Schola der Benediktinerabtei Gerleve, Gottfried Meier - Gregorianische Gesänge - Epiphanie Zeit Im Jahreskreis Kirchweih (2010)

Tracklist

01. Messgesänge zum Fest der Erscheinung des Herrn: I. Introit's Ecce advenit
02. Messgesänge zum Fest der Erscheinung des Herrn: II. Graduale Omnes de Saba
03. Messgesänge zum Fest der Erscheinung des Herrn: III. Alleluia Vidimus stellam
04. Messgesänge zum Fest der Erscheinung des Herrn: IV. Offertorium Reges Tharsis
05. Messgesänge zum Fest der Erscheinung des Herrn: V. Communio Vidimus stellam
06. Messgesänge im Jahreskreis: I. Introit's Factus est
07. Messgesänge im Jahreskreis: II. Graduale Iacta cogitatum
08. Messgesänge im Jahreskreis: III. Alleluia Domine refugium
09. Messgesänge im Jahreskreis: IV. Offertorium Benedicam Dominum
10. Messgesänge im Jahreskreis: V. Communio Dominus firmamentum
11. Messgesänge zum Kirchweihfest: I. Introit's Terribilis est
12. Messgesänge zum Kirchweihfest: II. Graduale Locus iste
13. Messgesänge zum Kirchweihfest: III. Alleluia Adorabo ad templum
14. Messgesänge zum Kirchweihfest: IV. Offertorium Domine Deus
15. Messgesänge zum Kirchweihfest: V. Communio Domus mea

The body of what is known as Gregorian chant is mostly more than 1,000 years old, and it is difficult for the modern listener to get a grip on it at such remove. The music, like any other, underwent stylistic change as it developed, and that change can be examined by performers. For many listeners today, the chant serves a mystical or meditative function, and indeed this use is not inappropriate for music that originally had those functions. But perhaps the best way to understand chant is to learn how it was used. This release, by monks from a German Benedictine abbey, offers a good introduction to the subject thanks largely to excellent notes by the group leader, P. Gottfried Meier OSB. The program offers chants associated with three different kinds of masses: for the Feast of the Epiphany, for ordinary time, and for the celebration of a church consecration. These differ not so much musically (although the different chants within each mass differ in style, for reasons Meier explains) as textually; the chants were devised in order to deepen the experience of those who were singing them, and they addressed specific topics. Meier does an excellent job of putting these topics into plain language, although it's accompanied by a bit of chest-thumping that devout Catholics will probably appreciate the most. The abbey has a magnificent acoustic, and the choir is the equal of any. Although the notes are given in German, English, and French, those who do not speak German or Latin may be disappointed by the biblical texts themselves, which appear only in those two languages. Biblical references are given, however, and most although not all can be looked up in any Bible.