BARGAIN OF THE MONTH
Sacred Music in the Renaissance -Volume 2
The Tallis Scholars Finest Recordings 1990-1999
CD 1
Antoine BRUMEL (c.1460-c1520) Missa Et ecce terrae motus [47:09]
Heinrich ISAAC (c.1450-1517) Missa de Apostolis [29:00]
CD 2
Jacob OBRECHT (1457/8-1505) Missa Maria zart [69:18]
Heinrich ISAAC Tota Pulchra es [9:05]
CD 3
Alfonso FERRABOSCO the Elder (1542/3-1588) Lamentations I [10:00]
Thomas TALLIS (c.1505-1585) Lamentations I [8:48]
Lamentations II [13:15]
Antoine BRUMEL Lamentations [9:06]
Robert WHITE (c.1538-1574) Lamentations (5vv) [21:56]
Giovanni Pierluigi da PALESTRINA (1525/6-1594) Lamentations
for Holy Saturday (Lesson 3, 6vv) [9:46]
Cipriano de RORE (c.1515/16-1565) Descendi in hortum meum [5:36]
CD 4
Cipriano de RORE Missa Praeter rerum seriem [30:02]
Manuel CARDOSO (c.1566-1650) Requiem [47:20]
The Tallis Scholars/Peter Phillips
rec. 1990-1999, Church of St Peter, Salle, Norfolk. DDD
Latin texts and English, French, German translations included
GIMELL GIMBX 302 [4 CDs: 76:10 + 78:23 + 78:31 + 77:23]
This second instalment of Gimell’s thirtieth anniversary celebrations
contains less English music than the first volume, which I reviewed
only a few weeks ago. In this latest volume we find an even more generous
representation of Franco-Flemish and Iberian composers. That may be just coincidence
but I suspect it reflects the ever-expanding repertoire horizons of The Tallis
Scholars as the years passed - remember, these three boxes form a chronological
survey covering three decades.
Though there may be changes in the composers represented in this latest retrospective
as compared with the first volume, the quality of the music and the ultra-high
standard of the performances are just as impressive as was the case first
time round.
Disc One
The set opens with Brumel’s extraordinary Mass in twelve parts, the
so-called ‘Earthquake’ Mass. There are three parts for each voice
- with two voices to a part on this recording, so twenty-four singers are
involved - although here two of the alto lines are given to high tenors. Sonically,
the music is as remarkable as Tallis’s celebrated Spem in alium,
even if it doesn’t have as many independent parts. Opportunities to
hear the piece are probably quite limited - Peter Phillips comments that The
Tallis Scholars haven’t performed it in concert since 1995. It’s
a fantastic achievement. In his notes Phillips refers to the “teeming
detail of the rhythmic patterns” and he also observes that Brumel needed
to write in so many parts “to decorate his colossal harmonic pillars”.
If those phrases suggest a magnificent piece of musical architecture then
that’s exactly what we get in this Mass setting.
It’s a most imposing and exciting piece of polyphony and in this superb
Tallis Scholars performance it’s revealed in all its splendour. Let
me just draw attention to a few particularly ear-catching moments. The end
of the ‘Gloria’ is an exuberant piece of writing. But that’s
topped by the closing pages of the ‘Credo’, where the vocal parts
seem to tumble over each other in a thrilling cascade of sound. By contrast,
the ‘Sanctus’ is imposingly devotional. Here Brumel’s music
is impressively slow-moving. However, when he gets to “Pleni sunt coeli”
it really does sound as if the heavens are full.
The Missa de Apostolis of Heinrich Isaac is more modest in scale -
for a start it’s only written in six parts (SSATBB). But it’s
a wonderful piece by a composer who Peter Phillips describes as “one
of the greatest masters of what might be called vocal orchestration”.
The Mass is based on a number of plainchant melodies used at the liturgies
of the Feast of the Apostles. The listener is struck by the loveliness of
Isaac’s melodic lines, which are often quite extended. Phillips rightly
draws attention to the melody that Isaac uses for “Gratias agimus“
in the ‘Gloria’ (Track 7, from 1:47). This Mass is a very beautiful
and resourceful composition and I admired greatly the glorious performance
that it receives here.
Disc Two
Obrecht’s Missa Maria zart (‘Mass for Gentle Mary’)
is an extremely substantial work, lasting nearly seventy minutes in this performance,
and it’s scored for STTB. Indeed, it may well be the longest polyphonic
Mass setting ever composed. This work was one that I haven’t heard before
and the strong enthusiasm that Peter Phillips expresses in his notes made
me keen to hear it. I hate to say it but, having done so I’m a little
ambivalent about it. It may be heretical to say so but I wish it was about
fifteen minutes shorter. Obrecht develops his musical ideas at what one might
call, in a different context, Brucknerian length. The trouble is, to my ears
- which are far less expert than those of Peter Phillips - the music seems
too extended.
