In 2001, the choir recorded its first CD, "De
Anima" in Ballintubber Abbey, the Augustinian
Church in Galway and Galway Cathedral. This CD was recorded with
Galway cathedral organist Raymond O'Donnell.
On this CD are some of our most beloved motets.
This CD is on sale in a variety of shops in and around
Galway - Mulligans, Judy Greene, Clarinbridge Crystal, Charlie Byrnes
Bookshop, Powells, Opus II and Ballintubber Abbey.
This CD can also be purchased from choir members at
a price of €13.
| Title |
Composer |
Soundfiles (about 10 seconds long) |
| Beati quorum via |
Charles Villiers Stanford (1852-1924) |
Track 1 |
| Coelos ascendit hodie |
Charles Villiers Stanford (1852-1924) |
Track 2 |
| Justorum animae |
Charles Villiers Stanford (1852-1924) |
Track
3 |
| Magnificat & Nunc dimittis |
Charles Villiers Stanford (1852-1924) |
Track
4 |
| Magnificat |
Dietrich Buxtehude (1637-1707) |
Track
5 |
| Agnus Dei |
Thomas Morley (1557-1603) |
Track 6 |
| O beatum et sacrosanctum diem |
Peter Philips (1561-1628) |
Track 7 |
| Ave verum |
Wolfgang Amadeus Mozart (1756-1791) |
Track 8 |
| Laudate Dominum |
Wolfgang Amadeus Mozart (1756-1791) |
Track
9 |
| Locus iste |
Anton Bruckner (1824-1896) |
Track 10 |
| Os justi |
Anton Bruckner (1824-1896) |
Track 11 |
| A Íosa mhilis |
Pat Ahern |
Track
12 |
| An raibh tú ag an gcarraig? |
Thomas C. Kelly |
Track 13 |
| Incantation |
Michael McGlynn |
Track
14 |
| Kyrie eleison |
Felix Mendelssohn-Bartholdy (1809-1847) |
Track
15 |
| God be in my head |
John Rutter (b. 1945) |
Track
16 |
| Fanfare |
Martin Shaw (1875-1958) |
Track 17 |
| Requiem - Sanctus |
Gabriel Fauré (1845-1924) |
Track 18 |
| Requiem - Pie Jesu |
Gabriel Fauré (1845-1924) |
Track 19 |
| Requiem - In Paradisum |
Gabriel Fauré (1845-1924) |
Track
20 |
|
|
|
| Description |
Charles Villiers Stanford (1852-1924)
Beati quorum via
Coelos ascendit hodie
Justorum animae
|
These three unaccompanied motets, dating from 1905, display
a freshness and beauty that far exceeds any other church music
of the period. Being a choral scholar, Stanford has an intimate
understanding of the human voice and is exquisitely rewarding
to sing.
|
Magnificat & Nunc dimittis
Top
|
Mary's great hymn of joy. From the service in
Bb of 1879, it is exuberant throughout, ends with
a triumphant 'Amen' and is followed by the more restrained
and heartfelt 'Nunc dimittis' set for male voices.
|
|
Dietrich Buxtehude (1637-1707)
Magnificat
Top
|
The work, attributed to Buxtehude, has also,
like the Magnificat of Stanford, a youthful freshness and
liveliness. The lilting triple time with frequent use of hemiola
brings a feeling of dance and joy to the piece. A certain
sparkle is added with the light scoring of two violins, cello
and continuo.
|
|
Thomas Morley (1557-1603)
Agnus Dei
Top
|
Coming from England's greatest composer
of madrigals, this Agnus Dei is one of only ten sacred motets
to survive. Written in the dorian mode and modified, this poignant
setting is the first line of the Agnus Dei of the Mass text. |
|
Peter Philips
O beatum et sacrosanctum diem
Top
|
An enchanting example of renaissance
choral music. Coming from the first of the two large volumes
of Cantiones Sacrae, it was written by Philips, an English catholic
living in exile on the continent during Elizabethan times. For
the feast of Christmas, it makes attractive use of contrasting
rhythmical sections with a delightful closing 'Alleluia'. |
|
Wolfgang Amadeus Mozart (1756-1791)
Ave Verum
|
Arguably one of the best motets of
all. It was written in the last year of the composer's life
for a friend, Anton Stall. 46 bars long, this masterpiece is
a microcosm of beauty displaying a simplicity of melody married
to skilful use of chromatic harmonies subtly underlying the
mixed emotions or the text. |
Laudate Dominum
Top
|
Part of the 'Solemn Vespers' KV 339, this is an extraordinary
beautiful piece. It opens with a haunting soprano melody,
harmonised on the repeat by full chorus and finishing with
a florid but reverent 'Amen'.
|
|
Anton Bruckner (1824-1896)
Locus iste
Os Justi
Top |
That Bruckner was a sincerely devout
man is evident in these two motets - the lovely Locus iste,
written for the dedication of a church and the profoundly moving
Os Justi, a setting of psalm 37: V-30-31. They can be equally
compelling heard on the altar or on the concert platform. |
|
Pat Ahern
A Íosa mhilis
Top |
A Íosa mhilis is a most sensitive
setting of the lovely traditional Irish eucharistic prayer. |
|
Thomas Christopher Kelly
An raibh tú ag an gcarraig?
Top |
This love song, an ethereal arrangement
of the traditional melody, is purported to be a disguised message
for the underground celebration of the Catholic Mass during
Penal times. |
|
Michael McGlynn
Incantation
Top |
Over the ostinato like bass, varied
invocations to Christare sung. With its clashing dissonances
and heady climax, this fine piece is not for the faint hearted! |
|
Felix Mendelssohn-Bartholdy
(1809-1847)
Kyrie eleison
Top |
Written as a separate work for double
chorus and consisting of only 19 bars, this is a disturbingly
beautiful piece. |
|
John Rutter (b. 1945)
God be in my head
Top
|
Coming from the pen of this gifted
choral director, the tranquil and pleasing setting of 'God be
in my head' is easy on the ear. The words, from the Sarum Primer,
are somewhat reminiscent of St. Patrick's Breastplate. |
|
Martin Shaw (1875-1958)
Fanfare
Top
|
A great piece to rouse a sleepy congregation!
Its strong march-like tempo is ideal for the entrance and recessionals
of celebration. |
|
Gabriel Fauré (1845-1924)
from the Requiem
Sanctus
Pie Jesu
In Paradisum
Top
|
This is the "de anima" of the the "Baroques".
Fauré has transported us to a safe place. A place where
anguish, catastrophe, and all the pressure of living in the
modern era is lit with the light of a new Sun.
The beauty of his 'In Paradisum' is the beauty of a heaven
where all ultimate bliss resides.
|
