In the magazine “Het Gregoriusblad” Dr Anton Vernooy reviews our double CD
(issue September 2001, nr 3, vol 125)
LA DIVINA COMMEDIA GREGORIANA
Schola Cantorum Karolus Magnus. Choirmaster: Stan Hollaardt
Mirasound in cooperation with. KRO radio, 2000
Address secretary’s office: Charles Estourgiestraat 10, 6522 HW Nijmegen (the Netherlands)
In the booklet that goes with this CD Jacques Janssen, member of the Schola cantorum and an expert on Dante’s Divina Commedia reveals that it was already in 1988 that he was considering a recording of a number of Gregorian chants that Dante mentions or hears a performance of in his Divina. Accompanied by the reciter Ivan Aguzolli we follow the poet Dante on his journey through Paradiso and Inferno, although there was originally no music in the Inferno. Each time we hear the chants belonging to the separate parts.
The creators of this compilation have adopted the structure of the Commedia and at various places inserted appropriate chants including the Inferno part. Choirmaster Stan Hollaardt together with his brother, the liturgist Augustinus Hollaardt made the selection of the Gregorian bits. This selection is a sign of good taste and was made in the spirit of Dante. Father Augustinus (o.p) must have enjoyed contributing to a cherub-like splendour
with
which Dante has enveloped the honoured founding father of his order. The
performance of the Gregorian chants is in the tradition of Carolus Magnus,
transparent, vigorous, with strong dynamics and in a tempo, which is by no means
too slow. The performances by Carolus Magnus are always pervaded with
commendable and objective spirit, which is entirely subservient to the liturgy.
This was already striking on their CD Canticum
Novum (1995) with the complete work for the fifth Sunday after Easter.
Besides, we always hear a kind of “Sing Freude”. The way in which the choir
deals with the problem of the diphthongs and open vowels is altogether
acceptable. From a semiotic point of view one may have one’s doubts about the
solution for certain metrical problems, for instance in the Dies
Irae.
However, this always depends on the personal interpretation of the choirmaster. From the point of view of the sound recording technique, there are transitions from the textual declamatory parts to the following vocal parts, which do not always run smoothly. In addition, the sound director occasionally nips off the final note in the choir. This is quite annoying. The acoustics of Dutch Hervormde Kerk van Voorst makes a pleasant impression on the listener. The booklet included in this release, is, in spite of the many printing errors, exemplary, particularly for its clarity of editing and its wealth of objective information. In succession, the reasons for this recording are unfolded, the character of Dante is introduced to us and the structure of the Divina Commedia is elaborated upon. Besides, we get an account of the selection of Gregorian chants, the origin of the chants and the resources used for this selection. In addition, the texts of the chants are included in the booklet.
Let us be grateful to the editors. Let us pay homage to the compilers of this recording. The double Cd was also released for the Italian market. For the Dutch listener it is no problem when he has the sound translation near at hand, while enjoying the recitation of the original Italian texts.
Prof. Anton Vernooy
Tr.all@2002