Lassus: The Alchemist (Vol. 1) Magnificat & Philip Cave

• Philippe Verdelot (1480 - 1552): Ultimi miei sospiri:
• 1 Verdelot: Ultimi miei sospiri 03:25
• Orlando di Lasso (1532 - 1594): Magnificat secundi tono "Ultimi miei sospiri", LV 1182:
• 2 Lasso: Magnificat secundi tono "Ultimi miei sospiri", LV 1182 08:13
• Nollet (1538 - 1546): Quanto in mille anni:
• 3 Nollet: Quanto in mille anni 03:54
• Orlando di Lasso: Magnificat secundi toni "Quanto in mille anni", LV 889:
• 4 Lasso: Magnificat secundi toni "Quanto in mille anni", LV 889 09:15
• Anselmo de Reulx (1524 - 1557): S’io credessi per morte:
• 5 Reulx: S’io credessi per morte 02:53
• Orlando di Lasso: Magnificat tertii toni "S’io credessi per morte", LV 1152:
• 6 Lasso: Magnificat tertii toni "S’io credessi per morte", LV 1152 06:45
• Cipriano de Rore (1515 - 1565): Alma real:
• 7 Rore: Alma real 03:56
• Orlando di Lasso: Magnificat octavi toni "Alma real", LV 1179:
• 8 Lasso: Magnificat octavi toni "Alma real", LV 1179 07:26
• Jacquet de Berchem (1505 - 1567): O s’io potessi donna:
• 9 Berchem: O s’io potessi donna 02:26
• Orlando di Lasso: Magnificat secundi toni "O s’io potessi donna", LV 1151:
• 10 Lasso: Magnificat secundi toni "O s’io potessi donna", LV 1151 06:06
• Cipriano de Rore: Vergine bella:
• 11 Rore: Vergine bella 03:34
• Orlando di Lasso: Magnificat primi toni "Vergine bella", LV 1159:
• 12 Lasso: Magnificat primi toni "Vergine bella", LV 1159 08:21
• Cristobal de Morales (1500 - 1553): Quando lieta sperai:
• 13 Morales: Quando lieta sperai 04:13
• Orlando di Lasso: Magnificat quarti toni "Quando lieta sperai", LV 896:
• 14 Lasso: Magnificat quarti toni "Quando lieta sperai", LV 896 07:41
• Orazio Vecchi (1550 - 1605): O che vezzosa aurora:
• 15 Vecchi: O che vezzosa aurora 02:01
• Orlando di Lasso: Magnificat secundi toni "O che vezzosa aurora", LV 1183:
• 16 Lasso: Magnificat secundi toni "O che vezzosa aurora", LV 1183 08:24
• Giovanni Maria Nanino (1543 - 1607): Erano i capei d’oro:
• 17 Nanino: Erano i capei d’oro 04:02
• Orlando di Lasso: Magnificat septimi toni "Erano i capei d’oro", LV 1175:
• 18 Lasso: Magnificat septimi toni "Erano i capei d’oro", LV 1175 08:27
• Alessandro Striggio (1536 - 1592): D’ogni gratia e d’amor:
• 19 Striggio: D’ogni gratia e d’amor 02:30
• Orlando di Lasso: Magnificat septimi toni "D’ogni gratia e d’amor", LV 1188:
• 20 Lasso: Magnificat septimi toni "D’ogni gratia e d’amor", LV 1188 08:39
• Alessandro Striggio: Ecco ch’io lasso il core:
• 21 Striggio: Ecco ch’io lasso il core 02:16
• Orlando di Lasso: Magnificat secundi toni "Ecco ch’io lasso il core", LV 893:
• 22 Lasso: Magnificat secundi toni "Ecco ch’io lasso il core", LV 893 07:46
• Cipriano de Rore: Ancor che col partire:
• 23 Rore: Ancor che col partire 02:09
• Orlando di Lasso: Magnificat quarti toni "Ancor che col partire", LV 557:
• 24 Lasso: Magnificat quarti toni "Ancor che col partire", LV 557 08:05
• Cipriano de Rore: Da le belle contrade:
• 25 Rore: Da le belle contrade 03:52
• Orlando di Lasso: Magnificat sexti toni "Da le belle contrade", LV 1171:
• 26 Lasso: Magnificat sexti toni "Da le belle contrade", LV 1171 08:40
• S’io esca vivo:
• 27 Lasso: S’io esca vivo 03:11
• Magnificat septimi toni "S’io esca vivo", LV 1189:
• 28 Lasso: Magnificat septimi toni "S’io esca vivo", LV 1189 09:03
• Total Runtime 02:37:13

Info for Lassus: The Alchemist (Vol. 1)

Under the direction of Philip Cave, Magnificat embarks on a three-volume journey exploring the ingenuity of Orlandus Lassus. In this rich collection of Magnificats based on polyphonic models, Lassus – ‘The Alchemist’ – demonstrates an unsurpassed ability to reimagine existing material in the creation of his own works. This first volume of the series presents Lassus’s Magnificats based on madrigals, featuring models by Philippe Verdelot, Cipriano de Rore, and Alessandro Striggio among others. The second album will comprise Lassus’s canticles based on motets, and the third will conclude with those inspired by chansons. In celebrating Lassus as ‘The Alchemist’, Magnificat reveals the creative process and skill he employed in re-working the original music and illuminates a significant repertory that is underrepresented in contemporary liturgical or concert settings.

Magnificat
Philip Cave, director

Magnificat
is one of the world’s leading vocal consorts, admired for the variety and expressive detail of its interpretations of Renaissance and Baroque choral works. The ensemble performs in a predominantly one voice per part configuration, celebrating the character and colour of each singer’s voice while uniting them in an exceptional chemistry.

Recording exclusively for Linn, Magnificat has released a dozen acclaimed albums ranging from pre- and post-Reformation music by Thomas Tallis and William Byrd, to discoveries by Philippe Rogier, and bold interpretations of Heinrich Schütz’s Cantiones sacrae.

Philip Cave
Cave's musical training began as a chorister at the age of seven, leading to studies at Oxford University under Simon Preston and David Wulstan and a career performing as soloist and with ensembles including the Clerkes of Oxenford, The Tallis Scholars and the Choir of New College, Oxford.

Cave’s approach to early music is fuelled by curiosity and imagination, whether through the restoration of unknown or neglected works, or the reexamination of the familiar. He emphasises (actually, obsesses about) phrasing and textual expression, and with his background as a singer, encourages the use of vocal colours, timbres, and both bold and subtle nuances.

Now based in the USA, Cave directs choral ensembles at Duke University Chapel and is Executive Director of Chorworks, a non-profit organisation that provides singers and conductors with the opportunity to study and perform choral music from the sixteenth and seventeenth centuries. He lives in Chapel Hill, North Carolina, and is still trying to understand the difference between a biscuit and a scone.

Booklet for Lassus: The Alchemist (Vol. 1)