There is a bit of new material integrated into the site. You might find some comments on lock-downs that I added in Dissent and the COVID-19 Hoax. I added a new page ‘The Surveillance State‘. It has a short essay by Michael Snyder that is worth the read. You’ll likely be astounded with the technology that is currently in operation. I’ve also expanded the purpose of Quick-Connect. The idea is a one stop shop for the main sources that I use.
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Gregorian Chant can seem monotonous and dry being a single line of music, traditionally sung a cappella by monks. My lovely wife has been listening to it lately, but in some non-traditional forms. Through this I found an arrangement under Dan Gibson’s Solitudes series. I first came across Dan while collecting early New Age genre CDs by Hennie Bekker. I think the two collaborated on a number of albums.
The music that I’m going to give you seems to be in two editions (these guys seem to republish music under different titles or arrangements). The second version is a full album of 9 tracks. The first are 6 separate tracks each in its own window. The album title is “Illumination”. There is no information on the performers or the performance although the CD might have album notes.
In this arrangement, the traditional male choir is supported by an embracing small instrumental ensemble with a lovely warm cello underneath. What really adds beauty is a liquid soprano voice (I think it’s a woman rather than a high tenor) that floats in and out in some tracks above the men. This music is for two dear accomplished musician friends who will know who they are.
The reason I am publishing both editions is the first consists of 6 tracks with the Latin text. The full album has 9 tracks butno lyrics. The first is ‘Introit’:
The second is ‘Kyrie Eleison’:
Next is ‘Asperges me Domine’. The soprano line adds a beautiful echo to the main part.
The fourth track is ‘Credo IV’:
Next is ‘Pange, Lingua Gloriosi’.
This is followed by ‘Gradual and Alleluia’:
Finally is ‘Credo III’. The Introit opened with the cello speaking to introduce a male soloist. Gibson, exercising wonderful production skill, ends the series with a Credo that also begins with the cello leading into the solo soprano voice. A beautiful symmetry. It doesn’t get better than this.
Here now is the full album. If nothing else, listen to Track 9 (starts at 54:34), ‘Adoro te devote’. It is a piece that I never tire of. The soprano is radiant in it.
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