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  • Le jeu des pèlerins d'Emmaüs (A liturgical drama, 12th century) /Ensemble Organum · Pérès
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Le jeu des pèlerins d'Emmaüs (A liturgical drama, 12th century) /Ensemble Organum · Pérès

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Product details

  • Conductor: Marcel Pérès
  • Composer: French Anonymous
  • Audio CD (9 Feb. 2004)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Harmonia Mundi
  • ASIN: B00015WMJ6
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 412,239 in Music (See Top 100 in Music)

1. Regnum summe
2. Laudate Pueri
3. Haec Dies
4. Jesu nostra redemptio
5. Des deux pererins
6. Ego sum Alpha et Omega
7. Sedit Angelus
8. Dialogue de l'ange avec Marie-madeleine
9. Victimae Paschali Laudes
10. Surrexit Dominus
11. Apparition du Christ a Thomas
12. Ego sum Alpha et Omega
13. In Exitu Israel
14. Lux Perpetua
15. Benedictamus Domino
16. Christus Resurgens

Product Description

HMF 2901347; HARMONIA MUNDI - Francia;

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By E. L. Wisty TOP 500 REVIEWERVINE VOICE on 15 Oct. 2013
Format: Audio CD Verified Purchase
Originally composed in Normandy in the late 11th century, the Play of the Pilgrims to Emmaus is a liturgical drama for performance at the end of Vespers on Easter Day. The version performed here by Ensemble Organum is from a manuscript made for the cathedral in Palermo, Sicily, during the reign of Roger II.

The programme here begins with a troped Kyrie which opened the Vespers, taken from a Norman manuscript, followed by three pieces which were performed immediately before the play as the officiating priests moved in procession to the baptismal font and then set off back again towards the choir. The play proper follows, in three sections performed at three sucessive stations as the procession returns. The first section dramatises the risen Christ's appearance to the two pilgrims journeying to Emmaus, the second the appearance to Mary Magdalene, and the final scene the meeting with the Apostle Thomas.

After the play, as the procession continues back to the choir, is sung the psalm In exitu Israel, and as the celebrants regain their places, a hymn Lux perpetua and a Benedicamus domino (taken from a Parisian version) before the priests leave chanting the Responsory Christus resurgens.

The play preserves in the introduction and conclusion of each scene (and also the psalm In exitu Israel) processional chants from the old Gallican chant before the Carolingian reform and the obliteration of it and other chant forms by the Gregorian form.
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Amazon.com: 2 reviews
6 of 6 people found the following review helpful
Marcel Peres on the Road to Emmaus 12 Jun. 2008
By Giordano Bruno - Published on Amazon.com
Format: Audio CD
Marcel Peres is a musical adventurer. No one is likely to dispute that. But the term 'adventurer' has two meanings - the modern sense of someone willing to take chances, to seek adventures; and the Victorian sense of someone seeking opportunities to pounce and exploit. Peres has split the "historically informed performance practice" movement, especially the musicologists, into two camps, obviously the supporters and the scoffers. The basic issue is the degree to which 'conjecture' is appropriate in performance of music about which it's nearly impossible to have any certainty. Peres has been willing to use conjecture and intuition to generate exciting performances, some of which are plausible in the best sense, and some of which are 'kinda far-fetched'.

Le Jeu de Pelerins (the Play of the Travelers) is a liturgical drama of the 11th and 12th Centuries. The stress is on the word 'liturgical.' Such dramas were tropes on the liturgy used by monastics and clergy during the celebration of specific dates in the church calendar. [A trope is an extension of the words and/or music of regular chants, psalms, hymns, etc. - what people think of as Gregorian chant. Thus a harmonization of chant is a trope, an inserted decorative melody is a trope, extras words are a trope. The liturgical dramas are tropes of both words and music inserted into a fixed liturgical context.] This trope was composed in Normandy in the late 11th C, but the existing manuscript was prepared for the cathedral of Palermo under the reign of the Norman King Roger II (1130-1154). It was performed during the Vespers for Easter Sunday, after the Magnificat on the occasion of a procession to the baptismal fonts. Many of the surviving liturgical dramas are essentially processional; this one, describing the encounter of the disciples with the risen Jesus on the road to Emmaus, seems particularly suitable for procession.

Marcel Peres and his Ensemble Organum staged Le Jeu des Pelerins, complete with all the proper liturigal context, in 1990, but most of the Vespers chanting is omitted from this CD. What liturgy is included also comes from Norman sources, specifically from the Abbey of St. Evroult. Peres is extremely scrupulous about sources, and he is not inclined toward popularizing spectacle. Costumes and props were seldom a major factor in liturgical dramas, though the splendid robes of religious celebrants in the High Middle Ages turn any performance today into a pageant. Likewise, instruments were almost never included, and they are absent from this CD.

The controversy arises from Peres's use of distinctive vocal timbres and elaborate ornamentation of the notes of chant. Many critics accuse him of 'orientalizing' the chant. In fact, his sources of singing style are more concentrated in rural Italy, in the most isolated regions of Sardinia, Corsica, and Apulia. At times he has employed folk singers from those areas to perform concerts of chant in cities of Europe and America. Remember, when you hear the glissandos and fractional pitches on this CD, that Peres intends to create a conjectural soundscape of a performance of specifically Norman-Sicilian chant around 1150 AD. One thing you can be certain of, when you hear Ensemble Organum, is that all chant should NOT sound alike.

The notes that are included in this CD are ample, and the texts are fully translated. What can you expect to hear? The voices will sound more nasal, less like classically trained singers, than on most recordings of chant. The solo chants will emphasize that peculiar voice quality, and will sound almost improvisatory in their meandering melodies and abrupt rhythms. This chant does NOT sound like a group meditation in a serene retreat for overworked professionals. The bottom line? You'll either love it or hate it, and immediately find yourself on one side or the other of the controversy over Peres's adventures.
2 of 2 people found the following review helpful
By Hal F. Smith - Published on Amazon.com
Format: Audio CD
I will not be as in depth with my review as the last, all I can state is that the copy I have,I purchased in the early 90's. The first time I heard this recording was on one of those Public Broadcasting stations. I spent quite a few hours researching the recording for purchase. Back in the early 90's the internet was still in a infant state... I believe it to be one of the best albums in my personal collection. It opened so many doors into different forms of music for me. I still to this day listen to the entire album on a regular basis, especially around the Easter. I was sorry to hear it is out of print. My cover is more traditional than one portrayed. I have what looks like 3 monks about to enter the open doorway.
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