Phillips remarks on the homogeneity of the music and perhaps that’s
the trouble. Phillips says that in the past he was criticised in certain quarters
for taking the music too slowly. I don’t think that’s the problem;
I’m sure his spacious treatment is right. In the last analysis, however,
unlike, say, the Isaac Mass, this was music that I could admire but it didn’t
excite me. However, that’s a very subjective reaction. I may come to
feel more positively about the piece in time and I’m sure other listeners
will feel differently about it. In any event, the quality of this performance
makes the best possible case for the work
The disc is completed by another piece by Isaac, his Tota Pulchra es.
This motet is sung by male voices (ATBarB) and it’s lovely. Though the
words are from the often highly-charged Song of Songs, Isaac sets them with
dignified restraint. The plangent alto line is particularly pleasing in this
performance. This timeless little gem is one of the most affecting pieces
in the entire collection
Disc Three
Here we have six settings by five different composers of verses from the Lamentations
of the Prophet Jeremiah. It’s fascinating to be able readily to compare
and contrast the different responses to these words by Italian, English and
Franco-Flemish composers - though none of them set identical verses. The music
by Ferrabosco (SATTB) is disciplined yet fervent while the settings by Tallis,
which are easily the best known, achieve great eloquence and are here given
one of the finest performances that I can recall hearing.
The Brumel (ATTB) was new to me. This is music of the dusky twilight. Peter
Phillips says of it that Brumel builds up “a rare mood of desolation
by low scoring and slow harmonic movement”. By contrast, the Palestrina
setting stresses higher voices (SSATTB), though there is no less solemnity
in the music as a result. The Robert White piece, which is the most extensive
because it’s really two pieces sung consecutively, again emphasises
the higher voices (SSATB) and as a result the sound is brighter and more plangent.
Phillips describes the White Lamentations as “consummate pieces of vocal
architecture” to which I’d add that the music is really intense
and sorrowful.
Disc Four
The previous disc concluded with a lovely motet (SSAATTB) by Cipriano de Rore.
His Descendi in hortum meum takes words from the Song of Songs and
the prominence that Rore gives to high voices accords his music a light, airy
texture that’s most seductive.
The main offering by this Flemish composer is his Missa Praeter rerum seriem.
Scored for SSATTBB, the Mass is based on a Christmas motet by Josquin. This
is rich music, yet the inclusion of two soprano and two tenor parts means
that the textures are generally bright. The opening of the ‘Gloria’
is compelling. The music is complex - and full of vitality in this performance.
Here, as throughout the four discs, Phillips and his gifted singers ensure
that all the lines are laid out with great clarity.
The ‘Sanctus’ is spacious and impressive. Interestingly, for the
“Pleni sunt coeli” Rore, instead of using extravagant part-writing
to suggest the heavenly host, restricts his scoring to a mere two solo voices
- tenor and bass. This means that when the whole consort is deployed at “Hosanna”
the exuberance and richness of the music is all the more apparent. Rore similarly
fines down his scoring for the ‘Benedictus’, where just three
soloists (SST) are used. This emphasises the intimacy of the music before
the full forces return for the “Hosanna”.
To close the set we hear the earliest recording in the box, dating from 1990.
The Requiem by the Portuguese composer, Manuel Cardoso is a serene and very
beautiful composition, which shows traces of Victoria’s influence. It’s
written in six parts (SSAATB) and the purity of the soprano lines throughout
this glowing performance is especially winning. A mood of calm devotion pervades
the first movement, the Introit, and that proves to be the hallmark of the
entire work. However, though the music is consistently beautiful and very
consoling this performance isn’t just about beauty. Cardoso’s
music has an emotional charge to it as well, even if it’s relatively
restrained, and that comes out in this exceptionally dedicated and controlled
performance.
At the start of this review I referred to the ultra-high standard of execution.
The technical skill on display throughout this set is remarkable. And when
one reflects that here we have twelve separate recordings, set down variously
between 1990 and 1998 the sheer consistency is little short of amazing. Furthermore,
though the singing is never less than beautiful and always superbly controlled
these aren’t pale and merely technically efficient readings. At all
times one feels that Peter Phillips and the Tallis Scholars have a profound
understanding and love for this music and they communicate the spirit of the
music and the visions of the various composers most effectively and persuasively.
All the recordings were made in theChurch of St Peter, Salle, Norfolk,
which was the Tallis Scholars’ recording home throughout the 1990s.
Only three engineers were responsible for all the recordings included here,
Mike Clements, Mike Hatch and Philip Hobbs, and the evenness of the results
surely reflects how much those three engineers and all the artists were in
tune with not only the music but also the church building. The sound throughout
is beautifully clear and with just the right amount of resonance and ambience.
Once again Gimell have excelled themselves in terms of documentation, providing
booklets in English, French and German, all of which are copiously illustrated.
This box is a worthy successor to the first volume and represents an astonishing
bargain. I shall be reporting on the third and final instalment of this handsome
thirtieth birthday celebration very soon.
John Quinn
An astonishing bargain.