Jaakko Mäntyjärvi: Choral Music The Choir of Trinity College Cambridge & Stephen Layton

• Jaakko Mäntyjärvi (b. 1963): Ave Maria d'Aosta (2004):
• 1 Mäntyjärvi: Ave Maria d'Aosta (2004) 02:44
• Stuttgarter Psalmen (2009):
• 2 Mäntyjärvi: Stuttgarter Psalmen (2009): I. Warum toben die Heiden? 07:31
• 3 Mäntyjärvi: Stuttgarter Psalmen (2009): II. Mein Gott, mein Gott, warum hast du mich verlassen? 13:31
• 4 Mäntyjärvi: Stuttgarter Psalmen (2009): III. Richte mich, Gott 07:03
• Benedic anima mea Domino (1994):
• 5 Mäntyjärvi: Benedic anima mea Domino (1994) 04:04
• Pulchra es (2018):
• 6 Mäntyjärvi: Pulchra es (2018) 02:58
• Trinity Service (2019):
• 7 Mäntyjärvi: Trinity Service (2019): I. Introit. Ave Maria 01:34
• 8 Mäntyjärvi: Trinity Service (2019): II. Preces 01:33
• 9 Mäntyjärvi: Trinity Service (2019): III. Psalm 128 02:41
• 10 Mäntyjärvi: Trinity Service (2019): IV. Canticle 1. Magnificat 04:23
• 11 Mäntyjärvi: Trinity Service (2019): V. Canticle 2. Nunc dimittis 05:16
• 12 Mäntyjärvi: Trinity Service (2019): VI. Responses 00:54
• 13 Mäntyjärvi: Trinity Service (2019): VII. The Lord's Prayer 02:12
• 14 Mäntyjärvi: Trinity Service (2019): VIII. Responses & Collects 04:27
• 15 Mäntyjärvi: Trinity Service (2019): IX. Anthem. O lux beata Trinitas 04:25
• 16 Mäntyjärvi: Trinity Service (2019): X. Final Responses 00:39
• O magnum mysterium (2007):
• 17 Mäntyjärvi: O magnum mysterium (2007) 04:50
• Total Runtime 01:10:45

Info zu Jaakko Mäntyjärvi: Choral Music

The stylistic pluralism which informs so much contemporary choral writing pays rich dividends in the work of Jaakko Mäntyjärvi—a thrilling programme of some exciting, accessible, contemporary music.

The close of the twentieth century and the opening of the twenty-first have seen many changes in the world of sacred choral composition. There, as in other genres, the doctrinaire modernism prevalent in the 1970s and 1980s has gradually given ground to a postmodern acceptance of tonal, broadly consonant simplicity. Simultaneously, expansion of the recording industry online has placed a boundless diversity of materials and traditions within the reach of all music lovers. Meanwhile, the work of composers such as Arvo Pärt, John Tavener and Eric Whitacre has captured the imaginations of a consumer public embracing the concept of ‘world music’. Stylistic boundaries have sometimes been fruitfully eroded and, in the process, music that once would have been seen as the preserve exclusively of one or another Church has not only become a melting pot of different traditions; it has also migrated away from its sacred origins, into the concert hall, encouraged by a secular generation’s thirst for abstract spirituality rather than for organized, clearly defined religion. Indeed, that migration may have considerably earlier origins: the title of Stravinsky’s Symphony of Psalms, first heard in 1930, already presents a collision of the sacred and the secular, as do its dedications: to the glory of God, in emulation of Bach’s habitual inscription, and to the Boston Symphony Orchestra.

Pärt had composed symphonically in an astringently dissonant modernist idiom before becoming fascinated by a kind of ‘vanishing point’ in composition: the point where, if pared down any further, the expressive message of such starkly ascetic music begins to be lost. The notion is demonstrably one of stripping away and laying bare, much as the sculptor works by reduction, ‘freeing’ the figure within from the prison of its block of marble. ...

"[Mäntyjärvi] knows exactly how to build up a structure that rejoices in both sonorous depth and melodic distinctiveness, rather like Poulenc—try the first of the Stuttgarter Psalmen for an example of this. Characteristic of all three Psalms, too, is a mastery of repetition; that is to say, a knowledge of how often to repeat a phrase, or a variant of a phrase, to create an atmosphere in miniature that is then expanded upon, as is the case with the third Psalm, ‘Richte mich, Gott’ … an intriguing selection, then, that brings out the best from the Trinity choir, the sound beautifully captured by Hyperion’s team" (Gramophone)

"The temptation is merely to write that Stephen Layton and his Trinity College choir have done it again. So accustomed are those of us who review choral music to enjoying flawless excellence from them (as well as the magnificent Hyperion engineering and production team) that we have come almost to take it for granted. But even with such high expectations from the outset, the very first item here transports us into an altogether higher realm of sublimity, while the first of the three Stuttgart Psalms presents choral singing of a brilliance which simply sets new standards … there is a vast wealth of musical interest here, linked only by a thorough understanding of the medium and a musical language which is immensely lovely" (MusicWeb International)

The Choir of Trinity College Cambridge
Stephen Layton, conductor

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