The Boy Whose Father Was God

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The Boy Whose Father Was God

15.98

The Easter Sepulcher Drama originated in the 10th century, springing out of the practice of troping--the interpolation of dramatic non-biblical texts and freely composed music into the seasonal portions of the Mass.  As troping became more and more complex, eventually involving a variety of "characters" complete with appropriate gestures and costumes, the miniature music-dramas moved outside of church walls and were performed in church courtyards and town squares.  Eventually, local guilds began sponsoring performances and supplied the required actors, musicians, and elaborate stage settings.  

The incomplete Easter drama Ludus Paschalis comes from the Diocese of Tours, France.  In the realization presented on this recording, early music historian Frederick Renz masterfully incorporates fragments from the Maastricht Easter Play, the Fleury Playbook, and a 'sister' Ludus from the Convent of Origny-Sainte-Benoite to complete the Tours play.  He also interpolates three conducti:  Dulcis Jesu memoria, Victimae paschali laudes, and Pange melos lacrimosum, utilizing them as introductory or procession music.  Members of Chanticleer take up the roles of the three Marys, Jesus, Peter, Thomas, and several other characters related to the Easter story. The entire music-drama is accompanied by the other-worldly sound of The Medieval Harp Choir Angelorum, directed by Cheryl Ann Fulton.

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