The Ptomise Chant

Ambrosian Chant: Early Christian Chant Of The Ambrosian Rite
Manuela Schenale / In Dulci Jubilo / Alberto Turco
EAC+LOG+CUE | FLAC: 220 MB | MP3 CBR 320: 145 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Naxos "Early Music" 8.553502 | Country/Year: Europe 1995
Genre: Classical | Style: Sacred, Medieval

Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.

Ambrosian Chant: Early Christian Chant Of The Ambrosian Rite
Manuela Schenale / In Dulci Jubilo / Alberto Turco
EAC+LOG+CUE | FLAC: 220 MB | MP3 CBR 320: 145 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Naxos "Early Music" 8.553502 | Country/Year: Europe 1995
Genre: Classical | Style: Sacred, Medieval

Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great. It is the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.

Sequentia + Dialogos - Chant Wars
Dhm | 24 octobre 2005 | Classical | APE+CUE | 3% Recovery | 360 MB | Covers+Booklet | 75'23"

The image of monks on steroids may be a bit much for some to entertain, but for listeners used to most modern interpretations of what's usually called "Gregorian chant", these performances of various types of chant from the Middle Ages will definitely seem "pumped-up", although never grotesquely or untastefully so. The singers of early-music groups Sequentia and Dialogos, the former led by Benjamin Bagby, the latter by his wife Katarina Livljanic, aim not only to illustrate the differences among chant traditions at a critical point in the repertoire's history, but also to enliven its usually refined character and re-imagine it as concert-performance music. In other words, these very scholarly-minded yet theatrically savvy performers take out of context what normally are sung as prayers, meditations, processionals, and celebratory expressions in the church liturgy and present them instead as entertainment. This isn't necessarily a bad thing, especially if you want modern audiences to listen and hear what proves to be a highly varied, colorful, and often very beautiful song repertoire that's so often badly sung, misunderstood, and relegated to stylistic mediocrity…

Anatoly Grindenko is one of the most important musicians working in the field of early Russian chant. With the male-voice Moscow Patriarchal Choir (amongst other groups) he has over the last few years brought new standards to the interpretation of the important but largely unfamiliar sixteenth- and seventeenth-century repertoire. This anthology is made up of chants from the Vigil Service (that is, Vespers and Matins) and a shorter selection from the Liturgy of St John Chrysostom.