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Music and Poetry in St. Gallen - Dominique Vellard (tenor); Emmanuel Bonnardot (baritone); Ensemble Gilles Binchois; Gerd Türk (tenor); Jacques Bona (bass);...
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  1. Iustus ut palma, alleluia for the Feast of St. Benedict
  2. Dilecte deo, sequence
  3. Puer natus est, introit and tropes (Hodie cantandus est / Hodie natus est)
  4. Alleluia. Dies sanctificatus
  5. Natus ante sæcula, sequence
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  1. Iustus ut palma, alleluia for the Feast of St. Benedict
  2. Dilecte deo, sequence
  3. Puer natus est, introit and tropes (Hodie cantandus est / Hodie natus est)
  4. Alleluia. Dies sanctificatus
  5. Natus ante sæcula, sequence
  6. Viderunt omnes, communion and tropes (Hodie pectore mundo / Cernere quod)
  7. In medio ecclesiæ, introit and tropes (Dilectus iste / Quoniam dominus / Os tuum inquiens / Milibus argenti)
  8. Laus tibi Christie, sequence
  9. Ecce advenit, introit and tropes (Hodie clarissimam / Forma speciosissimus / Olim quem)
  10. Ardua spes mundi, verse
  11. Terra tremuit, offertory and tropes (Gaudete et cantate / Monumenta aperta sunt / Notus est dominus / In pace factus est)
  12. Læta mente, sequence
  13. Viri Galilæi, introit and tropes (Ex numero frequentium / Quasi quid)
  14. Alleluia. Dominus in Sina, in tone 8
  15. Offertory: Viri Galilaei (Mode I) (d)
  16. Alleluia, Spiritus Domini - Psalm 85, for Pentecost
  17. Sancti Spiritus Assit Nobis
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What is known as Gregorian chant seems static and timeless today, and to an extent it was. One of the important political developments of the Middle Ages was the spread of what became the Holy Roman Empire, and among its reforms was the standardization of chant: with a few prominent exceptions, monks in France, Germany, and Italy would sing the same music. But the musical notation that helped make this standardization possible also helped fuel a new spirit of creativity in the forms of the sequence (original poetic-musical ...

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