Gregorian Chant

CD-review

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31 Gregoriaanse gezangen

Schola Cantorum Achel o.l.v. Michael Stumpel / Bartel Follon

N°Mod.IndexTrackTime
01 6 Introitus Cantate Domino 03:18
02 5 Graduale RealAudio FileBonum est 02:56
03 7 Alleluia RealAudio FileExsultate 02:36
04 8 Offertorium RealAudio FileBonum est 01:06
05 2 Communio RealAudio FileNarrabo 00:50
06 3 Communio Dominus virtutum 00:50
07 1 Sequentia Victimae paschali laudes 01:47
08 2 Introitus Exsurge 03:36
09 7 Graduale RealAudio FileDirigatur 01:55
10 7 Alleluia De profundis 03:07
11 6 Offertorium RealAudio FileDomine convertere 00:45
12 4 Communio RealAudio FileMemento 00:53
13 1 Introitus Rorate caeli 02:44
14 7 Introitus Puer natus est 03:19
15 Kyriale Kyrie III ad libitum 02:07
16 5 Communio Intellege 01:07
17 8 Communio RealAudio FileEgo Clamavi 00:45
18 6 Introitus Requiem 02:02
19 7 Antiphona In paradisum 02:24
20 1 Hymnus Gloria laus 05:24
21 1 Communio Ecce virgo 00:54
22 8 Offertorium Ave Maria 02:02
23 1 Antiphona Hodie (+ Magnificat) 05:09
24 2 Introitus Dominus dixit ad me 02:08
25 3 Introitus RealAudio FileRepleatur 03:07
26 1 Kyriale Credo IV 04:07
27 2 Introitus Ecce advenit 02:00
28 6 Communio RealAudio FileQui manducat 00:48
29 8 Responsorium Verbum caro factum est 01:15
30 1 Hymnus Jesu redemptor omnium 03:25
31 6 Responsorium In manus tuas 01:18
71:49

Review

The Schola Cantorum of Achel celebrated its 30th anniversary in 1998. For the occasion, the Schola produced a CD-recording with 31 tracks, hence the somewhat boring title.
About half of the CD consists of previously recorded material, dating from 1977 when the choir was still conducted by father Michaël Stumpel. The main theme of this part is Praise and Prayer. The second part was recorded more recently (in 1997) under Bartel Follon, with chants illustrating the theme of Christ, the Redemptor. The combination of these two parts makes for an interesting view on the choir's evolution.
The new recordings generally sound more lively and are a bit faster. Yet far more striking is the stylistic resemblance with the 1977 sound. The choir's interpretation of Gregorian chant has not changed one bit, and neither has its sound. The latter element is not necessarily a bad thing, as the choir has a nicely homogenous sound (quite impressing, considering the enormous amount of singers). Nevertheless, it is a pity that this nice instrument is played in such a traditional way. It seems they missed out on the entire evolution in semiology ever since Cardine. Very nostalgic music, no doubt, but unfortunately without much expression.

[Willy Schuyesmans 18/01/99]
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