Brumel is one of the great Flemish composers of the fifteenth and early
sixteenth centuries. Working mainly in France, including at Paris and
Chartres, he was a contemporary of Josquin and Loyset Compère and almost
certainly a pupil of Ockeghem. He music adopts a style which is in many ways
very French.
There are several secular works like the famous ‘Fortuna desperata’,
almost thirty motets and sixteen surviving masses often published by
Petrucci. However, its Brumel’s extraordinary Mass in twelve parts ‘Et Ecce
terrae motus” — otherwise known as the ‘Earthquake’ Mass — that is best
known and has had several recordings. What is striking about it and about
these works generally is their originality and vitality. In his wonderfully
detailed if somewhat technical notes Stephen Rice, the conductor of the
Brabant Ensemble, looks into the many facets of the technical and
musicological background to these little known works.
I’ve written about previous recordings made by this superb choir before:
Jean Mouton (
Hyperion CDA67933), Jacobus Clemens (
Hyperion CDA67848) and even more moving, Morales’
Lamentations also on Hyperion (
CDA67694). The sound is iridescent and fresh but
ripe, clear but resonant, young but mature. They are a top choir and this is
the earliest repertoire they have so far tackled. In the music of Brumel
they have achieved one of their best recording sessions yet; as ever clear
and marvellously balanced. The acoustic of the vast Victorian, suburban
Oxford church is excellent and some readers will know that it is often used
by largish choirs.
The Mass, which consists of the usual five sections, is the longest work.
The most fascinating is the motet that constitutes track 1: the five voice
Nato canunt Omnia. This is a lengthy Christmas text based on a
somewhat complex
cantus firmus. Rice, quite rightly, writes about
it in absorbing detail. The argument concerns Brumel’s typically free use
and choice of plainchants. The motet has been reconstructed effectively but
what really matters to the listener is the exciting, emotional power
generated. Brumel’s style is busy but always expressive.
The
Missa de Beata Virgine was, it seems, written in a spirit of
friendly competition with Josquin. The latter’s mass is serene and has been
quite often recorded being considered the more mature work. Wisely the
Brabant’s tempi are fluent, even swift. I like this approach but some
expressive moments have been missed as in the ‘Et incarnatus’ or the
‘Benedictus’ in general. Brumel is mostly able to make the text shine
through with well-defined textures which are rarely too impenetrable or
clear. There was an earlier recording by the Speculum Ensemble (Naxos
8.570535) which I have not heard but which I gather received
mixed reviews. It seems churlish to suggest that this new recording should
be overlooked as a consequence.
The Marian motets are tranquil and poised. The
Beata es, Maria
could also have been a sort of competition piece alongside settings by
Compère and Obrecht. Of the two I am most struck by the
Ave caelorum
domina, a text also set by Josquin. Brumel is a master of textural
variety and of changing vocal colourings. He always keeps your attention as
is well demonstrated here.
Had this disc come out last year it could have been considered part of a
celebration of the five hundredth anniversary of death of Brumel - a very
significant figure in renaissance music. Despite its late arrival it’s very
welcome as a fine addition to the catalogue.
Gary Higginson
