri Hardouin: Complete Four-Part a cappella Masses, Volume One

  1. :

    “[…] In terms of the music, the Masses are well-constructed pieces. They explore an unusual repertory of a cappella music that would not have been out of place anywhere outside of the major centers of France. Hardouin knows instinctively when to be powerful and stately, such as the opening of the Credo in the first Mass, and when to develop his contrapuntal acumen, as in the double fugue of the last “Et in venturi” of the second. He varies his textures between the larger chorus as a whole and the smaller choir, a selection of soloists, to bring out textural commentary on the Ordinary, something that would have enticed a violin accompaniment in, say, Austria. […] As for the performance itself, I find that the St. Martin’s Chamber Chorus is a well-disciplined ensemble. They are in tune, the soloists appear adroitly from inside the group, and their voices blend nicely together. Krueger has an excellent sense of tempo, keeping the music moving along, but neither too slow nor too fast. As a result the intricacies that Hardouin endows his Masses with come forth with steady ease. The recording sound is quite resonant, but here I don’t find it a distraction; rather, the reverberation lends itself to placement of the a cappella forces within the acoustical milieu that the composer intended. In short, this is a fine disc, and one that will certainly make choral music lovers take notice.” Fanfare

  2. :

    “…The masses contain passages of imitative and non-imitative counterpoint, but the prevailing texture is homophonic and the harmony is modern. They are concise works that would embellish the liturgy without dominating it. …The choral tone and blend as heard on this recording are very good…” American Record Guide

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