Album Title
Coro de Monjes Del Monasterio Benedictino de Santo Domingo de Silos
Chant (1994)
(0 users)
Coro de Monjes Del Monasterio Benedictino de Santo Domingo de Silos
Chant (1994) (0 users) 
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Track List
01) Puer natus est nobis - Introit (Modo VII)
02) Os iusti - Gradual (Modo I)
03) Christus factus est pro nobis - Gradual (Mod
04) Mandatum novum do vobis - Antiphonal and Psa
05) Media vita in morte sumus - Responsorio (Mod
06) Alleluia, beatus vir qui suffert (Modo I)
07) Spiritus domini - Introit (Modo VIII)
08) Improperium - Offertorio (Modo VIII)
09) Laetatus sum - Gradual (Modo VII)
10) Kyrie XI, A (Modo I)
11) Puer natus in Bethlehem - Ritmo (Modo I)
12) Jacta cogitatum tuum - Gradual (Modo VII)
13) Verbum caro factum est - Responsorio (Modo V
14) Genuit puerpera regem - Antiphonal and Psalm
15) Occuli omnium - Gradual (Modo VII)
16) Ave mundi spes Maria - Sequenza (Modos VII y
17) Kyrie fons bonitatis - Trope (Modo III)
18) Veni sancte spiritus - Sequenza (Modo I)
19) Hosanna filio David - Antiphonal (Modo VII)
01) Puer natus est nobis - Introit (Modo VII)
02) Os iusti - Gradual (Modo I)
03) Christus factus est pro nobis - Gradual (Mod
04) Mandatum novum do vobis - Antiphonal and Psa
05) Media vita in morte sumus - Responsorio (Mod
06) Alleluia, beatus vir qui suffert (Modo I)
07) Spiritus domini - Introit (Modo VIII)
08) Improperium - Offertorio (Modo VIII)
09) Laetatus sum - Gradual (Modo VII)
10) Kyrie XI, A (Modo I)
11) Puer natus in Bethlehem - Ritmo (Modo I)
12) Jacta cogitatum tuum - Gradual (Modo VII)
13) Verbum caro factum est - Responsorio (Modo V
14) Genuit puerpera regem - Antiphonal and Psalm
15) Occuli omnium - Gradual (Modo VII)
16) Ave mundi spes Maria - Sequenza (Modos VII y
17) Kyrie fons bonitatis - Trope (Modo III)
18) Veni sancte spiritus - Sequenza (Modo I)
19) Hosanna filio David - Antiphonal (Modo VII)
3:36
2:49
2:39
1:41
6:11
3:10
3:46
2:36
2:17
1:06
1:58
3:34
4:04
2:56
3:21
4:18
4:00
2:42
0:41
Data Complete
30%
Total Rating
30%Total Rating
(0 users)
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First Released
1994
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Album Description
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Fascination with religious music became widespread in the mid-'90s, among casual listeners who were searching for calming, soothing recordings for quiet reflection, and among others who sought deeper spiritual connections in their music. When Chant was released by Angel in 1994, it transcended the recording industry's categories and became a global crossover sensation, making the Benedictine Monks of Santo Domingo de Silos international stars. Even though Gregorian chant had been a central part of Roman Catholic liturgy for over a millennium, its rediscovery by a laity largely unfamiliar with historical sacred music seemed a part of a growing religious awareness, which appealed to both Christian traditionalists and followers of new age ideas. The album itself was not necessarily the best recording of Gregorian chants, for the monks' singing is sometimes ragged on beginnings of phrases, and the articulation of consonants is a bit sloppy, though this matters little in the highly resonant acoustic of the Teatro Real in Madrid, which covers a multitude of vocal errors. Fortunately, the background ambience is relatively noise-free and superior to in situ chant recordings. However, these were analog recordings dating from 1980-1981, so the reproduction has moments of haziness that digital mastering couldn't improve.
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Fascination with religious music became widespread in the mid-'90s, among casual listeners who were searching for calming, soothing recordings for quiet reflection, and among others who sought deeper spiritual connections in their music. When Chant was released by Angel in 1994, it transcended the recording industry's categories and became a global crossover sensation, making the Benedictine Monks of Santo Domingo de Silos international stars. Even though Gregorian chant had been a central part of Roman Catholic liturgy for over a millennium, its rediscovery by a laity largely unfamiliar with historical sacred music seemed a part of a growing religious awareness, which appealed to both Christian traditionalists and followers of new age ideas. The album itself was not necessarily the best recording of Gregorian chants, for the monks' singing is sometimes ragged on beginnings of phrases, and the articulation of consonants is a bit sloppy, though this matters little in the highly resonant acoustic of the Teatro Real in Madrid, which covers a multitude of vocal errors. Fortunately, the background ambience is relatively noise-free and superior to in situ chant recordings. However, these were analog recordings dating from 1980-1981, so the reproduction has moments of haziness that digital mastering couldn't improve.
User Album Review
None...
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